#cru jones

[radishhqueen]

I LOVE UR PFP AGHHHHHHHH

hehe thanks!!! I love it too 💕💕 i commissioned it from the ever talented @tangledinink!! I highly recommend checking out his art if you haven't already!

[wh4thefnk]

Thinking about how off I was, I never thought he was retiring, that is not what he said, but yes, the break lasted shorter than expected, and the workload he’s choosing isn’t as light as he lead people on (* ^◇^)_旦

I’m still stuck on him saying that he wanted to take a step back from Hollywood and focus on his home life. Not even four months go by and he’s back trying to be in the Hollywood loop lmfao

[alldancersaretalented]

NYCDA National Outstanding Dancers 2002-2024

2002

Junior: Garrett Smith (Dance Impressions) and Erica Ross (Dance Connection 2)

Teen: Anthony Lomuljo (Dance Attack Sunnyvale) and Becca Henderson (Ballet Society)

Senior: Danny Tidwell (Denise Wall Dance Energy) and Melissa Hough (Dance Explosion)

2003

Junior: David Gensheimer (American Jazz Dance Co.) and Whitney Jensen (CSPAS)

Teen: Travis Wall (Denis Wall's Dance Energy and Marilee Glazier (CSPAS)

Senior: Phillip Spaeth (Triple Threat PAC) and Carly Lang (DDK Danceworks)

2004

Mini: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Motion Performing Arts Co.)

Junior: Nick Young (Young Dance Academy) and Kayla Radomski (Michelle Latimer Dance Academy)

Teen: Chuck Jones (CSPAS) and Jaimie Goodwin (Denise Wall's Dance Energy)

Senior: Jon Bond (Center Stage Dance Academy) and Ellery Baum (CSPAS)

2005

Mini: Hogan Fulton (Bobbie's School of Performing Arts) and Tiara Keeno (Wasatch Dance Center)

Junior: John Manzari (Spotlight Studio of Dance) and Angelica Generosa (Dance Stop)

Teen: Garrett Smith (Odyssey II) and Dusty Button (Movin' South)

Senior: Teddy Forance (Hackworth School of Performing Arts) and Allison Holker (The Dance Club)

2006

Mini: Ross Lynch (Artistic Fusion Dance Academy) and Catherine Hurlin (Westchester Dance Academy)

Junior: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Connection)

Teen: Ryan Steele (Dance Dynamics) and Kirsten Wicklund (Danzmode Productions)

Senior: Christian Denice (Bobbie's School of Performing Arts) Jamie Godwin (Denis Wall's Dance Energy)

2008

Mini: Kolton Krouse (Tempe Dance Academy) and McKenna Ross (Tempe Dance Academy)

Junior: Alex Hathaway (Dance Dynamics) and Tiare Keeno (Wasatch Dance Center)

Teen: Corey Cox (Denise Wall's Dance Energy) and Taja Riley (Denise Wall's Dance Energy)

Senior: Crain Dionne (Donna Coco's Performance Plus) and Erica Ross (Tempe Dance Academy)

2009

Mini: Brandon Chang (Dance Town) and Sarah Pippin (CC&Co. Dance Complex)

Junior: Kolton Krause (Tempe Dance Academy) and Kamila Shah (Westchester Dance Academy)

Teen: Mason Manning (Dance Industry) and Tiare Keeno (Classical Ballet Academy)

Senior: Richard Villaverde (Dance Town) and Ida Saki (Dance Industry)

2010

Mini: Tade Biesinger (Dance Impressions) and Payton Johnson (Jean Leigh Academy of Dance)

Junior: Rae Srivastava (Independent) and Jayce Kalb (The Dance Centre)

Teen: Corey Snide (Eleanor's School of Dance) and Mattie Love (Dance Impressions)

Senior: Cory Barnette (Tempe Dance Academy) and Kaitlynn Edgar (Spotlight Dance Works)

2011

Mini: Travis Atwood (The Talent Factory) and Jacalyn Tatro (Inspire School of Dance)

Junior: Niko Martinez (Dance Images & Music) and Sarah Pippin (CC&Co)

Teen: Ivan Kalinan (The Dance Zone) and Madi Hicks (Academy of Dance Arts)

Senior: George Lawrence (Dancemakers of Atlanta) and Kali Grinder (The Dance Zone)

2012

Mini: Kyle Anders (Savage Dance) and Kayla Mak (Westchester)

Junior: Jack Wolff (Precision Dance Academy) and Payton Johnson (Jean Leigh Academy)

Teen: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

Senior: Joseph Davis (Draper Center) and Alexia Meyer (The Dance Club)

2013

Mini: Justice McCort (Krystie’s Dance Academy) and Jasmine Cruz (Westlake)

Junior: Jonathan Fahoury (Artistic Fusion) and Sophie Miklosovic (Faubourg School of the Ballet)

Teen: Jake Tribus (CC & Co) and Jayci Kalb (The Dance Centre)

Senior: Alex Soulliere (Spotlight Dance Works) and Alyssa Ness (Northland School of Dance)

2014

Mini: Luke Spring (Independent) and Charlee Fagan (Main Street Dance)

Junior: Matthew Spangler (Artistic Fusion) and Mackenzie Bessner (KJ Dance)

Teen: Rae Srivastava (BHumn DanceSpace) and Jacalyn Tatro (Inspire School of Dance)

Senior: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

2015

Mini: Brady Farrar (Stars) and Madison Brown (Lents Dance Company)

Junior: Parker Garrison (Stars) and Jasmine Cruz (Westlake)

Teen: Harrison Knotsman (Studio West Dance Center) and Nina Bartell (Sweatshop)

Senior: Jake Tribus (Next Generation Ballet) and Sarah Pippin – CC & Co

2016

Mini: Luke Barrett (Dance Attack) and Eden Galloway (Center Stage Dance Studio)

Junior: Jack Easton (IMPAC) and Mahalaya Tintianco-Cubales (Westlake)

Teen: Kele Roberson (Dance Institute) and Ali Deucher (The Dance Club)

Senior: Zach Manske (Woodbury) and Jacelyn Tatro (Inspire School of Dance)

2017

Mini: Hudson Silva-Costa (Spotlight Dance Center) and Phoenix Sutch (Krystie's Dance)

Junior: Mason Evans (Performance Edge 2 and Madison Brown (Lents Dance Company)

Teen: David Keingatti (Columbia) and Sydney Revennaugh (CSA's Dancers Edge)

Senior: Michael Garcia (Dance Industry) and Kaylin Maggard (Columbia)

2018

Mini: Sienna Morris (Westchester) and ???

Junior: Eden Galloway (WNC Dance) and ???

Teen: Aydin Eyikan (Kanyok Arts) and Jasmine Cruz

Senior: Harrison Knostman (Studio West Dance Center) and Jenna Meilman (Westchester)

2019

Mini: Ian Stegeman (Woodbury) and Ivana Radan (Westchester)

Junior: Justin Padilla (Infusion Dance) and Rebecca Stewart (Spotlight Studio of Dance)

Teen: Luke Spring (East Coast Edge) and Madison Brown (Lents Dance Company)

Senior: Jamaii Melvin (Miami Dance Collective) and Madison Goodman (KJ Dance)

2020

Mini: Eric Poor (CityDance) and Kynadi Crain (Jean Leigh Academy)

Junior: Jagger Effs (Miami Dance Collective) and Sienna Morris (Westchester)

Teen: Mason Evans (Performance Edge 2) and Mahalaya Tintianco-Cubales (Westlake)

Senior: Aydin Eyikan (Kanyok Arts) and Sydney Revennaugh (Performance Edge 2)

2021 (Orlando)

Mini: Spencer Parnell (Academy of the Living Arts) and Kiera Sun (Westside)

Junior: Michael Duvali (Centerstage Dance Academy) and Macie Miersh (All American Dance Factory)

Teen: Luke Biddinger (Touch of Class) and Eden Galloway (WNC Dance)

Senior: Jemoni Powe (Academy of Nevada Ballet) and Kayla Mak (Westchester)

2021 (Phoenix)

Mini: Ellis Khoundara (Tempe Dance Academy) and Skylar Wong (Woodbury)

Junior: Ian Stegeman (Woodbury) and Carolina Garcia (Miami Dance Collective)

Teen: Justin Padilla (Westside) and Erin Park (Westside)

Senior: Justice Wooden (Just Dance) and Charlee Fagan (Main Street Dance)

2022 (Orlando)

Mini: Mali Photnetrakhom (In Motion Dance Project) and Avery Gallenero (Dance Inc.)

Junior: Bryce Young (All American Dance Factory) and Eva Jimmerson (Renner Dance)

Teen: Luke Barrett (Dance Attack) and Phoenix Sutch (Krystie's Dance Academy)

Senior: Mason Evans (Performance Edge 2) and Kailey Woronstoff (Dance Universe)

2022 (Phoenix)

Mini: Levi Caicco (In Motion Dance Project) and Kensington Dressing (Evolve Dance Complex)

Junior: Avery Khoundara (Tempe Dance Academy) and Fiona Wu (Yoko's)

Teen: Keenan Kiefer (Academy of Dance Arts) and Georgie Weir (Miami Dance Collective)

Senior: Parker Rozzano-Keefe (Westlake) and Mahalaya Tintiangco-Cubales (Westlake)

2023

Mini: Jonathan Macleod (Joanne Chapman) and Hannah Fogel (Dance Institute)

Junior: Lincoln Russo (Poirer Productions) and Kiera Sun (Westside)

Teen: Hudson Silva-Costa (In the Spotlight) and Crystal Huang (The Rock)

Senior: Jonathan Paula (Canadian Dance Unit) and Abigail Weber (Dallas Conservatory)

2024 (New York)

Mini: Marko Kokovic (Draper Center for Dance Education) and Maeve Olsen (The Dallas Conservatory)

Junior: Levi Caicco (In Motion Dance Project) and Aria Du (Yoko's)

Teen: Sam Gauss (Draper Center for Dance Education) and Evee Lee (CAP The Company)

Senior: Caleb Abea (Larkin Dance Studio) and Izzy Howard (Westside)

2024 (Phoenix)

Mini: Anderson Sander (New Dimensions) and Belle Marie Arauz (Dance Town)

Junior: Ellis Khoundara (Tempe Dance Academy) and Mali Photnetrakhom (In Motion Dance Project)

Teen: Maceo Paras-Mangrobang (Westlake) and Gracelyn Weber (The Dallas Conservatory)

Senior: Cameroon Janson (Creative Conservatory of Dance and PA) and Jordyn Sarmoen (Performance Edge 2)

[gregarnott]

Cru Jones, RAD

[nancydrewwouldnever]

Hi. Just found your blog and LOVE IT. LOVE IT. About one of your old ask, you said Chris called his fans fucking crazy. Is there any evidence of it?// I mean, he's not wrong. Some of them absolutely are batshit crazy and operating on a whole other level. Not talking about the general fandom but some of the stuff I see on Twitter with the comments and tagging😳 P.S. I know the Cru Jones stuff was from a while ago but it still applies, maybe moreso now.

Yes, I agree, some go too far. Some become the Milas of the fandom world. Some become the ones who break into your house.

However, I think there's a fine line where the celeb may start thinking/judging their fandom with too broad a brush. And I'm wondering if that's happened now, because how else to explain that he's completely okay with his PR running with all these "his fandom is horrible and crazy" articles. Because, let's be real, those articles have the unstated blessing of his PR behind them (and, by default, him behind his PR). So - has the "some" dropped out of that sentence for him? Has it been replaced by "all"?

[kristentiannapoirier]

9/26/24

Why did everyone want to hurt me so badly?

I just don’t understand.

I was just surviving while trying not to hurt anyone and by minding my own business.

I’m still just surviving.

Survival mode in the brain = no rest.

Surviving through pain, traumas, things I had never felt before, holding it together, alone. Alone. With the feeling of shadows watching, causing more pain than the pain I was already trying to bear on my own .

Grow up!?

How about no.

What was the point??!?!?

To show everyone your opinion of me?????? Your judgments of me?!???????????

Was it always just you???

Just you being a horrible human being.

Tearing me down below the earth digging my hole deeper. I was already climbing out of the fucking hole.

I made that mountain analogy.

Let’s make it again.

ILL ELABORATE

A GIRL CLIMBING UP A HILL

BLIND, with a sword, not reacting.

Walking while fiery arrows are falling down.

You guys turned that hill into a mountain.

Added ice, snow, while trying to kill me on the way up.

My spiritual journey blocked by ,DEMONS(bully’s),

I kept going. I sang, climbed, wounded! Just a girl. Bullet holes, arrow holes, punctured and prodded and wounded.

Buckled many times.

Many many times.

Kristen still got up. Got on knees and stood and kept it pushing.

Watched all the arrows fly let some hit, dodged a few.

WHILE BLIND!

Scaling the mountain top. Slipping many feet and climbing a few feet more. The bully’s at the top shooting down every weapon they had. I kept climbing!!!!

Hate me???? For what exactly. Being a quiet person who works and journals and sings alone in her car or apartment????

Hate me for establishing a crush when going through the worst heartbreak of my life.

It isn’t the worst heartbreak though, not now.

Somehow you guys are.

You keep elongating a mountain I no longer want to climb for you!!!!!

A mountain that I am still trying to find footholes in.

A girl, no longer a child, now a woman, just from all the pain in such a short amount of time.

My pain for the Joneses? Cru Jones!

6/27/24

But my head is sorted. Brain no longer fried.

Said those words to only one person.

“Brain fried”

Took me 11 months and couple weeks to figure it out. To fix it. It’s been horrible.

All of you made it worse.

I was already climbing up the hill with fiery arrows coming down.

You guys made that hill a mountain.

Added snow and ice..

Made the load bigger.

I buckled. Many times. And got right back up.

Solidified everything.

I’m not at the top but the views from where I’m standing, are pretty fucking amazing!

[senseofnewness]

i cannot stand glen powell with every ounce of my being and i’m sorry i’ll say it i don’t care for daisy edgar jones or paul mescal either. THOSE MET GALA PHOTOS ARE UNFORGIVABLE

while i agree with glen, he's too clean cut, very t*m cru*se

I WILL NEVER AGREE FOR PAUL AND DAISY, they have such a cute friendship and tbh don't give a damn about phoebe, maybe she deserved it

[christophe76460]

SE VANTER DE LA CROIX.

Galates 6.14 "Quant à moi, je ne veux me vanter que de la croix de notre Seigneur Jésus-Christ"

"Le chrétien ne se glorifie pas seulement de la croix, il se glorifie de la croix seule. Il ne se glorifie de rien d’autre. . . .

Il y a là un caractère exclusif, ce qui signifie que pour le chrétien, c'est la chose principale de l'histoire, l'événement le plus important qui ait jamais eu lieu. Cela signifie que pour lui, il n’y a rien qui s’en rapproche en termes de signification. Cela veut dire qu'il repose tout sur cela, que cela signifie tout pour lui, qu'il est ce qu'il est à cause de cela. Il s'en glorifie.

Je veux poser une question à tous les chrétiens.

Est-ce que vous vous glorifiez de la croix ?

Ou dites-vous simplement : Bien sûr, j'ai toujours cru, j'ai été élevé dans ce sens.

Pouvez-vous parler ainsi de la croix ?

Le test du chrétien est qu’il s’en glorifie, qu’il s’en réjouit, qu’il s’en vante. C'est tout pour lui, sans cela il n'a rien.

Il doit tout à cela, cette croix est le centre de son univers à tous égards. C’est ce que signifie se vanter."

Martyn Lloyd-Jones, La Croix : la voie divine du salut (Crossway, 1986), 54-55

[us-cj]

Environmentalism has been rebranded into climate change and is nothing more than a sales pitch for politicians and wealthy industrialists betting on the new trend. Recall, the “Climate Gate” scandal broke on November 17th 2009. But by now there are several associated issues, such as “Glacier Gate” (1) and “Amazon Gate” (2), and it is time to figure out what it all means.

Climate Gate was the release (by a hacker or an insider) of thousands of e-mails and commented source codes from the Hadley Climate Research Unit (CRU). There is enough fascinating material to write books about it (3), but one of the e-mails that have attracted most attention is one from November 1999 where Phil Jones of CRU wrote to Michael Mann, Raymond Bradley and Malcolm Hughes (the authors of the famous “hockey stick” graph that suggested unprecedented warming during the last century) saying: “I’ve just completed Mike’s Nature trick of adding in the real temps to each series for the last 20 years (ie from 1981 onwards) and from 1961 for Keith’s to hide the decline.” By itself, that could mean anything, but the source code of the related computer program makes abundantly clear that they substitute Keith Briffa’s original tree ring temperature proxy with Hadley’s instrumental record from 1961 onwards in order to hide the apparent decline in temperatures indicated by the tree-ring data (4).

The general impression that one gets from reading the material is that a small group of generously funded researchers have been torturing the temperature data from all over the globe to get it to show a 0.8ºC increase over the last 150 years, and, amazingly, they (together with Al Gore, MSM, IPCC and others) have managed to convince most people that such an increase is unprecedented, caused by human CO2 emissions, and disastrous for all life on the planet.

One of the other main issues in the climate gate scandal is that the Hadley Climate Research Unit has resisted releasing data and methods, so that other researchers could verify their results. The scientific method in general requires researchers to make their data and methods available for independent replication, and the British Freedom of Information Act specifically requires publicly funded institutions to do so, but the hacked e-mails make clear how the involved climate researchers have resisted and evaded legal and reasonable information requests.

Glacier Gate, on the other hand, is the debunking of the claim in the IPCC’s fourth assessment report that Himalayan glaciers are receding faster than in any other part of the world and could “disappear altogether by 2035 if not sooner”. This statement has proven to be completely unfounded, and one glaciologist, Professor Cogley at Ontario Trent University, believe the IPCC has misread the date in a 1996 report which said the glaciers could melt significantly by 2350. The IPCC has now officially retracted the statement (5), but what makes it particularly embarrassing is that the IPCC chairman had ridiculed Indian scientists who refuted the claim, calling their work “voodoo science” (6).

Amazon Gate is another example of the flimsy evidence on which the IPCC have based their claims of climate calamities. In the Working Group II report of 2007 they state that “up to 40% of the Amazonian forests could react drastically to even a slight reduction in precipitation” on the basis of a non peer-reviewed WWF report whose lead author, Andy Rowell, is a free-lance journalist. If you follow the reference used by WWF, it leads to a 1999 article in Nature about the impacts of logging. IPCC could have used that reference, as it is at least peer-reviewed, but the problem may have been that the Nature-article mentions nothing at all about climate change (2).

However, by now it doesn’t matter much what the evidence shows or does not show. The Climate Change Train is going at full speed and it is difficult to get off. Many institutions, which jumped on the climate change bandwagon before the Copenhagen summit, have committed themselves and their budgets to climate change activities instead of their usual activities, and now find it difficult to backtrack...

SOURCE: This is "The Runaway Climate Train", by Lykke Andersen. Lykke Andersen is the Director of the Center for Economic and Environmental Modeling and Analysis (CEEMA) at INESAD.

---------------------------------------

(1) See summary at The Sunday Times “World misled over Himalayan glacier meltdown” https://web.archive.org/web/20100124015736/http://www.timesonline.co.uk/tol/news/environment/article6991177.ece

(2) See summary by James Delingpole at the Daily Telegraph “After Climategate, Pachaurigate and Glaciergate: Amazongate” https://web.archive.org/web/20100213010322/http://blogs.telegraph.co.uk/news/jamesdelingpole/100023598/after-climategate-pachaurigate-and-glaciergate-amazongate/

(3) That has already been done. See, for example, “Climategate: Caught Green-handed” by Christopher Moncton [http://scienceandpublicpolicy.org/images/stories/papers/originals/Monckton-Caught%20Green-Handed%20Climategate%20Scandal.pdf] or “Climategate: The CRUtape Letters” by Steven Mosher and Thomas Fuller [https://www.amazon.com/Climategate-Crutape-Letters-Steven-Mosher/dp/1450512437/ref=sr_1_1?ie=UTF8&s=books&qid=1264982554&sr=1-1]

(4) See analysis by Steve McIntyre https://climateaudit.org/2009/12/10/ipcc-and-the-trick/#more-9483

(5) See The Times: https://web.archive.org/web/20111007072623/http://www.timesonline.co.uk/tol/news/environment/article7009081.ece

(6) See The Guardian: https://web.archive.org/web/20130908063242/https://www.theguardian.com/environment/2009/nov/09/india-pachauri-climate-glaciers

[thewineauctionroom]

New Post has been published on https://wineauctionroom.com/now-is-the-time-to-invest-in-wine/

Now IS the time to invest in wine

A year ago, the New Zealand Herald posed the question “Is Now The Time To Invest In Wine?”.  In talking with several wine specialists in New Zealand, including our team at The Wine Auction Room, the answer was a resounding yes. And this answer holds true today.

At The Wine Auction Room, we’ve noticed local wine auctions are following global trends. Liv-ex is the global fine wine trading platform that tracks fine wine resale prices through its various indices. As measured by the Liv-ex Fine Wine 100 index, wine proved a better investment in recent years than traditional equity markets, such as the Dow Jones or gold. Recent sales through local auction houses have proven the market has softened compared to previous years, making this a great time to purchase well-cellared wines in the secondary market to boost your investment portfolio.

New Zealand offers some tremendous wines worthy of a seat at any international table. With interest tapering, we are now seeing some of the more popular brands such as Stonyridge Larose and Te Mata Coleraine being secured at values ~20% less than paid in 2021. Lesser-known contemporary New Zealand Bordeaux blends, such as Te Motu and Newton Forrest, offer consistently great value for their tremendous quality.

This investment value is not just limited to local wines. We’ve noticed similar trends for international wines – from premier cru to village classes, savvy buyers are collecting wines that will do them proud in years to come.

To help our buyers, we note the cellaring conditions of the wine prior to being consigned to auction, and quality wines from consistent temperature-controlled storage always pique the interest of discerning buyers.  Cellaring conditions are one of the key things to look at when buying wines on the secondary market.  Look out for wines that have been consistently stored in temperature-controlled conditions on release from the vineyard.

Critic scores are another indicator that can help guide your investment purchases. Scores greater than 95 points (of 100) or 18 points (of 20) are worthy of your attention. Of course, scores of 100 (or 20) are reserved for the finest of wines for their time – keep an eye out for them and be sure to read the tasting notes to understand when the wine will be in its prime.  Our upcoming auction is littered with 100-point wines – offering a wonderful investment opportunity for the shrewd buyer.

Of course, depending on when and how these wines were purchased by our vendors, the results still offer a generous return. As with all investments, it can take time to realise the increase in value.  Your investment equation can be summed up in three hows…. How you buy, how you store and how long you hold for.

The Wine Auction Room hold regular monthly auctions in a variety of formats.  Live/online, virtual/online and fixed-time online only.  We publish our catalogue with plenty of time for you to complete your research and cast your bids. Of course, our team are always on hand to provide you with detailed advice.  Simply call us and we can talk through your investment aspirations.

[wh4thefnk]

https://www.tumblr.com/profoundpersoncollective/731286093733986304/of-course-alabama-and-hollywoods-biggest-pervert

I’m so glad someone posted the screenshots for this because I know I regularly bring up how he really did follow that 21 year fitness influencer with a double PhD in butt workouts and the male gaze (I am not shaming her, this is just the reality of her content - her account is still up btw) but it hits different seeing it. In September 2021, mind you, when he had likely already been entertaining his future wife for a while. And okay maybe he didn’t know how old she was (she still looks young imo) but it’s still so dumb to be doing these shenanigans on your professional work account at the big age of 40. Such lame loser sloppy vibes, I’m sorry to the Mr Baptista fans. 🥴

Gosh. And he knows how to use fake social media (Cru Jones) but there he was using his official instagram as Tinder allegedly… of course these ladies wouldn’t bother to look twice at a Cru Jones… but a Chris Evans? Mmm… maybe that was the whole point.

[choses-dingen]

«The Fabelmans» de Spielberg: retour aux origines

Avec « Fabelmans », son 34e long-métrage, le papa d'« E.T. » et d'« Indiana Jones » raconte son enfance, sa famille, le pouvoir de l'image et la nécessité de croire en ses rêves. C'est magnifique, intime et bouleversant.

  Dire « je » pour la première fois, sans se dissimuler derrière des récits peuplés de requins, de dinosaures ou d'extraterrestres. Raconter Steven avant Spielberg. Son enfance et l'enfance de son art. Part profondément intime et personnelle qui intègre le premier choc cinématographique, un secret de famille et le divorce de ses parents (une mère fantasque, pianiste empêchée, et un père sérieux, ingénieur, pionnier en informatique), les petits films amateurs et les brimades antisémites. L'histoire du cinéma débute avec un train qui entre en gare. L'histoire de Spielberg avec le cinéma commence avec un train qui déraille. Nous sommes dans les années 50. Il a cinq ans quand ses parents l'emmènent dans une salle de cinéma voir Sous le plus grand chapiteau du monde, de Cecil B. DeMille. A la fois fasciné et effrayé, il découvre la magie du cinéma et le pouvoir de l'image. Le lendemain, il rejoue la scène du déraillement avec son train électrique et comprend que tout est question de mise en scène. Une vocation est née : sa vie sera vouée à faire des films.

On peut voir ce retour aux origines qu'est The Fabelmans, comme une forme de thérapie. Et ce, dans son rapport à la mère, au père, à ses pairs, à son identité. Le cinéaste le plus rentable de Hollywood, génial faiseur de blockbusters, a attendu 76 ans. Le fait que ses parents ne soient plus de ce monde - sa mère Leah est morte à 97 ans en 2017 et son père Arnold est mort à 103 ans en 2020 -, et le confinement ont été des éléments déclencheurs pour passer à l'acte car l'idée du film l'habitait depuis des années mais il faut oser se raconter, raconter ses parents.

Dans Steven Spielberg - rétrospective, publié il y a 10 ans aux Ed. La Martinière, il avouait : « J'ai depuis longtemps en moi une histoire sur ma famille que je suis trop lâche pour raconter. Je le ferai un jour. Mais c'est difficile, car cela signifie porter à l'écran devant le monde entier certains évènements très personnels concernant ma mère, mon père, mes trois soeurs et moi-même. » Il faut effectivement parfois une vie. A l'issue de la projection de The Fabelmans au Festival de Toronto en septembre dernier, Steven Spielberg déclara : « Je ne crois pas que quiconque ait su en mars ou avril 2020 où en serait l'art, la vie, ne serait-ce qu'à une année de distance. J'ai juste ressenti que si je devais laisser quelque chose derrière moi, qu'avais-je vraiment besoin d'éclaircir et de déballer à propos de ma maman et mon papa et mes soeurs ? Ce n'était pas maintenant ou jamais, mais presque. »

 Hanté par l'enfance et le passé, le cinéaste a toujours jalousement gardé sa vie privée même si on avait déjà des morceaux du puzzle distillés au gré des films depuis ses débuts. Des détails d'enfance jamais anodins. « Il n'y a presque pas un de mes films dont je ne puisse retrouver une trace dans mon enfance », avoue-t-il. Enfant perdu, père faible, mère indigne sont des motifs spielbergiens qui se déclinent inlassablement. L'empreinte des origines est matière d'inspiration. Rencontres du 3ème Type (1977). par exemple, raconte comment les humains et les extra-terrestres apprennent à communiquer à travers la musique (figure de la mère) et les ordinateurs (figure du père). E.T. l'extraterrestre (1982) est né d'une blessure d'enfance et parle de solitude, de divorce, d'absence du père. Arrête-moi si tu peux (2002) est l'histoire d'un escroc qui, meurtri par le divorce de ses parents, ne cherche au fond qu'à retrouver sa mère.

En s'autorisant a se raconter, Spielberg affronte son histoire familiale et dévoile que c'est sa mère l'irresponsable dans le couple (il a longtemps cru que le divorce de ses parents était dû à son père). Mais il reste avant tout un raconteur d'histoires. Le Samy Fabelman de l'écran, c'est lui et pas tout à fait. L'autoportrait où se mélangent superbement candeur et amertume est partiellement autobiographique. Optimiste convaincu, plein de tendresse et de délicatesse envers ses parents aujourd'hui disparus, Spielberg se place du côté lumineux de la vie, édulcore sa réalité parfois très sombre (l'antisémitisme dont il a souffert adolescent, les tensions avec son père, le vrai visage de sa mère...) et suit les conseils de cette maman fantasque qui l'a poussé à rêver grand et l'a encouragé dans l'art cinématographique alors que son père n'y voyait qu'un hobby. Il avait dédié son remake de West Side story à son père. Arnold venu sur le tournage mourut du covid avant la sortie du film. Sans qu'il n'y ait de dédicace, The Fabelmans s'impose comme une ode à la mère dont l'intime secret est révélé par un film de vacances. C'est une nouvelle fois la conscience du pouvoir des images.

  Avec son 34ème long-métrage, Spielberg goes home et reste au sommet de son art. Est-ce pour autant un chant du cygne ? Le réalisateur de Jurassic Park et Minority Report n'en est pas là. « Ne croyez rien de tout cela ! a-t-il affirmé alors qu'il planche déjà sur d'autres projets dont une nouvelle version de Bullitt avec Bradley Cooper.

Fabienne Bradfer dans Le Soir

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European Heat Wave IELTS Reading Answers: Let’s Prepare for IELTS With the Best Content!

If you are preparing for the IELTS reading answers, you need to go through this article to check out European heat wave IELTS reading answers. Let’s also get equipped with the knowledge about IELTS reading band score, IELTS online classes, IELTS reading, and the ethics to write IELTS reading answers. Let’s fetch the information from this article.

Also Read: The History of Glass: IELTS Reading Answer

European Heat Wave IELTS Reading AnswersIELTS Reading Answers Part One

IT WAS the summer, scientists now realize, when felt. We knew that summer 2003 was remarkable: global warming at last made itself unmistakably Britain experienced its record high temperature and continental Europe saw forest fires raging out of control, great rivers drying of a trickle and thousands of heat- related deaths. But just how remarkable it is is only now becoming clean.

IELTS Reading Part Two

The three months of June, July and August were the warmest ever recorded in western and central Europe, with record national highs in Portugal, Germany and Switzerland as well as Britain. And they were the warmest by a very long way Over a great rectangular block of the earth stretching from west of Paris to northern Italy, taking in Switzerland and southern Germany, the average temperature for the summer months was 3.78°c above the long-term norm, said the Climatic Research Unit (CRU) of the University of East Anglia in Norwich, which is one of the world’s lending institutions for the monitoring and analysis of temperature records.

Part Three

That excess might not seem a lot until you are aware of the context — but then you realize it is enormous. There is nothing like this in previous data, anywhere. It is considered so exceptional that Professor Phil Jones, the CRU’s (Erector, is prepared to say openly — in a way few scientists have done before — that the 2003 extreme may be directly attributed, not to natural climate variability, but to global warming caused by human actions.

To read more, click here.

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Cru Jones? Who is that? Is that supposed to be Chris?

Please check my blog tags under "the hacker":

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Bristol Cellars Premier Cru Presents the second installment of the monthly Jazz Event Series dubbed Jazz Fest In Da Gardens will take place on Friday, December 16th, 2022 at Bristol Wines & Spirits, Top of the Hill – Gladstone Road. Headlining the event will be world renown Jazz duo Paul & Tanya Hanna backed by The United Band. The event will be hosted by Erin Bionic Brown and will feature Saxophonist Dion Turnquest and budding young artist Leo Jones. General Admission: $25.00 VIP Ticket: $50.00 ticket holder receives special seating and 1 Glass of Wine Get your tickets at: tickets.rockthecity.net For More Info: (242) 802–8363 https://www.instagram.com/p/CmDXahkuSkt/?igshid=NGJjMDIxMWI=