#gabriel mann icons

[randomvarious]

Song of the day:

When in Rome - "The Promise" eMusic: Awesome 80's Song released in 1987. Compilation released in 2000. Synthpop

I think what makes this piece of late 80s dancy synthpop such a perfect and bona fide classic is its contrasts. There's a sturdy, unmoving foundation of a hard kick-and-snare combo, constantly ticking hi-hats, and an unwaveringly iconic, dubby, purr-throbbing bassline; but surrounding all of that is a whole bunch of purely soft dreaminess, with multi-layered atmospheric string pads, rich keyboard notes, and a lightly jingling synth phrase that acts opposite that bassline too. The whole thing's like the musical equivalent of a firm mattress draped in satin sheets, and it's definitely not the only 80s song to have employed this type of formula, but it nevertheless works to great effect here.

And When in Rome weren't known for anything else besides this song, but after it appeared in Napoleon Dynamite in 2004, they ended up regrouping...confusingly as two separate entities named When in Rome II and When in Rome UK. WiRII had one of the original members, keyboardist/pianist Michael Floreale, and WiRUK had both original vocalists Clive Farrington and Andrew Mann. And when Farrington and Mann played the States, they were billed as Clive Farrington and Andrew Mann formerly of When in Rome. Very silly and petty. I really think the two factions should just bury whatever their hatchet is and go on one of those 80s one-hit wonder nostalgia extravaganza festival tours together instead of doing this annoying Gallagher and Gallagher Too-type shit. Someone should just show up outside the other's home and reenact the iconic Say Anything scene, but play "The Promise" instead of Peter Gabriel. Fuck, I'll even drive one of you over to do it. I promise you, I promise you I will.

Song can also be heard in Planet Fitness' most recent New Year's resolution ad campaign too. Grade-A bonger.

[tomorrowedblog]

Friday Releases for April 5

Friday is the busiest day of the week for new releases, so we've decided to collect them all in one place. Friday Releases for April 5 include The People’s Joker, Monkey Man, Sugar, and more.

The People’s Joker

The People’s Joker, the new movie from Vera Drew, is out today.

This revolutionary DIY parody film and hilarious reimagining of the classic autobiographical coming-of-age story follows an unconfident, closeted trans girl as she moves to Gotham City to make it big as a comedian by joining the cast of UCB Live - a government-sanctioned late night sketch show in a world where comedy has been outlawed. As mainstream success eludes our heroine, leading her to unite with a ragtag team of rejects, misfits, and a certain love interest named Mister J, “Joker the Harlequin” is born again as a confident (and psychotic) joker on a collision course with the city’s fascist caped crusader. Vats of feminizing chemicals, sexy cartoon interludes, scarecrow psychiatrists, CGI Lorne Michaels, and psychedelic gender dysphoria all play supporting roles.

Monkey Man

Monkey Man, the new movie from Dev Patel, is out today.

Inspired by the legend of Hanuman, an icon embodying strength and courage, Monkey Man stars Dev Patel as Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Chicken For Linda!

Chicken For Linda!, the new movie from Sébastien Laudenbach and Chiara Malta, is out today.

Paulette feels guilty after unjustly punishing her daughter Linda and would do anything to make it up to her. Linda immediately asks for a meal of chicken with peppers, which reminds her of the dish her father used to make. But with a general strike closing stores all across town and pushing people into the streets, this innocent request quickly leads to an outrageous series of events that spirals out of control, as Paulette does everything she can to keep her promise and find a chicken for Linda.

Parachute

Parachute, the new movie from Brittany Snow, is out today.

From Director Brittany Snow, Parachute tells the story of Riley (Courtney Eaton) and Ethan (Thomas Mann), who must navigate blossoming love and friendship while trying to overcome combustible personal struggles.

Scoop

Scoop, the new movie from Philip Martin, is out today.

Inspired by real events, this fictional dramatization gives an insider account of how the women of Newsnight secured Prince Andrew’s infamous interview.

The Beast

The Beast, the new movie from Bertrand Bonello, is out today.

The year is 2044: artificial intelligence controls all facets of a stoic society as humans routinely “erase” their feelings. Hoping to eliminate pain caused by their past-life romances, Gabrielle (Léa Seydoux) continually falls in love with different incarnations of Louis (George MacKay). Set first in Belle Époque-era Paris Louis is a British man who woos her away from a cold husband, then in early 21st Century Los Angeles, he is a disturbed American bent on delivering violent “retribution.” Will the process allow Gabrielle to fully connect with Louis in the present, or are the two doomed to repeat their previous fates?

The First Omen

The First Omen, the new movie from Arkasha Stevenson, is out today.

When a young American woman is sent to Rome to begin a life of service to the church, she encounters a darkness that causes her to question her own faith and uncovers a terrifying conspiracy that hopes to bring about the birth of evil incarnate.

The Greatest Hits

The Greatest Hits, the new movie from Ned Benson, is out today.

Harriet (Lucy Boynton) experiences a unique connection between art and reality. She discovers that specific songs have the power to transport her back in time, driving her to relive various special moments with her ex-boyfriend (David Corenswet). Her time-traveling experiences begin to bleed into present day when meeting someone new (Justin H. Min). Throughout her journey, Harriet explores the mesmerizing link between music and memory, facing her with difficult decisions of whether altering the past is a choice worth making.

Baghead

Baghead, the new movie from Alberto Corredor, is out today.

Following the death of her estranged father (Peter Mullan), Iris (Freya Allan) learns she has inherited a run-down, centuries-old pub. She travels to Berlin to identify her father’s body and meet with The Solicitor (Ned Dennehy) to discuss the estate. Little does she know, when the deed is signed she will become inextricably tied to an unspeakable entity that resides in the pub’s basement – Baghead – a shape-shifting creature that can transform into the dead. Two thousand in cash for two minutes with the creature is all it takes for desperate loved ones to ease their grief. Neil (Jeremy Irvine), who has lost his wife, is Iris’ first customer. Like her father, Iris is tempted to exploit the creature’s powers and help desperate people for a price. But she soon discovers breaking the two-minute rule can have terrifying consequences. Together with her best friend Katie (Ruby Barker), Iris must battle to keep control of Baghead and figure out how to destroy her, before she destroys them.

The Old Oak

The Old Oak, the new movie from Ken Loach, is out today.

THE OLD OAK is a special place. Not only is it the last pub standing, but it’s also the only remaining public space where people can meet in a once thriving mining community that has now fallen on hard times after 30 years of decline. TJ Ballantyne (Dave Turner) the landlord hangs on to The Old Oak by his fingertips, and his predicament is endangered even more when the pub becomes contested territory after the arrival of Syrian refugees who are placed in the village without any notice. In an unlikely friendship TJ meets a curious young Syrian Yara (Ebla Mari) with her camera. Can they find a way for the two communities to understand each other? So unfolds a deeply moving drama about their fragilities and hopes.

Sugar

Sugar, the new TV series from Mark Protosevich, is out today.

“Sugar” is a contemporary, unique take on one of the most popular and significant genres in literary, motion picture and television history: the private detective story. Academy Award nominee Colin Farrell stars as John Sugar, an American private investigator on the heels of the mysterious disappearance of Olivia Siegel, the beloved granddaughter of legendary Hollywood producer Jonathan Siegel. As Sugar tries to determine what happened to Olivia, he will also unearth Siegel family secrets; some very recent, others long-buried.

Mary & George

Mary & George, the new TV series from D. C. Moore, is out today.

Mary & George is an audacious historical psychodrama starring Academy Award-winner Julianne Moore (Still Alice) and Nicholas Galitzine (Red, White & Royal Blue), about a treacherous mother and son who schemed, seduced and killed to conquer the Court of England and the bed of King James I.

Dinosaur

Dinosaur, the new TV series from Matilda Curtis and Ashley Storrie, is out today.

Created by Matilda Curtis and Ashley Storrie, Dinosaur follows Nina (Ashley Storrie), an autistic woman in her 30s, who adores living with her sister and best friend, Evie. They have a routine, and they understand each other like no one else could until Evie rushes into an engagement after only six weeks. Nina is forced to grapple with her sister’s impulsive decision whilst navigating love, sisterhood and her life as it’s turned upside down.

Parasyte: The Grey

Parasyte: The Grey, the new TV series from Yeon Sang-ho and Ryu Yong-jae, is out today.

When unidentified parasites violently take over human hosts and gain power, humanity must rise to combat the growing threat.

Virginia

Virginia, the new album from Pharrell Williams, is out today.

[emilyvancampbrasil]

Icons - Revenge cast. (NEMILY) Twitter: @EmilyVanCampBR_

[piratewithvigor]

My first thought in regard to every band that gets played on my radio station

ACDC: Every dad’s favourite band

Adams, Bryan: Every mom’s favourite singer until Michael Buble came along

Aerosmith: haha they thought Vince Neil was a lady

Alice Cooper: he’s a Game Of Thrones fanboy and I have proof

Alice In Chains: my sister doesn’t like them because she decided AC were Alice Cooper’s initials ONLY

Allman Brothers Band: good music for dropping acid to

Allman, Gregg: That’s too many Gs for one name

Animals: House Of The Rising Sun, or who even cares

Argent: Sometimes Hold Your Head Up is really catchy

Asia: Tuesdays

Autograph: one of the members went on to be a pharmacist

Bachman-Turner Overdrive: There are just so many pop culture jokes about Taking Care Of Business that whatever I say won’t be as funny

Bad Company: with their song; Bad Company, off their album; Bad Company

Benatar, Pat: Always getting her confused with Patti Smith

Black Crowes: I like them for Lickin, but it doesn’t seem to exist outside of one shoddy video on youtube and my old CD

Blackfoot: this band name feels kind of racy

Black Sabbath: Dio was not better or worse than Ozzy; just different

Blondie: I like Call Me, but Blondie confuses me stylistically

Blue Oyster Cult: MORE COWBELL

Bon Jovi: Hello, childhood trauma, I missed you

Boston: ONE GUY. ONE GUY DID IT ALL AND NO ONE KNOWS

Bowie, David: Don’t let your children watch The Man Who Fell To Earth, or David Bowie’s will end up being the third penis they see in life

Browne, Jackson: Another musician ruined by Supernatural

Buffalo Springfield: Jack Nicholson was at the riot they sing about

Burdon, Eric: no ideas, brain empty

Bush: ditto

Candlebox: ditto once more. Who are these people?

Cars: This band feels so gay and so straight at the same time, I can only assume they’re the poster children of bisexual panic

Cheap Trick: I played Dream Police on Guitar Hero so fucking much because it was the only song anyone who played with me could keep up with

Chicago: Chicago 30 exists, but they do not have 30 albums. Fucking riddle me that

Clapton, Eric: 6 discs in one Greatest Hits is too many. That’s called “re releasing your discography”

Cochrane, Tom: For some reason, everyone thinks Rascal Flats did it better

Cocker, Joe: Belushi did it right

Collective Soul: who?

Collins, Phil: If his biggest hits were done by MCR, they would be emo anthems, but because he’s 5′6″ and from the 80s, they’re not

Cream: *Vietnam flashbacks on the hippie side*

CCR: *Vietnam flashbacks on the war side*

CSNY: David Crosby; meh

Deep Purple: THEY’RE SO MUCH MORE THAN SMOKE ON THE WATER

Def Leppard: the only music for when you’re a heartbroken bitch but also a sexy one

Derek And The Dominos: Clapton and ‘Layla’ broke up

Derringer, Rick: Tom Petty if he was from the midwest

Dio: You thought it was an anime reference, but it was me, Dio

Dire Straits: You can tell how bigoted a radio station is based on how much of Money For Nothing they censor

Doobie Brothers: I have yet to smoke weed, but I listen to the Doobies, and I think that’s pretty close

Dylan, Bob: I take back everything I said about him in my youth

Eagles: Hotel California isn’t their best song, but the memes that come from it are second to none

Edgar Winter Group: @the--blackdahlia

Electric Light Orchestra: Actually an orchestra and sound a fuckton like George Harrison

ELO: I really hesitate to ask what happens with the 7 virgins and a mule

Essex, David: no prominent memories of him

Fabulous Thunderbirds: cannot spell

Faces: Who on earth thought that was a good album name?

Faith No More: I got nothing

Fixx: One Thing Leads To Another is a damn bop

Fleetwood Mac: I ain’t straight, but I’m simply not enough of a witch to enjoy them to full potential

Fogerty, John: He got sued cause he sounded like himself

Foghat: Slow Ride slowly becoming less coherent feels like a drug trip

Foo Fighters: He was just excited to buy a grill

Ford, Lita: deserved better

Foreigner: dramatically overplayed

Frampton, Peter: a masterful user of the talk box

Free: dramatically underplayed

Gabriel, Peter: leaving Genesis changed him a lot

Genesis: if someone likes Genesis, clarify the era, because yes, it does matter

Georgia Satellites: sing like you have a cactus in your ass

Golden Earring: Twilight Zone slaps, but it doesn’t slap as hard as this station thinks it does

Grand Funk Railroad: Funk

Grateful Dead: I like their aesthetic more than their music

Great White: there are so many fucking shark jokes

Greenbaum, Norman: makes me think of Subway for some reason

Green Day: the first of the emo revolution

Greg Kihn Band: RocKihnRoll is literally the most clever album name I’ve ever seen

Guns N Roses: They have more than three good songs, but radio stations never recognize that

Hagar, Sammy: I’m still trying to figure out where he lived to take 16 hours to get to LA driving 55 and how fucking fast was he driving beforehand?

Harrison, George: He went from religious to rock, and if he had continued rocking, he would have gotten too cool 

Head East: I respect people who use breakfast foods as album names

Heart: Magic Man and Barracuda are played at least once every goddamn day. They’re not even the best songs!

Hendrix, Jimi: I have both a cousin and a sibling named after Hendrix references

Henley, Don: Dirty Laundry gives me too much inspiration

Hollies: Somehow sound like they’re both from the 60s and the 80s at the same time

Idol, Billy: he’s doing well for himself

INXS: Terminator vibes

Iris, Donnie: knockoff Roy Orbison

James Gang: too many funks

Jane’s Addiction: if TMNT had a grunge band representative

Jefferson Airplane: *assorted cheers*

Jefferson Starship: *assorted boos*

Jethro Tull: The only band to make you feel not cool enough to play the flute

Jett, Joan: icon

J. Geils Band: I requested them on the radio once and it got played

Joel, Billy: he really did just air everybody’s business like that

John Cafferty And The Beaver Brown Band: literally wtf is that name

John, Elton: yarn Elton sits in my basement, unstaring. Please someone take him from me

Joplin, Janis: Queen

Journey: Stop overplaying Don’t Stop Believing. It takes away from the rest of the repetoire

Judas Priest: literally started the gay leather aesthetic

Kansas: another fucking band Supernatural stole

Kenny Wayne Shepherd: the man confuses me to the point where he isn’t in the right place alphabetically

Kiss: Mick Mars and I will simply have to disagree on the subject

Kravitz, Lenny: runaway vibes

Led Zeppelin: Fucking fight me if you don’t think they’re the most talented band (maybe not the most talented individually, but collectively, no one comes close)

Lennon, John: My least favourite Beatle for reasons

Live: I got nothin

Living Colour: slap a decent amount

Loverboy: do you not get TURNT the fuck up to the big Loverboy hits? Who hurt you??

Lynyrd Skynyrd: Sweet Home Alabama is a Neil Young diss track

Marshall Tucker Band: no opinion

Manfred Mann’s Earth Band: VERY STRONG OPINIONS THAT THEY AREN’T GOOD

McCartney, Paul/Wings: Power couple

Meatloaf: I have nothing but respect for a man who willingly named himself Meatloaf

Mellencamp, John: voted cutest lesbian of 1987

Metallica: I liked their appearance on Jimmy Fallon

Midnight Oil: I get them confused for Talking Heads a lot

Modern English: who?

Molly Hatchet: Hollies vibes, but also Georgia Satellites vibes

Money, Eddie: DAN AVIDAN, IF YOU SEE THIS, COVER TAKE ME HOME TONIGHT

Motley Crue: Stan Mick Mars and John Corabi. They’re the only ones who deserve it

Mott The Hoople: no one loves them except for David Bowie

Mountain: props for naming an album ‘Climbing’

Nazareth: I want to make a John Mulaney joke here, but I can never come up with one

Nicks, Stevie: witch queen

Night Ranger: I get them confused with Urge Overkill

Nirvana: Kurt Cobain was the ally grunge needed

Nova, Aldo: he’s Canadian, at least

Nugent, Ted: *serves a ghost as jerky*

Offspring: nothing here

Osbourne, Ozzy: this bitch crazy

Outfield: Your Love is kind of a sketchy song, but it slaps hard

Palmer, Robert: low quality Eddie Money

Pearl Jam: *grunts in Eddie Vedder*

Petty, Tom: I have so many feelings about Tom Petty and they are all good

Pink Floyd: which one is Pink?

Plant, Robert: solo career is a crapshoot, but his voice is unparalleled

Poison: I want them to write a song called ‘Alice Cooper’

Pretenders: I want to say good things, but I have nothing to say

Queen: A doctor of astrophysics, a screaming girl, a disco queen and a diva walk into a bar. It’s Queen; they’re there to play a gig

Queensryche: neutral opinion

Quiet Riot: they got big because of a song they hated. I love that

Rafferty, Gerry: the second-sexiest sax opening in all of music

Rainbow: Ritchie Blackmore created something very magnificent

Ram Jam: one good song and they didn’t even write it

Ratt: I’m sure they have more than Round And Round, but I don’t know it

RHCP: funky, but if you have paid money to hear them, you’re going to The Bad Place (I don’t make the rules)

Red Rider: basically Golden Earring

Reed, Lou: Walk On The Wild Side would be such a cool song if it wasn’t so dull

REM: American Tragically Hip

REO Speedwagon: Props for having a dad joke as an album title

Rolling Stones: Never in my life could I imagine the drummer being named anything but Charlie

Rush: How to make being uncool the coolest fucking shit

Santana: The world needs more Santana

Scandal: There’s something really funny about The Warrior being my brother’s “song” with his girlfriend

Scorpions: Was Wind Of Change written by the CIA? Only the spotify podcast I got an ad for once could say

Seger, Bob: A different variety of Eric Clapton (frankly a better variety, but that’s just me)

Simple Minds: we ALL forgot about you

Skid Row: Sebastian Bach is prettier than all of us

Soundgarden: music that makes you feel like you dunked your head underwater

Springsteen, Bruce: my arch-nemesis. Maybe someday, he’ll find out about it

Squeeze: according to my friends, the stupidest band name ever, but they’re theatre kids, so you know

Squier, Billy: If he can make it through 1984 alive, you can make it through whatever bad day you’re having

Stealers Wheel: Yet another band who I always mistake for George Harrison

Steely Dan: my house’s nickname for the Robber in Settlers Of Catan

Steppenwolf: Either makes me think of Jay & Silent Bob, Jack Nicholson, or that time I had to cut 6lbs of onions

Steve Miller Band: when you’re in the right mood, they slap hard

Stewart, Rod: my soundtrack to summer 2015

Stills, Stephen: Love The One You’re With Is Catchy, but the lyrics are questionable

Stone Temple Pilots: the only band to write a song about goo you smear on yourself

Stray Cats: an obscene amount of merch is available for them

Styx: Supernatural would have ruined them for me too if I hadn’t been into them previously. 

Supertramp: I hunted for Breakfast In America for two years and it was worth every hunt

Sweet: I will never understand my two-month obsession with Ballroom Blitz when I was 15, but it was legit all I listened to

Talking Heads: you may find yourself in a pizza hut. And you may find yourself in a taco bell. And you may find yourself at the combination pizza hut and taco bell. And you may ask yourself; ‘how did I get here?’

Temple Of The Dog: I keep confusing them for Nazareth

Ten Years After: somehow still relevant

Tesla: not the car or the dude

The Beatles: Evokes a lot of opinions from people. Mine is that I love them

The Clash: I showed my sister the ‘Lock The Taskbar’ vine ONCE and it still kills her

The Doors: evokes teenage terror from deep within my soul

The Guess Who: Canada’s answer to confusing question-themed band names

The Kinks: kinky

The Police: wrote the theme of 2020 and everyone somehow forgot it was about a teacher resisting becoming a pedophile

The Ramones: playing all of their songs in a row wouldn’t take more than 2 hours

The Romantics: you don’t think you know them, but if you’ve seen Shrek 2, you have

The Who: If someone can explain Tommy to me, I’d be glad to hear it

The Zombies: I think they happened because of the 60s

Thin Lizzy: Could the boys maybe leave town?

Thorogood, George: blues, but make it modern

Toto: the most memed song behind All Star

Townshend, Pete: just makes me think of the end of Mr. Deeds

T-Rex: Mark Bolan is an icon

Triumph: The no-name brand of Rush

Tubes: like the yogurt

Twisted Sister: they did a christmas album and my mom does NOT hate it

U2: U2 Movers; we move in mysterious ways

Van Halen: RIP Eddie

Van Morrison: honestly, who’s named Van?

Vaughn, Stevie Ray: Steamy Ray Vaughn

Walsh, Joe: The Smoker You Drink The Player You Get

War: Foghat, but even groovier

Whitesnake: the most successful band to be named after a penis

Wright, Gary: the 90s thanks him for writing the song every movie used for the “guy sees cute girl and it’s love at first sight” scene

Yes: To Be Continued

Young, Neil: The best part of CSNY

Zevon, Warren: the album cover of Excitable Boy makes me deeply uncomfortable for reasons I don’t understand

ZZ Top: has been the same three guys since 1969. Lineup unchanged. 

3 Doors Down: They feel a little modern to be on a classic rock station, but whatever

38 Special: Why 38?

[adamwatchesmovies]

Dominion: Prequel to the Exorcist (2005)

Before we dig into Dominion: Prequel to the Exorcist, a bit of history. In 2005, the film was largely finished but Morgan Creek Productions didn't think it would be commercially viable. They brought in Renny Harlin to reshoot some scenes and make it more of a conventional horror film. The results were Exorcist: The Beginning. When that effort was a critical failure and failed to bring home the dollars, someone higher up had an idea. So much of this film had been reshot for The Beginning that it wouldn't take too much to complete this movie and maybe - just maybe - get lucky on a re-roll.

It’s hard to say if Dominion: Prequel to the Exorcist is better, or worse than its half-brother. It’s certainly classier, with less cheap horror elements, but all the promise is shows initially evaporates by the time we get to the climax, and the special effects are some of the worst I’ve seen in a theatrically-released film.

Former priest turned archaeologist Father Lankester Merrin (Stellan Skarsgård) is excavating a strange church in the Kenynan desert. It looks as though the ornate place of worship - which predates Christianity in Africa - was buried immediately after completion. When the doors are breached and the people on the site begin acting strangely, Merrin's colleague, Father Francis (Gabriel Mann), believes a demonic force is responsible.

You can tell both prequels came from the same branch. They share several plot points. Some characters – although tweaked – are recognizable. A few actors – notably Skarsgård - play the same role. Each picture is also easily distinguishable when placed side-by-side. If one were good and the other bad that might mean something but they're both as appealing as a bucket of green vomit.

The most noticeable blemish on Paul Schrader's film are the special effects. Usually, I'm pretty lenient on CGI, costumes, compositing, etc. I’ll take a film that's rough around the edges but is inspired over something slick but without brains. Even that attitude has limits. Watching this unfrightening spookfest, you can’t help think “is everyone being possessed by the demonic spirit of a Playstation 1”?

As soon as you see that first CGI hyena, you're doomed. While you may remain interested in seeing what's next, nothing this film has to offer is memorable, not even the ludicrous climax. I want to give the film credit for reigning in the gore and lame jump scares, for avoiding obvious references to William Friedkin’s iconic picture, but what we get instead? It’s no good. Lame dream sequences, questionable actions by multiple people, missing scenes, obvious twists… Dominion wants to treat the idea of evil seriously, but it goes about it the wrong way. I dare you not to laugh when the film’s titular exorcism is performed. This film must feature the most non-threatening devil I’ve seen since Glen or Glenda.

Dominion: Prequel to the Exorcist looks and feels cheap. Paul Schrader wasn't given the necessary funds to color-correct the footage. The result is one scene after another that looks like a made-for-TV movie. Not helping is the dreadful score and sockpuppet-level special effects but even if the time and money had been available, this picture wouldn't have been successful. Like the other Exorcist prequel - also released in 2005, this one's got no reason to exist. Exorcist: The Beginning was conceived from greed. Dominion: Prequel to the Exorcist was released out of desperation. What’s worse? Does it matter? (On DVD, October 27, 2017)

[d-criss-news]

Members of the Film & TV Music community, made up of composers, songwriters, music editors, music supervisors, studio executives and more, are contributing their talents to SOUNDTRACK OF OUR LIVES: A CELEBRATION FOR THE FILM & TV MUSIC COMMUNITY, an online benefit event for MusiCares® COVID-19 Relief Fund. This specially produced program debuts June 25th, 2020, at noon pacific on YouTube, and will honor the talented people whose scores and songs transport, inspire, uplift and entertain us by creating the "soundtrack of our lives." The fun, delightful and heartfelt hour-long special will feature leading and iconic singers, composers, songwriters, actors, celebrity guests and others while celebrating glorious Film & TV Music moments with heart and humor. Donations to MusiCares® COVID-19 Relief Fund will be encouraged throughout the show.

"Thousands of music professionals and creators are struggling during this pandemic and remain in desperate need of assistance," says Debbie Carroll, Vice President Health and Human Services MusiCares®. "The continued support from the music community during these turbulent times has been heartwarming and inspiring. The power of music unites us all and gives us hope for better days ahead."

Over 75 film and television composers and songwriters, "From A to Z, Abels to Zimmer," will appear in this program. Collectively, this prestigious group has been nominated for 273 Grammys (with 87 wins), 216 Emmys (with 51 wins) and 136 Oscars (with 34 wins).

Confirmed performers and special guests include Sting, Catherine O'Hara, Ming-Na Wen, Patti LuPone, William Shatner, Elisabeth Moss, "Weird Al" Yankovic, Marla Gibbs, Jane Levy, Mandy Moore, Richard Kind, Alex Newell, Zachary Levi, Paul Reubens, Kiernan Shipka, Harvey Fierstein, Ginnifer Goodwin, Anika Noni Rose, Kasi Lemmons, Ted Danson, Auli'i Cravalho, Darren Criss, Drew Carey, Ray Romano, Holly Hunter, Reba McEntire, Bob Saget, Ken Page, Lucy Lawless, Mary Steenburgen, Dave Coulier, Kevin Smith, Peter Gallagher, Naomi Scott, Annie Potts, Clive Davis, Jodi Benson, Harvey Mason Jr., Susan Egan, Paige O'Hara, John Stamos, Andra Day and Rita Wilson.

Composers and songwriters participating include Michael Abels, Kristen Anderson-Lopez, Angelo Badalamenti, Glen Ballard, Lesley Barber, Nathan Barr, Tyler Bates, Jeff Beal, Marco Beltrami, Alan Bergman, Terence Blanchard, Jongnic Bontemps, Kathryn Bostic, Kris Bowers, Jon Brion, Nicholas Britell, Bruce Broughton, BT, Carter Burwell, Sean Callery, Joshuah Brian Campbell, Lisa Coleman, John Debney, Tan Dun, Fil Eisler, Danny Elfman, Charles Fox, Germaine Franco, Harry Gregson-Williams, Hildur Gudnadóttir, Alex Heffes, Joe Hisaishi, James Newton Howard, Justin Hurwitz, Ashley Irwin, Mark Isham, Steve Jablonsky, Amanda Jones, Laura Karpman, Christopher Lennertz, Joe LoDuca, Robert Lopez, Mark Mancina, Gabriel Mann, Clint Mansell, Dennis McCarthy, Bear McCreary, Alan Menken, Bruce Miller, John Murphy, Starr Parodi, Benj Pasek, Justin Paul, Daniel Pemberton, Michael Penn, Heitor Pereira, Rachel Portman, Mike Post, A. R. Rahman, Tim Rice, Lolita Ritmanis, Dan Romer, Anna Rose, Jeff Russo, Arturo Sandoval, Lalo Schifrin, Marc Shaiman, Teddy Shapiro, Richard M. Sherman, David Shire, Rob Simonsen, Mark Snow, Tamar-kali, Dara Taylor, Pinar Toprak, Brian Tyler, Nick Urata, Benjamin Wallfisch, Diane Warren, Mervyn Warren, Paul Williams, Austin Wintory, Alan Zachary, Geoff Zanelli, Marcelo Zarvos, David Zippel and Hans Zimmer.

Some highlights of the special include:

Members of the Film & TV Music community deliver heartfelt messages of hope, solidarity & encouragement.

"Musicians!" - a humorous musical tribute to the Film & TV Music community featuring Zachary Levi, Patti LuPone, Alex Newell, "Weird Al" Yankovic, Peter Gallagher and Harvey Fierstein.

Tony Award winner and Disney Legend Anika Noni Rose highlights the history of African American composers, songwriters and artists who have contributed to the Film & TV Music industry through the years.

Performers Danny Elfman, Catherine O'Hara, Paul Reubens and Ken Pagereunite to perform a song from the film The Nightmare Before Christmas.

Eight-time Academy Award winning composer Alan Menken performs his timeless song, "A Whole New World," alongside his daughter Anna Rose, introduced by Aladdin (2019) stars Mena Massoud and Naomi Scott.

Stars from beloved animated features step out from behind the microphone to lend their voices to inspirational messages, featuring Irene Bedard, Jodi Benson, Auli'i Cravalho, Holly Hunter, Mandy Moore, Susan Egan, Ginnifer Goodwin, Linda Larkin, Paige O'Hara, Annie Potts, Anika Noni Rose and Ming-Na Wen.

John Stamos hosts "Name That TV Tune!" with celebrity panelists including Elisabeth Moss, Drew Carey, Ray Romano, Eve Plumb, Reba McEntire, Bob Saget, Dave Coulier, Marla Gibbs, Lucy Lawless and Kevin Smith competing to identify famous TV themes.

Zoey's Extraordinary Playlist actor Jane Levy invites us into the dreamworld of her Extraordinary Soundtrack Playlist.

Various performers, including members of the original cast of La La Land, sing a parody version of "Another Day of Sun."

William Shatner explores how different scores can give the same film a different meaning as an exasperated director, played by Richard Kind, leads a composer in multiple directions for a short film starring Kiernan Shipkaand Christian Coppola.

Songwriter Paul Williams performs his classic song "The Rainbow Connection," from The Muppet Movie, joined by various special guests from the Film & TV Music community.

Tony- and Emmy-winner and seven-time Oscar® nominee Marc Shaimanperforms an original song tribute to end title sequences.

MusiCares® COVID-19 Relief Fund was created by MusiCares® to provide support to the music community during the pandemic crisis. The music industry has been essentially shut down with the cancellation of music performances, events, festivals, conferences and the many other live events that are the cornerstone of the shared music experience. Since the fund's establishment in March, over 14,000 clients have been served, with many more still needing help.

Show co-creator Peter Rotter says: "When the pandemic tragically hit our world and began to shut down our film music community, I felt that something needed to be done to help those who were in need of support and care. Through MusiCares® we have found the charitable vehicle that can come alongside our hurting musical family.

"Music has always played a role in history; reflecting both the subtle and monumental moments of our lives through its unique DNA. Music connects each of us, acting as a common thread of unification, opening the hearts of all people.

"Regardless of the color of one's skin, status or station in life, music powerfully breaks through boundaries as its message permeates deep within us; healing our human frailties and condition at our cores. Music is transformative and personal. It powerfully underscores our lives."

"Music has always helped transport, uplift and inspire us through wars, economic hardships, health crises and societal upheavals," says show co-creator, Richard Kraft. "When COVID-19 hit, it threatened the lives and livelihood of much of our Film & TV Music community. So, we decided to create an online special that both celebrates the soundtrack of our lives and benefits, via MusiCares®, the artists who create it."

Starting June 25th at noon pacific, watch the video on Youtube via Rolling Stone, Variety & GRAMMY's channels, as well as on www.soundtracklives.com. Donate at soundtracklives.com now!

[uomo-accattivante]

New Oscar Isaac project!

Oscar is set to star in revenge thriller “The Card Counter,” the next film from Oscar-winner Paul Schrader.

The film, written and directed by Schrader, follows William Tell (Isaac), a gambler and former serviceman who sets out to reform a young man seeking revenge on a mutual enemy from their past. Tell just wants to play cards. His spartan existence on the casino trail is shattered when he is approached by Cirk, a vulnerable and angry young man seeking help to execute his plan for revenge on a military colonel. Tell sees a chance at redemption through his relationship with Cirk. Gaining backing from mysterious gambling financier La Linda, Tell takes Cirk with him on the road, going from casino to casino until the unlikely trio set their sights on winning the World Series of poker in Las Vegas. But keeping Cirk on the straight-and-narrow proves impossible, dragging Tell back into the darkness of his past.

HanWay Films has acquired international sales rights and will commence sales at the upcoming American Film Market.

Braxton Pope, who previously worked with Schrader on “The Canyons,” is producing the film together with Lauren Mann. William Olsson and David Wulf will executive produce.

“The Card Counter” also reunites the filmmaker with cinematographer Alexander Dynan and editor Benjamin Rodriguez Jr., who all worked together on “First Reformed.” Principal photography is scheduled to begin early next year.

“Schrader is a master of economical and cinematic story-telling,” said HanWay Films managing director Gabrielle Stewart. “This is essentially an unlikely and surprising three-hander that weaves together the entertaining world of gambling; a potent and personal revenge thriller; unafraid to ask some extremely current and uncomfortable questions. Isaac’s Tell is set to be a modern, iconic anti-hero, unmistakably drawn by this genius screenwriter.”

Isaac recently starred in Netflix’s thriller “Triple Frontier” and is set to reprise is role as Poe Dameron in “Star Wars: The Rise of Skywalker” this December. He also wrapped production on Legendary’s “Dune” and voiced Gomez Addams in MGM’s “The Addams Family.”

Schrader is represented by David Gonzales of Northside Services and Isaac by WME, Inspire Entertainment and SGSBC.

###

[techmastersbd]

“Reading is the nourishment that lets you do interesting work,” Jennifer Egan once said. This intersection of reading and writing is both a necessary bi-directional life skill for us mere mortals and a secret of iconic writers’ success, as bespoken by their personal libraries. The Top Ten: Writers Pick Their Favorite Books asks 125 of modernity’s greatest British and American writers — including Norman Mailer, Ann Patchett, Jonathan Franzen, Claire Messud, and Joyce Carol Oates — “to provide a list, ranked, in order, of what [they] consider the ten greatest works of fiction of all time– novels, story collections, plays, or poems.” Of the 544 separate titles selected, each is assigned a reverse-order point value based on the number position at which it appears on any list — so, a book that tops a list at number one receives 10 points, and a book that graces the bottom, at number ten, receives 1 point. In introducing the lists, David Orr offers a litmus test for greatness: If you’re putting together a list of ‘the greatest books,’ you’ll want to do two things: (1) out of kindness, avoid anyone working on a novel; and (2) decide what the word ‘great’ means. The first part is easy, but how about the second? A short list of possible definitions of ‘greatness’ might look like this: 1. ‘Great’ means ‘books that have been greatest for me.’ 2. ‘Great’ means ‘books that would be considered great by the most people over time.’ 3. ‘Great’ has nothing to do with you or me — or people at all. It involves transcendental concepts like God or the Sublime. 4. ‘Great’? I like Tom Clancy. From David Foster Wallace (#1: The Screwtape Letters by C.S. Lewis) to Stephen King(#1: The Golden Argosy, a 1955 anthology of the best short stories in the English language), the collection offers a rare glimpse of the building blocks of great creators’ combinatorial creativity — because, as Austin Kleon put it, “you are a mashup of what you let into your life.” The book concludes with an appendix of “literary number games” summing up some patterns and constructing several overall rankings based on the totality of the different authors’ picks. Among them (*with links to free public domain works where available): TOP TEN WORKS OF THE 20TH CENTURY Lolita by Vladimir Nabokov The Great Gatsby by F. Scott Fitzgerald In Search of Lost Time by Marcel Proust Ulysses* by James Joyce Dubliners* by James Joyce One Hundred Years of Solitude by Gabriel Garcia Marquez The Sound and the Fury by William Faulkner To The Lighthouse by Virginia Woolf The complete stories of Flannery O’Connor Pale Fire by Vladimir Nabokov TOP TEN WORKS OF THE 19TH CENTURY Anna Karenina* by Leo Tolstoy Madame Bovary* by Gustave Flaubert War and Peace by Leo Tolstoy The Adventures of Huckleberry Finn by Mark Twain The stories of Anton Chekhov Middlemarch* by George Eliot Moby-Dick by Herman Melville Great Expectations* by Charles Dickens Crime and Punishment by Fyodor Dostoevsky Emma* by Jane Austen TOP TEN AUTHORS BY NUMBER OF BOOKS SELECTED William Shakespeare — 11 William Faulkner — 6 Henry James — 6 Jane Austen — 5 Charles Dickens — 5 Fyodor Dostoevsky — 5 Ernest Hemingway — 5 Franz Kafka — 5 (tie) James Joyce, Thomas Mann, Vladimir Nabokov, Mark Twain, Virginia Woolf — 4 TOP TEN AUTHORS BY POINTS EARNED Leo Tolstoy — 327 William Shakespeare — 293 James Joyce — 194 Vladimir Nabokov — 190 Fyodor Dostoevsky — 177 William Faulkner — 173 Charles Dickens — 168 Anton Chekhov — 165 Gustave Flaubert — 163 Jane Austen — 161 As a nonfiction loyalist, I’d love a similar anthology of nonfiction favorites — then again, famous writers might wave a knowing finger and point me to the complex relationship between truth and fiction.

http://computersolutiontools.blogspot.com/2019/08/the-greatest-books-of-all-time.html

[manedw0lf]

Review: Diana Ross still shines on 75th birthday tour at Mann Hall in Fort Myers

Diana Ross sang hit after hit Tuesday at Barbara B. Mann Performing Arts Hall. But she ended the night with a surprising cover instead of one of her own songs: A funky version of Gloria Gaynor’s iconic disco anthem, “I Will Survive.”

A classic song sung by a classic singer, “Survive” worked as both a fun closer and a subtle reminder: The legendary Motown singer won’t be around forever. But while she’s here, she appears to be having a blast singing the songs that made her famous and interacting with her adoring audience.

“You know, we’re calling this my Diamond Jubilee this year,” Ross said, grinning as she struck a regal figure in a silver-sequined gown and a still-fabulous mane of hair. “Which means I’m turning 75!”

For this meaningful year, Ross has rechristened herself Diamond Diana. And she certainly shined during Tuesday’s concert in Fort Myers.

For 75 minutes — one for each year of her life — Ross performed a joyous show full of smiles, nostalgia and hit after glorious hit. And she’s had a lot of hits: “I’m Coming Out.” “Baby Love.” “Upside Down.” “Love Hangover.” “Ain’t No Mountain High Enough.” “Stop! In the Name of Love.” “Love Child.” And so many more — more songs than I realized I knew, in fact.

Music legend Diana Ross performed many of her greatest hits at Binghamton University’s Anderson Center on July 26, 2017. (Photo: Getty Images)

More:Top bands to see in this January in SWFL, including Trina, The Righteous Brothers, The Wailers, Air Supply, The Outlaws and more

More: Top 25 things to do in 2019: Gabriel Iglesias, 'Lion King,' Bad Bunny and more

The Original Diva kicked off the show at an un-diva-like 8 p.m. — right on time — to the familiar sounds of the 1980 hit “I’m Coming Out.”

At first, Ross was nowhere to be seen. It was just her band playing an instrumental intro. Then Ross’s voice could be heard offstage: “I’m … coming … out!”

And then she did, smiling warmly and sweeping onstage in a sparkly green gown, puffy shawl and dangling diamond earrings.

[filmstruck]

Let’s Go Medieval: Eighties Fantasies by Nathaniel Thompson

One of the coolest things about moviegoing in the 80s was having the chance to sample a new movie in just about every genre you could think of at your local theater. Sci-fi? You’re covered. Westerns? Musicals? Horror? All good. But fantasy films were especially popular, and FilmStruck offers a fun flashback of films with highlights from 1981 to 1987.

Two of these selections fall into the category of medieval fantasy, though neither are indebted to the sword and sorcery craze started by CONAN THE BARBARIAN (‘82). EXCALIBUR (‘81) is director John Boorman’s dreamlike, eye-filling and decidedly R-rated depiction of the King Arthur legend and still the best one out there. Also on hand is the more family-friendly LADYHAWKE (‘85), a romance about two cursed lovers (Michelle Pfeiffer and Rutger Hauer) who can never be together in human form since he’s a wolf by night and she’s a hawk by day. It’s one of many films that got buried in the onslaught that year (opening just before summer) but it earned a huge fan following after airing on HBO. So what makes these films so good?

They’re Gorgeous:

LADYHAWKE is one of the most radical visual experiments from Vittorio Storaro, the legendary Oscar-winning cinematographer (APOCALYPSE NOW, ‘79) who conjured up indelible visions for such directors as Bernardo Bertolucci, Dario Argento and Warren Beatty. Here, he uses layers of colored gels coupled with warm natural lighting to create a vibrant, painterly effect in the camera. No CGI trickery here; those wild rose and gold effects in the landscape shots were all done on the spot. On a similar note, EXCALIBUR uses heavy diffusion effects and bursts of bright, irrational spotlights to enhance the magical flavor of the film, courtesy of cinematographer Alex Thomson who would go on to shoot Ridley Scott’s LEGEND (‘85) and Michael Mann’s THE KEEP (‘83).

Epic Soundtracks:

The safer choice here is EXCALIBUR, whose use of Carl Orff’s “Carmina Burana” is absolutely epic and made the cantata a regular feature in trailers and TV commercials for years (not to mention an unlikely but huge techno hit in 1992 as “O Fortuna” by Apotheosis). The potent original music score is the first significant feature work by Trevor Jones, who kept the ‘80s fantasy flame alive after this with THE DARK CRYSTAL (‘82) and LABYRINTH (‘86), among many other great scores. On the other hand, LADYHAWKE is one of the most divisive scores of the decade, full of synthesizers and prog-inspired heavy electronic beats. That said, while the effect can be jarring at first (especially during Matthew Broderick’s underwater escape), it really grows on you and features a haunting, gorgeous love theme that comes to fruition in the final scene. The score was the handiwork of English musician Andrew Powell and produced by none other than Alan Parsons, whose albums were arranged and conducted by Powell as a member of The Alan Parsons Project. Oh, and he produced Kate Bush’s first two albums, which earns him a permanent pass from the music gods.

Very Young A-Listers:

Pfeiffer’s hairstyle in LADYHAWKE may be totally anachronistic, but it’s a great way to showcase one of the screen’s most radiant thespians only five years into her long and illustrious career. The film is also an early leading role for stage and screen star Matthew Broderick, whose asides to himself (and us) pave the way for what he’d do just after this in FERRIS BUELLER’S DAY OFF (‘86). Dutch icon Hauer had only been doing Hollywood films for a few years as well, most notably BLADE RUNNER (‘82). As for EXCALIBUR, the real scene stealer here is a baby-faced Helen Mirren as the scheming Morgana le Fay (decades before winning an Oscar), but be sure to also keep your eyes peeled for an unmistakable Liam Neeson as Sir Gawain, a briefly seen Gabriel Byrne at the beginning as Uther Pendragon and a bearded Patrick Stewart (way before he became Captain Picard and Charles Xavier) as Leondegrance. He was even bald back then, too, so you should have no trouble spotting him!

[softsebnbuckystan]

Emily Van Camp is so iconic, I'm currently having a Revenge rewatch just to see her and Gabriel Mann be icons

Emily VanCamp as Sharon Carter in The Falcon and the Winter Soldier (2021)

[randomvarious]

When in Rome - “The Promise” EMusic: Awesome 80's Song released in 1987. Compilation released in 2000. Synthpop / New Wave

The UK trio of When in Rome were responsible for just one exceptional song and that song was “The Promise”. They really made nothing else of note. Their second single off of their only album, “Heaven Knows,” pales in comparison. The band’s whole existence kind of strains credulity then. Like, how can you be so good, so transcendent as to make a perfect piece of heavenly synthpop like “The Promise” and then never make anything that remotely approaches it ever again? How could you only squeeze out three minutes and forty seconds of magic and then lose your touch entirely? It’s really totally baffling. 

“The Promise” never hit big in the UK, but it turned out to be quite a dazzler in America. The single managed to stay at #1 on the Billboard dance chart for seven weeks and it also peaked at #11 on the Hot 100. And then it picked up a second wind some 17 years later thanks to its inclusion in Napoleon Dynamite. That sudden, unexpected reprisal would then spur on new, confusing incarnations of the band: When in Rome II and When in Rome UK, in which the former is composed of one of the original members, the keyboardist/pianist, Michael Floreale, and the latter has both of the original vocalists, Clive Farrington and Andrew Mann. And then when Farrington and Mann play the States, which is where “The Promise” enjoyed most of its popularity, they’re billed as “Clive Farrington and Andrew Mann formerly of When In Rome” for fear of violating some copyright law and being summarily deported. The whole thing is really silly and petty and dumb. The two factions should just nut up and bury the hatchet and go on those 80s one-hit-wonder extravaganza tours together instead of doing this annoying Gallagher and Gallagher Too shit. It’s embarrassing. Someone should just show up outside the other’s home and reenact the iconic scene from Say Anything, but play “The Promise” instead of Peter Gabriel. You’ll all be better for it. Fuck, I’ll even drive one of you over to do it. I promise you, I promise you I will.

I think there’s a lot of things within “The Promise” that make it an obvious hit, but the overarching theme, at least to me, is all the contrasts you find. The calm, low-note verses and the urgent, high-note choruses; the uptempo drum and bass tracks that form the backbeat and the slower, atmospherically dreamy and rich piano and string synth washes that lie above; a singer who’s bald and scrawny and a singer with long, luscious locks who’s built. Lots of contrasts. 

And cheers to Clive Farrington for programming those drums and bass. I mean, that pulsating, corrugated, fuzzy, purring bassline, man. It’s so simple, but it makes the tune danceable. And no matter where the track is and no matter how complex the composition gets, that bass is just off on its own consistently pumping away. It’s always towards the bottom of the heap, but it’s never too difficult to hear. Also, the second verse, which sees the band pouring on the strings and giving the song an even higher level of dreamlike intensity, adds yet another contrast with a chirping, bleepy synth phrase that plays in unison with that underlying bassline. Another mix of high and low notes.

And lastly, that drum fill that links the verses to the choruses; it’s not quite as iconic as “In the Air Tonight,” but it still hits really nicely. Tell me you don’t drum that part on your steering wheel when it comes on in the car (You do. Don’t lie). 

Okay, one more thing: the music video. It’s phony. Much to everyone’s confusion, it features Andrew Mann (the longhaired fella) performing the verses:

But in actuality, it’s Clive Farrington who’s responsible for singing the first verse and Mann who sings the second. Why When in Rome decided to perpetrate this fraud on all of us remains a total mystery. I mean, it just doesn’t seem to make any sense, and I cannot for the life of me come up with a single, solitary reason as to why they might’ve done this. No one would have batted a single eyebrow if they just showed the two singers leading the respective verses that they actually lead on in the song. Some bands do that. It’s not that weird. I promise you.

See, for instance, in this live, Top of the Pops-ish video from 1988, which also shows Farrington and Mann clearly lip-synching their entire performance, it’s Farrington who performs the first verse instead:

Why sow all this confusion? WHY? I DON”T GET IT. WHAT IS THE POINT? TELL ME WHILE I DRIVE ONE OF YOU OVER TO DO THE SAY ANYTHING SCENE SO YOU GUYS CAN REUINTE AND LIVE HAPPILY EVER AFTER. 

*takes a deep breath*

Hands down, “The Promise” is one of the greatest pieces of 80s synthpop ever recorded. It’s just frankly very weird that these guys didn’t have anything else to give us that was worth listening to. There’s plenty of one-hit-wonder bands, but how many groups make a song that’s one of the best in its genre and then they never deliver anything like it again? In that regard, When in Rome represents one of the most precipitous drop-offs in the history of popular music. But at least we have “The Promise,” right?

[yourpixiewrites-blog]

Supernatural Parody 2 - Review

Now I’ve been a fan of Hillywood for a couple of years now. I wouldn’t say I’m a superfan, but I really do enjoy their stuff, and I think they’re both incredibly talented. They’ve had their good stuff, and they’ve had their not so good stuff, but that’s not what we’re here for. Right now, we’re here to review their second Supernatural Parody.

Please remember that this review is based on my opinions, and my thoughts and feelings while watching/listening to this parody. I’ve seen it a few times now, so this isn’t my initial reaction, but I can tell you, my initial reaction was full of screaming, yelling, and disturbing the locals.

Possible spoilers below if you have not yet seen this parody!

So we start out with their usual intro with a collage of their supporters, the super-awesome blend of Supernatural title screen cards, and a request to not repost this anywhere. That’s REPOST, not share. Share the Hell out of it to get them the love they deserve, but don’t repost it and make it look like it’s yours or something, because that’s a douchebag move and you’re scum if you do it. As they say, help protect the work of online creators!

The first thing you hear is a phone ringing, and you see a short list of who stars. Upon seeing Osric Chau, I knew it was going to be good, because it’s Osric guys. And Hannah Hindi has phenomenal directing skills, so massive kudos to her for pulling this together the way she did alongside Hilly and the others.

When the screen finally comes to the start of the video itself, you get Misha. Misha Collins. Yes, that same Misha who plays the damn Angel that everyone – myself included! – is obsessed with. The same Misha who created GISHWHES. (more on that another time!) And he is playing a receptionist. If you don’t get this reference, you need to watch the movies, because seriously, that’s some good shit. I however got the reference, and this was my first screech moment. Misha Collins, playing the receptionist from Ghostbusters. YES! And my gosh, Misha does it so well. He just fits so naturally into the roll and he brings something to it that is just right. He answers the call, gets the information needed, and with a delighted yell, he hits the bell. Please welcome to the stage; Osric Chau and Hilly Hindi! And of course, Hilly’s lunch.

Osric, if you remember, was in the very first Supernatural Parody, so it’s fantastic to see him back reclaiming his role as Sam Winchester, our loveable Moose! Osric of course is not Jared, but he brings something of his own to the character of Sam and he does it incredibly well. He and Hilly work so well together. There’s a chemistry there that just makes them click, and everything they do throughout this parody is flawless and well-done. And this is when the music really kicks in, you hear the siren that makes you feel really nostalgic, and you see the beloved Impala with a bit of a makeover to fit the theme. I will forever envy that they get to use the Impala for these parodies, because holy hells bells, I would kill to have an Impala! The music has a much more rock feeling to it than the original does, so my inner Rockstar was thrilled. And instead of “Ghostbusters”, we have a call of “Winchesters!” This made me smile to no ends.

Immediately I felt that the lyrics fit so well that it’s not even funny, and the song is well re-written/parodied for this. They did a fantastic job on that front.

Insert my second screech of the day, Samantha Ferris and Chad Lindberg! Respectively, Ellen Harvelle and Ash, both of whom were amazing characters in the show, and I was so, so mad when they came to their ends. Following them, we had Alaina Huffman, known on the show as Abaddon, and the giant suicidal from that one episode where I imagine most if not all of us were wondering what the Hell was going on. She was my third screech, because I adore Alaina, and I was so, so glad she featured here. And, having watched the two hour long behind the scenes footage, I know that the guys behind moving the teddy did a really, really good job in making the movements fluid and alive.

Cue more epic dancing and acting from Osric and Hilly! Followed by a party in the Impala, and Jim Beaver. Good ole’ Bobby Singer himself! I screamed so loudly that the locals wondered if someone was being murdered or not. We will never not love Jim in this fandom, and we will always welcome him back with open arms no matter what the writers do to try and get rid of him. And damn it, Hilly, you’re so lucky that was a fake mirror!

On the verse talking about the hellhounds, we had Ruth Connell. An absolute Queen, and the perfect actress to have played Rowena in the show. Even in silk pyjamas with her hair in rollers, she was beautiful and graceful as ever. And she needs her beauty sleep don’t you know? Let’s get those Hellhounds out of here!

Hilly was disappearing through the mirror she’d broken, but it was a good thing Jim and Osric were there, because let’s be honest, would Bobby and Sam really, truly let Dean disappear like that? I don’t think so!

Another Impala party with lots of plaid. Every plaid fan is melting by this point because look at it all! And if you watch carefully enough during the Impala party scenes, you’ll see the appearances from Lauren Tom (Kevin’s mother), Tyler Johnston (Samandriel), Tahmoh Penikett (Gadreel), Adam Rose (Aaron Bass), Adam Fergus (Mick Davies), Michael Borja and Billy Moran of Louden Swain, Jason Manns (writer/performer of various episodes), and Clif Kosterman, who is not only Jared and Jensen’s personal bodyguard and driver, but also made an appearance as “Tiny” in Folsom Prison Blues from season 2, and also briefly as the wrestler Wrecking Ball Calhoon in Beyond the Mat in season 11. We also get another appearance from Sam and Chad (Ellen and Ash), because hey, who doesn’t want to see these two dancing in plaid?

I feel like I forgot to mention the scene recreated from “Changing Channels” because that was an amazing, funny episode, and was recreated very well in the various clips of it throughout this section of the parody.

Jake Abel is next to make his appearance, and finally, after 8 seasons, we get to see Adam Milligan getting his ticket right out of the cage in the form of a get out of hell free card! Monopoly reference anyone? But really, I’m so glad to finally see Adam getting out of there. It’s been too long, guys! Way too long!

Richard Speight Jr is back, but not as Gabriel this time. Instead, he claims the role of news channel host T. Rickster. D’you get it? Trickster? I thought it was a good joke… Rob Benedict follows as the on-site reporter instead of playing God, who to the fandom will always be known as Chuck. Both are hilarious in their own rights, and bring some bounce and joy to the reporting characters, so good casting call right there girls! And not only would I love to hear some of Rob’s ghost stories, but he referenced the thing! The saving people, hunting things! Did anyone else add the family business to the end of that line or was it just me?

I’m not going to continue to retell the whole parody like this, because honestly, you can see it for yourselves. Go and check it out on Hillywood’s YouTube page. Throughout the rest of this parody, just when you think they couldn’t possibly fit anymore guest star appearances into it, they do! We get to see Curtis Armstrong (Metatron), Alex Calvert (Jack the Nephilim), Briana Buckmaster (Sheriff Donna Hanscum), Kim Rhodes (Sheriff Jody Mills), Mark Pellegrino (Lucifer), Julian Richings (Death) and Stephen Norton, also of Louden Swain. Of course we have more scenes of Misha as the receptionist, and finally, the appearance of Jared Padalecki and Jensen Ackles, respectively, Sam and Dean Winchester.

I feel like Jensen and Jared had way too much fun pretending to be ghostbusters in this. They did a great job, as expected, and they really brought something to it, as did all the other stars appearing. You have to admit, Death himself enjoying some pizza is probably one of the best things we’ve seen on the internet in a while. It certainly was for me, and it definitely beats all the cat memes I’ve been watching! Adam Stuckey taking back his roll as Crowley was a massively well-made choice, because he just does it so well, from the facial expressions down to the mannerisms. I feel like Mark Sheppard would be proud!

All in all, this parody is one long video of screaming, getting excited, dancing along and yelling at your friends each time you see one of the actors show up to play their part. I thoroughly enjoyed everything from the music, right down to re-creation of some of the iconic scenes. And you can never get enough references, either! Yellow eyes, though, was probably one that made us all huff a little because look at all the trouble this guy caused! The music was a perfect choice, the dancing was flawless and the acting was on point. Another amazing parody from the Hillywood Show. Both girls are super talented, and did an amazing job with everything.

Please do check them out, I’ll add links below to both the parody, and the BTS video. Show the girls and their channel some love and support because they deserve every little bit of it!

 Parody: https://www.youtube.com/watch?v=Nsy06n-omrg&t=481s

Behind the Scenes: https://www.youtube.com/watch?v=KQVirHo_y_Q

[architectnews]

National Gallery London Building, Trafalgar Square

National Gallery London, Sainsbury Wing, Architect, Images, NG200, Date, Extension Design, Photos

National Gallery London Architecture

Key Public Building in Trafalgar Square, England, UK Built Environment News

14 July 2021

National Gallery Building London Renewal Winner

Selldorf Architects win the NG200 Project at The National Gallery

The National Gallery has today (14th of July 2021) announced that a team led by Selldorf Architects has been selected to work on a suite of capital projects to mark its Bicentenary, with an initial phase to be completed in 2024.

Selldorf Architects’ team also includes Purcell, Vogt Landscape, Arup, AEA Consulting, Pentagram, Kaizen and Kendrick Hobbs.

Annabelle Selldorf, founding Principal of Selldorf Architects, USA: photo © Brigitte Lacombe

Based in New York, Selldorf Architects has considerable experience within the arts and culture sector across the UK, Europe, and the US. It counts among its current and previous clients: The Frick Collection, Luma Arles, the Museum of Contemporary Art San Diego, the Smithsonian American Art Museum, Neue Galerie New York, the Clark Art Institute, David Zwirner, Hauser & Wirth, Frieze Masters, and the Venice Art Biennale.

The Selldorf Architects-led team will work with the National Gallery to complete the initial phase of works to its Trafalgar Square buildings to greatly improve the ‘welcome’ it provides to the millions of visitors it receives each year. This will include remodelling parts of the Sainsbury Wing and the public realm, and the provision of a new Research Centre. These sensitive interventions will be pivotal in reshaping the National Gallery for its third century and the next generation of visitors.

Over the coming months, the approach submitted by Selldorf Architects’ team will be refined into a comprehensive brief alongside the National Gallery team, and extensive engagement and liaison with external stakeholders will begin.

Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can feel welcome and reflect as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness, and relevance to play a vital role in the nation’s recovery story.

A major part of the National Gallery’s Bicentenary celebrations will be a programme of inspirational exhibitions and outreach around the country and around the world, under the banner NG200. The National Gallery plans to engage the whole of the UK with the Gallery’s collection, demonstrating itself as a national institution at the heart of national life. An extensive programme of digital engagement will also be leveraged to extend and redefine the Gallery’s influence as a global digital institution.

Commenting on the appointment of Selldorf Architects, Director of the National Gallery, Dr Gabriele Finaldi said:

‘We are delighted to appoint Selldorf Architects as the design-team partner for NG200. Throughout the selection process, Selldorf Architects demonstrated a real understanding of our ambitions as well as sensitivity to the heritage of our existing buildings. However, the talent and tenacity demonstrated at all levels by each of the six shortlisted teams was remarkable. I would like to thank all those involved, particularly the judging panel who have guided us through the selection process.

The capital projects form the first stage of our Bicentenary celebrations and are essential in building the foundations of the Gallery’s future. Working alongside Selldorf Architects, we will develop and deliver a detailed brief that will be the framework through which we consolidate our role as the nation’s gallery.

The next five years will be pivotal in fighting our way out of the crisis of Covid-19. We recognise the catastrophic impact this has had on so many, and particularly on arts and culture institutions’ visitor numbers. It will take time for these to return to 2019 levels, but there is hope on the horizon and arts and culture will be crucial in the healing of our country. We plan to build on our strengths, respond to challenges and opportunities, and forge a pathway to the National Gallery of the future – for the nation and for the world.

Our Bicentenary in 2024 is a key moment in this creation of the new National Gallery. We will demonstrate the values we hold, and the value we create as we enter our third century with renewed and bold ambition, and perhaps most importantly – hope.’

photo courtesy of the National Gallery

Annabelle Selldorf, founding Principal of Selldorf Architects, added:

‘It is an honour to be appointed to work alongside the National Gallery on its NG200 project. This is a significant opportunity for an iconic cultural institution to reflect on its ambitions for the future and drive forwards an innovative, bespoke brief that befits its many visitors. The National Gallery is home to one of the most exceptional collections of art in the world and has often led the way for other institutions globally.

Our team will work sensitively and thoughtfully with the National Gallery, guided by its vision for a Gallery of the future that is inspiring, sustainable, and truly inclusive.’

The selection process was run under the Competitive Procedure with Negotiation in accordance with UK procurement regulations by Malcolm Reading Consultants. The five other shortlisted teams were led by: Asif Khan, Caruso St John Architects, David Chipperfield Architects, David Kohn Architects, and Witherford Watson Mann Architects.

In addition to the Executive team and Trustees of the National Gallery, several independent panellists were appointed to the judging panel to select an architect-led design team. These were: Edwin Heathcote, architecture critic and author; leading structural engineer Jane Wernick CBE FREng; and Ben Bolgar, Senior Design Director for the Prince’s Foundation.

Selldorf Architects, New York City

Previously on e-architect:

8 Apr 2021

National Gallery Building London Renewal Shortlist

The National Gallery Announces Six Shortlisted Design Teams For Its NG 200 Plans

The National Gallery has today (8 April 2021) announced six shortlisted design teams in its search for a partner to work with it on a suite of capital projects to mark its Bicentenary. An initial phase of work will be completed in 2024, to mark the Gallery’s 200th year.

The shortlisted teams are:

Asif Khan with AKT II, Atelier Ten, Bureau Veritas, Donald Insall Associates, Donald Hyslop, Gillespies, Joseph Henry, Kenya Hara, and Plan A Consultants

Caruso St John Architects with Arup, Alan Baxter, muf architecture/art and Alliance CDM

David Chipperfield Architects with Publica, Expedition, Atelier Ten, iM2 and Plan A Consultants

David Kohn Architects with Max Fordham, Price & Myers, Purcell and Todd Longstaffe‐Gowan

Selldorf Architects with Purcell, Vogt Landscape Architects, Arup and AEA Consulting

Witherford Watson Mann Architects with Price and Myers, Max Fordham, Grant Associates, Purcell and David Eagle Ltd

The shortlist has been drawn from an impressive pool of submissions from highly talented UK and international architect-led teams. In addition to members of the executive team and Trustees of the National Gallery, several independent panellists are advising on the selection process, which is being run by Malcolm Reading Consultants. These are Edwin Heathcote, Architecture Critic and Author: leading structural engineer Jane Wernick CBE FREng: and Ben Bolgar, Senior Design Director for the Prince’s Foundation. The extremely high quality of the submissions led the panel to increase the number of design teams shortlisted from the originally envisaged five, to six.

Following an open call launched in February 2021, the next steps will require the shortlisted teams to submit an initial tender, attend negotiation workshops, submit a final tender and then be interviewed by the selection panel. No design work will be required, and some expenses will be paid to the shortlisted teams. An appointment is expected to be made in July 2021.

Commenting on the announcement of the shortlisted teams, Director of the National Gallery, Dr Gabriele Finaldi said: ‘We were impressed and delighted with the high quality of the submissions we received. It was not an easy task to reach the shortlist, but we are confident that we have chosen six teams that will produce a range of different approaches to excite and inspire us.

This is a significant moment in the development of the National Gallery as we look forward to the recovery of our arts and cultural institutions, our city and our country. It is important that we choose a team who we can work with collaboratively and that shares our vision for the future. I’m looking forward to the next phase of the selection process.’

Paul Gray, Chief Operating Officer of the National Gallery, added: ‘We thank everyone who submitted for the NG200 Project. From these six shortlisted teams, we are looking for demonstrable and exceptional design talent as well as the creativity to respond sensitively to the heritage and context of the Sainsbury Wing. We have identified teams that we know will offer exciting and inspiring visions, and we look forward to working with the winning team to unlock the potential of the spaces within the Sainsbury Wing and the public realm.’

NG200 will celebrate 200 years since the National Gallery’s foundation in 1824, programming a series of inspirational exhibitions and outreach around the country and around the world. The celebration will also include the completion of an initial phase of works to its Trafalgar Square buildings to improve the ‘welcome’ it provides to the millions of visitors it receives each year.

The brief for the project includes sensitive interventions to the Grade I listed Sainsbury Wing to reconfigure the ground- floor entrance and upgrade the visitor amenities, creating new spaces that will provide a welcome experience befitting a world-class institution and that meets the expectations of 21st-century visitors.

A new Research Centre will support the Gallery’s vision of becoming a world leader in research into historic painting, and communicate the Gallery’s work as a global thought leader by creating a powerful resource for studies into art history, digital humanities, conservation, and heritage science. It will be a resource for everyone interested in studying art, from students to international academics.

The successful team will also be asked to reimagine the public realm immediately outside the Sainsbury Wing and along the northern edge of Trafalgar Square to improve the presence of the building in its context and create a more attractive and enjoyable setting for visitors and the public.

Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can relax as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness, and relevance to play a vital role in the nation’s recovery story.

photograph © Nick Weall for e-architect

National Gallery Building London Renewal Shortlisted Teams

Information on shortlisted teams

Asif Khan

We have assembled a highly experienced team of innovators, experts, and dear friends of the National Gallery to collaborate and deliver a new beginning for this sensitive site on its 200th Birthday.

Our team is led by Asif Khan Ltd., the award-winning London architecture office who have been working on the Museum of London and Dubai Expo public realm for the past four years; globally renowned graphic designer and visual communicator Kenya Hara; award‐winning structural engineers AKTII; innovative environmental engineers Atelier 10; landscape architects Gillespies; historic building architects Donald Insall Associates; and courageous urban practitioners Joseph Henry and Donald Hyslop.

We sincerely believe that our team will bring the exact mix of diversity, respect and freshness that this old friend needs to help it into the next century.

Caruso St John

Caruso St John Architects with Arup, Alan Baxter, muf architecture/art and Alliance CDM

Since its foundation in 1990, Caruso St John Architects has been pursuing an architecture that is rooted in place.  The practice resists the thin‐skinned abstraction that characterises much global architecture in favour of buildings that are perceived slowly over time and that have an emotional content. Its work is enriched by an ongoing dialogue with the European city and with history —that of architecture, art, and culture more widely. Caruso St John’s approach brings an intensity to the built work and ensures the rigorous construction quality for which the practice is renowned.  The result is an architecture that is considered, meaningful and enduring.

David Chipperfield

David Chipperfield with Publica, Expedition, Atelier Ten, iM2 and Plan A Consultants

David Chipperfield Architects (DCA) has brought together an experienced and award‐winning London‐based team with the collective expertise to meet the ambitions and specific challenges of the NG200 Project. Led by architects and heritage experts DCA, the team includes urban design and public realm specialists Publica; Expedition and Atelier Ten structural and services engineers; Principal Designer iM2; and Plan A design managers. The team shares a common spirit of partnership, collaboration, and design excellence.

Over the last 35 years DCA has been widely celebrated for its cultural projects such as Museo Jumex in Mexico City and James‐Simon‐Galerie in Berlin as well as its sensitive work with historic and listed buildings, including masterplans for Museum Island in Berlin and the Royal Academy of Arts in London. The practice has a proven track record with the restoration and re‐use of modern landmarks such as Mies van der Rohe’s Neue Nationalgalerie.

David Kohn

David Kohn Architects has a reputation for arts and education projects. Gallery projects have included the V&A Photography Centre, refurbishment of the ICA, a restaurant for the Royal Academy, and spaces for Sotheby’s and Christie’s. Collaborations with artists have included A Room for London with Fiona Banner RA, The Salvator Mundi Experience with Simon Fujiwara and Ickworth House with Pablo Bronstein.

The practice is currently working on new campuses for New College Oxford and the University of Hasselt, Belgium, and new market halls for Birmingham City. The proposed team are successfully collaborating on these projects but also bring skills specific to the NG200 Project. In particular, Purcell has worked with the National Gallery for 30 years and have an unrivalled knowledge of the estate. David Kohn has recently written about Robert Venturi and Denise Scott Brown and their influence on his practice, in the Architectural Design special issue, Multiform.

Selldorf

Selldorf Architects with Purcell, Vogt Landscape Architects, Arup and AEA Consulting

The team of Selldorf Architects, Purcell, Vogt, Arup and AEA bring extensive experience in the sensitive updating of museums and other historically significant buildings in important public contexts. Lead designer Selldorf Architects is currently working on the $160 million expansion and renovation of The Frick Collection in New York City and the Museum of Contemporary Art San Diego.

Founded in 1947, Purcell is the largest UK practice working in the field of historic buildings. Vogt was the designer for the public realm of Tate Modern and is one of the leading voices in landscape architecture today. Arup is unparalleled in their technical creativity and were the original Structure and MEP engineers of the Sainsbury Wing. AEA Consulting is a global firm setting the standard in strategy and planning for cultural and creative industries. The team is committed to world‐class, place‐making architecture and urban design that is sustainable and future‐forward.

Witherford Watson Mann

Witherford Watson Mann Architects + Price and Myers + Max Fordham + Grant Associates + Purcell + David Eagle Ltd

Witherford Watson Mann Architects are specialists in the transformation of cultural heritage. RIBA Stirling Prize winners in 2013 and shortlisted for the award in 2019 for their work at Astley Castle and Nevill Holt Opera, their designs for the Grade I listed Courtauld Institute of Art at Somerset House and Clare College, Cambridge are currently under construction.

Their team includes Price & Myers, structural engineers and Max Fordham, services engineers, longstanding collaborators of the practice and substantial contributors to their award‐winning projects; Grant Associates, landscape architects whose work ranges from the discreet urban landscape at Accordia, Cambridge to the flamboyant Gardens by the Bay in Singapore; Purcell, deeply experienced in the field of historic buildings, who have delivered sensitive and creative projects for the National Gallery, the British Museum, and the V&A; and by David Eagle, CDM advisor amongst others to Argent at Kings Cross and Woolwich Creative District.

National Gallery Building London Renewal Competition Jury

Selection Panel

The selection panel is comprised of:

Dr Gabriele Finaldi, Director, The National Gallery

Lord Hall of Birkenhead CBE, Chair of Trustees, The National Gallery

Malcolm Reading RIBA, Chairman, Malcolm Reading Consultants

David Marks, Trustee, The National Gallery

Tonya Nelson, Trustee, The National Gallery

Jane Wernick CBE FREng, Director eHRW

Edwin Heathcote, Architecture and Design critic and author

Ben Bolgar, Senior Design Director, Prince’s Foundation

More information about the design team selection process including the full brief can be found here: https://competitions.malcolmreading.com/nationalgallery

page updated 6 Mar 2021 + 23 Jun 2014

National Gallery Building London Renewal

The National Gallery has announced it is seeking a multi-disciplinary design team to work with it on a suite of capital projects to mark its bicentenary, with an initial phase to be opened in 2024.

To celebrate 200 years since its foundation in 1824, the National Gallery is planning a programme of inspirational exhibitions and outreach around the country and around the world, under the banner NG200. This will also include the completion of an initial phase of works to its Trafalgar Square buildings in order to improve the ‘welcome’ it provides to the millions of visitors it receives each year

photograph © Nick Weall

An open, two-stage selection process, run by Malcolm Reading Consultants, is being undertaken to identify a team who can work with the Gallery and its advisers to develop an architectural vision and conceptual approach to a phased five-year programme of works.

The first stage is an open, international call for architect-led, multi-disciplinary design teams to register their interest and demonstrate their relevant skills and experience. A shortlist of up to five teams will then be asked to submit details of their approach to the design and delivery of the project and will be interviewed by a selection panel. No design work is required and some expenses will be paid to the shortlisted teams. An appointment is expected to be made in July 2021.

Commenting on the launch of the selection process, Director of the National Gallery, Dr Gabriele Finaldi said: ‘The capital projects are a hugely important part not just of our bicentenary celebrations but of our vision for the National Gallery of the future.

We are extremely fortunate to have a superb building and a modern classic in the Sainsbury Wing; one that has more than met its original brief, notably in the practically perfect picture galleries. The dual challenge of a huge increase in visitor numbers and the changing expectations and needs of those visitors over the last 30 years, means we do need to look again at the spaces we have, and in particular the ground floor entrances and amenities.

We recognise, of course, that we are all currently experiencing an unprecedented time of crisis, with an impact felt by every sector in every part of our country and across the globe. The Covid-19 pandemic has had a catastrophic effect on visitor numbers to all cultural and arts institutions, the National Gallery included, and it will take time for these to return to 2019 levels.

But there is hope on the horizon and art and culture have a vital role to play in the healing of our country. The National Gallery was the first major museum to open after lockdown restrictions were lifted in July 2020, demonstrating its commitment to be part of the nation’s recovery story. As the nation’s gallery, we want to play a full part in this in the future, and to do so, we need to start planning now.’

The overall brief for the project includes sensitive interventions to the Grade I listed Sainsbury Wing, including remodelling the front gates and ground floor entrance sequence; interior works to the lobby and first floor spaces and upgrading visitor amenities; in particular orientation and information; retail and security. As the main entrance to the National Gallery, the Sainsbury Wing requires inspiring spaces that meet the expectations of 21st-century visitors, befitting a world-class institution housing an outstanding collection of art.

The creation of a new Research Centre, likely to be housed in the west wing of the Wilkins Building adjacent to the Sainsbury Wing, will form part of a phase of work. It will support the Galley’s vision of becoming a world leader in research into historic painting and communicate its work as a global thought leader by creating a powerful resource for studies into art history, digital humanities, conservation, and heritage science. It will be a resource for everyone interested in studying art, from students to international academics.

The design brief also allows scope for the reimagining of the relationship between the Gallery and the public realm immediately, from the loggia of the Sainsbury Wing, across Jubilee Walk and along the northern edge of Trafalgar Square to the front of the Wilkins Building. Although limited, the refocusing and strengthening of these spaces would provide greater visibility and presence for the Gallery on Trafalgar Square, while creating a more attractive and enjoyable setting for visitors and the public.

Underpinning the brief is the desire to create healthy, sustainable, and accessible spaces and an environment that is open and inclusive where visitors can relax and reflect as they plan their visit to one of the world’s finest art collections. Following a year of unprecedented challenges due to Covid-19, the National Gallery wants to build on its strength, inventiveness and relevance to play a vital role in the nation’s recovery story. Culture Secretary Oliver Dowden said:

‘The National Gallery has been inspiring visitors for almost 200 years, and this innovative project will welcome a new generation of art lovers to its halls. Culture is going to play a central role in the nation’s recovery, with global icons like the National Gallery helping us build back better from the pandemic.’

Paul Gray, the Chief Operating Officer at the National Gallery is leading the selection process. He added: ‘We are looking for a team that can demonstrate exceptional design talent and creative flair. Sensitivity to the heritage of the existing building and its context will be crucial as will the ability to design and deliver complex projects working in collaboration with the client and wider team.

Most importantly, we want to identify people and organisations that excite and inspire us and can open our eyes to the potential of the spaces within the Sainsbury Wing and the public.”

Nelson’s Column, central to Trafalgar Square, looking south towards Whitehall: photograph © Nick Weall

Malcolm Reading, Search Director, and Chairman, Malcolm Reading Consultants, said:

‘The process chosen by the National Gallery is not a conventional design competition seeking design concepts but instead creates the opportunity for much more interaction ‒ something the Gallery values and we know architects appreciate. We welcome both national and international teams. They will need to be exceptional and the international teams will require a UK partner for stage two.’

The deadline for first stage responses is: 2pm GMT Thursday 18 March 2021. Details of how to enter are available at: competitions.malcolmreading.com/nationalgallery

This selection process is being run under the Competitive Procedure with Negotiation in accordance with UK procurement regulations.

National Gallery London

Dates built: 1832–38 (façade) Architect: William Wilkins

Dates built: 1872-76 (Barry Rooms) Architect: E. M. Barry

photograph © Nick Weall

Address: Trafalgar Square, London WC2N 5DN, UK

Phone: 020 7747 2885

Opening hours: 10:00 am – 6:00 pm, check with operator

National Gallery Building by William Wilkins architect – entry stairs and portico on south frontage: photo © Adrian Welch

This is an art museum on Trafalgar Square in central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the mid-13th century to 1900. The Gallery is an exempt charity, and a non-departmental public body of the Department for Culture, Media and Sport. Its collection belongs to the public of the United Kingdom and entry to the main collection is free of charge. It is the fifth most visited art museum in the world, after the Musée du Louvre, the Metropolitan Museum of Art, the British Museum and Tate Modern.

Sainsbury Wing – National Gallery Extension – interior view of long entry stairs flight: photo © Adrian Welch

The present building, the third to house the collection, was designed by architect William Wilkins from 1832–38. Only the façade onto Trafalgar Square remains essentially unchanged from this time, as the building has been expanded piecemeal throughout its history. Wilkins’s building was often criticised for its perceived aesthetic deficiencies and lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi and Denise Scott Brown, is a notable example of Postmodernist architecture in Britain. Soyurce: wikipedia

photographs © Adrian Welch

National Gallery architect : William Wilkins

Sainsbury Wing – National Gallery Extension, Trafalgar Square Dates built: 1988-91 Design: Venturi, Scott Brown & Associates – Robert Venturi and Denise Scott Brown, based in the USA

photos © Adrian Welch

photographs © Nick Weall

National Gallery Extension design : Venturi Rauch Brown, architects

photographs © Nick Weall

The architectural proposal by ABK – for the building that came to be known as the Sainsbury Wing – was infamously described by Prince Charles [May 30, 1984] as being “a monstrous carbuncle on the face of a much-loved and elegant friend”. This helped set up a polarisation in the UK between traditional and contemporary architecture styles and thinking.

photographs © Nick Weall

ABK’s design for the extension was abandoned.

photographs © Nick Weall

Sainsbury Wing – National Gallery Extension: image © Adrian Welch

Location: National Gallery, London, England, UK

London Art Galleries

London Art Galleries

National Portrait Gallery National Portrait Gallery

Saatchi Gallery, Chelsea Design: Allford Hall Monaghan Morris Saatchi Gallery

National Gallery in London

National Gallery Context

The public space in front of the building:

Trafalgar Square

A building structure close by to the south west:

Admiralty Arch

London Buildings

Contemporary London Architecture

London Building Designs – chronological list

Architecture Walking Tours in London by e-architect

London Architecture Offices

London Architecture

English Building

Tate Modern Building Design: Herzog & de Meuron Architects

Prince Charles Lecture – RIBA, May 2009

RIBA Awards 2006: West London – awarded

London Buildings

Comments / photos for the National Gallery London Architecture – Sainsbury Wing page welcome

The post National Gallery London Building, Trafalgar Square appeared first on e-architect.

[redcarpetview]

BET NETWORKS ANNOUNCES OFFICIAL NOMINEES FOR THE 2017 “BET AWARDS”

        BEYONCÉ TOPS WITH SEVEN NOMINATIONS WHILE BRUNO MARS TAKES FIVE, FOLLOWED BY CHANCE THE RAPPER, SOLANGE AND MIGOS WITH FOUR A PIECE 

        ----------

      “BET AWARDS” TO AIR LIVE ON SUNDAY, JUNE 25 FROM MICROSOFT THEATER IN LOS ANGELES AT 8 P.M. ET

      ----------

     @BETAWARDS #BETAWARDS

       New York, NY (May 16, 2017) – BET Networks, a unit of Viacom Inc. (NASDAQ: VIA, VIA.B sted NYSE: VIA, VIA.B), today announced the nominations for the 2017 "BET Awards" taking place at Microsoft Theater on Sunday, June 25. This year’s broadcast marks 17 years of unexpected performances, trailblazing moments, super dope talent, and entertainment’s most provocative players. The iconic show continues to be a cultural rule breaker steeped in reinvention with some of the most memorable moments in Award show history. In 2016, Beyoncé and Kendrick Lamar surprised guests with a groundbreaking performance of “Freedom,” Sheila E. and Mayte Garcia performed during the Prince Lifetime Achievement Award tribute and Jesse Williams’ brought the audience to their feet with his dynamic and ever-viral Humanitarian Award acceptance speech. The “BET Awards” has set the standard for one of the most intently unconventional, news-provoking broadcasts.

    Beyoncé. Photo source Instagram/Beyonce.

            Beyoncé dominates this year’s nominations with a total of seven including ‘Best Female R&B/Pop Artist,’ ‘Best Collaboration’ with Kendrick Lamar for “Freedom,” ‘Video of the Year,’ and ‘Album of the Year’ for Lemonade. Bruno Mars follows with five nods including ‘Album of the Year,’ ‘Best Male R&B/Pop Artist,’ and ‘Video of the Year’ for “24K Magic.”  Other nominees include Solange, nominated for four awards and who is up against sister Beyoncéfor ‘Best Female R&B/Pop Artist.’ Chance the Rapper and Migos receive four nominations as well, Chance the Rapper nominated for ‘Best Male Hip-Hop Artist’ and ‘Best New Artist’ and Migos for ‘Best Group’ and ‘Best Collaboration’ for their #1 hit “Bad and Boujee” with Lil Uzi Vert. 

         BET Networks recognizes artists, entertainers, and athletes across over 19 categories with the 2017 "BET Awards" nominations. The nominations are selected by BET’s Voting Academy, which is comprised of fans and an esteemed group of entertainment professionals in the fields of television, film, music, social media, digital marketing, sports journalism, public relations, and the creative arts.

          The complete list of nominees for the 2017 "BET Awards" are:

       Best Female R&B/Pop Artist

BEYONCÉ

KEHLANI

MARY J. BLIGE

RIHANNA

SOLANGE

      Best Male R&B/Pop Artist

BRUNO MARS

CHRIS BROWN

THE WEEKND

TREY SONGZ

USHER

       Best Group

2 CHAINZ & LIL WAYNE

A TRIBE CALLED QUEST

FAT JOE & REMY MA

MIGOS

RAE SREMMURD

        Best Collaboration

BEYONCÉ FT. KENDRICK LAMAR - FREEDOM

CHANCE THE RAPPER FT. 2 CHAINZ & LIL WAYNE - NO PROBLEM

CHRIS BROWN FT. GUCCI MANE & USHER - PARTY

DJ KHALED FT. BEYONCÉ & JAY Z - SHINING

MIGOS FT. LIL UZI VERT - BAD AND BOUJEE

RAE SREMMURD FT. GUCCI MANE - BLACK BEATLES

          Best Male Hip-Hop Artist

BIG SEAN

CHANCE THE RAPPER

DRAKE

FUTURE

J. COLE

KENDRICK LAMAR

        Best Female Hip-Hop Artist

CARDI B

MISSY ELLIOTT

NICKI MINAJ

REMY MA

YOUNG M.A.

          Video of the Year

BEYONCÉ - SORRY

BIG SEAN - BOUNCE BACK

BRUNO MARS   - 24K MAGIC

MIGOS FT. LIL UZI VERT - BAD AND BOUJEE

SOLANGE - CRANES IN THE SKY

      Video Director of the Year

BENNY BOOM – KEHLANI “CRZY”

BRUNO MARS & JONATHAN LIA – BRUNO MARS “THAT’S WHAT I LIKE”

DIRECTOR X – ZAYN MALIK “LIKE I WOULD”

HYPE WILLIAMS – TYGA “GUCCI SNAKES FT. DESIIGNER”

KAHLIL JOSEPH & BEYONCÉ KNOWLES-CARTER – BEYONCÉ “SORRY”

          Best New Artist

21 SAVAGE

CARDI B

CHANCE THE RAPPER

KHALID

YOUNG M.A.

      Album of the Year

24K MAGIC - BRUNO MARS

4 YOUR EYEZ ONLY - J. COLE

A SEAT AT THE TABLE - SOLANGE

COLORING BOOK - CHANCE THE RAPPER

LEMONADE - BEYONCÉ

          Dr. Bobby Jones Best Gospel/Inspirational Award

CECE WINANS – NEVER HAVE TO BE ALONE

FANTASIA FT. TYE TRIBBETT – I MADE IT

KIRK FRANKLIN FT. SARAH REEVES, TASHA COBBS & TAMELA MANN – MY WORLD NEEDS YOU

LECRAE – CAN’T STOP ME NOW (DESTINATION)

TAMELA MANN – GOD PROVIDES

       Gabrielle Union. Photo courtesy of  BET Networks.

       Best Actress

GABRIELLE UNION

ISSA RAE

JANELLE MONÁE

TARAJI P. HENSON

VIOLA DAVIS

      Best Actor

BRYSHERE Y. GRAY

DENZEL WASHINGTON

DONALD GLOVER

MAHERSHALA ALI

OMARI HARDWICK

         YARA SHAHIDI. Photo courtesy of  BET Networks.

          YoungStars Award

ACE HUNTER

CALEB MCLAUGHLIN

JADEN SMITH

MARSAI MARTIN

YARA SHAHIDI

           Best Movie

FENCES

GET OUT!

HIDDEN FIGURES

MOONLIGHT

THE BIRTH OF A NATION

        Sportswoman of the Year Award

GABBY DOUGLAS

SERENA WILLIAMS

SIMONE BILES

SKYLAR DIGGINS

VENUS WILLIAMS

               Sportsman of the Year Award

CAM NEWTON

LEBRON JAMES

ODELL BECKHAM JR.

RUSSELL WESTBROOK

STEPHEN CURRY

        Centric Award

FANTASIA - SLEEPING WITH THE ONE I LOVE

KEHLANI - DISTRACTION

MARY J. BLIGE - THICK OF IT

SOLANGE - CRANES IN THE SKY

SYD - ALL ABOUT ME

YUNA - CRUSH FT. USHER

          DRAKE performs at the Frank Erwin Center in Austin, Texas. Photo courtesy of Naomi Richard.

         Coca-Cola Viewers’ Choice Award

BEYONCÉ - SORRY

BRUNO MARS - 24K MAGIC

 DRAKE - FAKE LOVE

 MIGOS FT. LIL UZI VERT - BAD AND BOUJEE

 RAE SREMMURD FT. GUCCI MANE - BLACK BEATLES

 THE WEEKND FT. DAFT PUNK – STARBOY

           Best International Act: Europe

BOOBA (France)

MHD (France)

CRAIG DAVID (UK)

EMELI SANDE (UK)

GIGGS (UK)

SKEPTA (UK)

STORMZY (UK)

WILEY (UK)

              Best International Act: Africa

AKA (South Africa)

BABES WODUMO (South Africa)

DAVIDO (Nigeria)

NASTY C (South Africa)

STONEBWOY (Ghana)

TEKNO (Nigeria)

WIZKID (Nigeria)

MR EAZI (Nigeria)

         Kendrick Lamar attends the ACL Festival 2016. Photo by Chris Jones.

            The 2017 “BET Awards” will premiere around the world on BET’s international networks. It will air in the UK on Tuesday, June 27th at 9:00pm BST, in Africa on Tuesday, June 27th at 8:00pm CAT, and in France on Wednesday, June 28th at 9:00pm CEST. Fan voting for the "Best International Act: Europe" and "Best International Act: Africa" categories opens today and will close on May 26. Internationally, fans in 100 countries can also stream the 2017 “BET Awards” live with BET Play, BET International’s subscription video on demand application. The iOS and Android app, which also features current and classic BET television series, documentaries, standup comedy and legendary musical performances, will carry a live feed of the red carpet and the Awards, and is available for download now in the iTunes and Google Play stores for $3.99 a month following a seven-day free trial.

      The “BET Awards” will take place along with the BET Experience at L.A. LIVE in Los Angeles from June 22-25, 2017. BET.com/betawards is the official site for the “BET Awards” and will have all the latest news and updates about this year's show.  VIP Packages for the 5th year of the BET Experience weekend are better than ever and now on-sale. In addition to VIP amenities throughout the weekend and incredible seats for STAPLES Center shows, three levels of BETX VIP Packages offer guests the only opportunity to purchase tickets to the highly-anticipated BET Awards, broadcast live from Microsoft Theater. Last year the in-demand VIP Packages sold out, so guests are encouraged to purchase now before the allotment is depleted. Full package amenities and pricing for the Diamond, Platinum and Gold VIP Packages can be found by visiting BETExperience.com or by calling (877) 234-8425.

       General tickets for the BET Experience at L.A. LIVE presented by Coca-Cola® are on sale now at http://www.axs.com/betexperience.

       Download the BETX '17 app powered by AT&T, the #1 source for everything BETX, including real-time event updates, full schedules, BET Fan Fest wristbands, daily prizes, ticket giveaways, live streams and much more.

     Follow the BET Experience on Twitter @betexperience for the latest and greatest and join the hottest conversation by using #BETX. Feel free to also check us out online at http://www.betexperience.com.

                                                                                                                             # # #

[haitilegends]

HERBY WIDMAIER: THE LEGEND LIVES ON... It is with a broken heart that I share the devastating news of Herby Widmaier's passing early this morning. Herby was the quintessential icon in music and radio. A pioneer. He was our Haitian Sinatra. He was passionate about film and photography. Our condolences to Herby Widmaier's family and everyone who knew and loved him. My dad and Herby were best friends and he was like an uncle to me. He will always be the "One and Only." LEGENDS never die: they remain in our hearts forever and in our collective minds. For Herby, it is much more: His qualitative contributions in the field of Radio are irreversible. We owe him a great debt of gratitude for allowing radio DJs to interact with listeners: the commercialisation of FM radio in Haiti: the hourly newscasts etc... love Sandie, (his nickname for me) Sandra Gabriel Lmt/#iamgabrisan HAITI☆LEGENDS ----------------------------------------- Jeudi, 27 avril 2017 09:14 AUTEUR - EJ/RADIO MÉTROPOLE, HAÏTI Herby Widmaïer, icône de la radiodiffusion en Haïti, s'est éteint Le père fondateur de Radio Métropole Herby Widmaier est décédé tôt ce jeudi matin en sa résidence privée, à l'âge de 84 ans. Monsieur Widmaier était souffrant depuis plusieurs mois. Passionné de l'électronique, Herby Widmaïer, était devenu très jeune un radio amateur. Doté d'un talent inné et utilisant ses recherches personnelles, Herby à 14 ans construisit son premier émetteur radio. Il bénéficia de l'aide de son père, Ricardo, qui fonda radio Haïti. Cette station fonctionnera d'abord sur le HH3W et ensuite sur le 4VW. C'est la passion pour la radio diffusion qui sera le fil conducteur de la carrière d'Herby qui est également metteur en ondes et ingénieur de son. L'expérience à radio Haïti durera quelques années et Herby sera contraint de se lancer dans d'autres activités. Ces activités notamment l'enregistrement de groupes musicaux constituent également une page importante de l'histoire de la musique haïtienne. Widmaïer enregistrera les groupes les plus importants de l'époque. Les premiers enregistrements de Compa Direct ont été réalisés sur 78 tours. Il accueillait pratiquement tous les groupes de compas de l'époque. Musicien hors pair, compositeur et arrangeur, Herby était dans son assiette avec des grands noms de la musique haïtienne tels, Guy Durozier et Gérard Dupervil pour ne citer que ceux là. Il reviendra ensuite à la Radiodiffusion en fondant Radio Métropole en 1970, tout en poursuivant inlassablement son action dans la musique et la publicité. Rappelons que le cinéaste haïtien Arnold Antonin a réalisé un film documentaire intitulé « Herby, le Jazz et la musique haïtienne. Sorti en 2012, ce documentaire qui contient des images originales et inédites retrace une bonne partie de la vie de cet icône de la radiodiffusion en Haïti. ~ EJ/Radio Métropole Haïti/ Radio metropole,haiti Radio Metropole Haiti ! | Herby Widmaïer, icône de la radiodiffusion en Haïti, s'est éteint - Nouvelles d'Haiti, Haiti actualités, Haiti News, politique, économie, sports, culture http://www.metropolehaiti.com/metropole/full_une_fr.php?id=30100 --------------------------------------------- Le Nouvelliste - MERCI HERBY AUTEUR Jean Jean-Pierre Si l'actualisation de soi (Self-Actualization), d'après le psychologue américain Abraham Maslow, c'est aspirer à devenir la meilleure version de soi-même, à manifester ses talents dans la vraie vie, il est évident qu'Herby Widmaïer a accédé au degré où il peut s'enorgueillir d'avoir atteint son actualisation tout en menant une existence utilitaire. Utile à son environnement immédiat. Utile à la société. Utile à son pays. A 17 ans, Herby conçut et exécuta le son et le bruitage pour le film « Moi Je suis belle » (circa 1950), réalisé par son père, l'un des pionniers de la radio et du cinéma en Haïti, Ricardo Widmaier et Edouard Guilbaud. Le scénario du film était de Jean Dominique -il en avait été aussi le narrateur-. Plus tard, quand Herby rejoint les rangs de l'orchestre d'Issa El Saieh, nous avions pu découvrir un jeune et talentueux chanteur qui n'avait rien à envier aux Mel Torme, Frank Sinatra ou Tony Bennett. Exagérations, direz-vous. Ecoutez « Women in love » et « Choucoune », ou plus récemment « Fanm Peyi m ». La vedette des stations Suivant le même itinéraire emprunté (tracé conviendrait mieux) par son père, Herby introduira une myriade d'innovations dans la radio en Haïti. Citons-en quelques-unes "Jingles" d'identification : « Radio Haïti, la station des vedettes, La vedette des stations ». Certes, nous avions les Théophile Salnave (dit Zo), Jean Sorel, Gwo Djo, Jazz des Jeunes (cigarette Banda), Nemours Jean-Baptiste (Step Over, Energetic, Barbancourt) et Raoul Guillaume (Esso) qui faisaient de la pub enregistrée, mais c'était la première fois qu'on produisait en Haïti des spots promo d'identification avec de la musique originale. Quand il fonda Radio Métropole le 7 mars 1970, c'était l'échappée permanente d'un déversoir de créativité. « Nous aimons le compas, le jazz et la bossa... » (avec son ami Michel Desgrottes, assisté de l'orchestre Septentrional), « 129 sur votre cadran », « Bon week-end » et tant d'autres encore sont au départ de toute une tradition. Bande FM : si l'Américain Edwin Howard Armstrong est le père de la bande FM (fréquence modulée), pour l'avoir inventée en 1933, Herby Widmaïer est le fier papa de sa diffusion en Haïti. Radio Métropole a été la première station commerciale émettant sur bande FM. Emission interactive : la première émission en Haïti conçue avec la participation directe des auditeurs à travers des lignes téléphoniques (en ce temps-là, il n'y en avait pas beaucoup en Haïti) fut produite par Herby Widmaïer. M. et Mme X fut présentée par feu René Toussaint et Iveline Sokol, devenue plus tard son épouse. Donc, Herby a été le premier à mettre en ondes les auditeurs et les reporters. (Sois rassuré, Herby, que l'histoire ne te tiendra pas rigueur de l'utilisation abusive que nous faisons de ce système de communication au travers duquel nous débitons nos conneries et nos délations à longueur de journée.) Reportage mobile : Herby inaugura le reportage mobile en Haïti avec ce programme matinal « Quand Port-au- Prince bouge » mettant en vedette l'original Bob Lemoine, un modèle dans la radio en Haïti. Ce programme avait aussi permis au public de découvrir les talents de ce technicien hors pair qu'est M. Roland Dupoux, membre fondateur de la station. Nouvelles à chaque heure : je me souviens de cet excellent musicien Michel Déjean, ancien directeur du Choeur Déjean, qui était le propriétaire/opérateur de ce bar à la rue Bonne Foi et qui cavalait chaque 15 minutes avant l'heure à Radio Métropole, rue Pavée, à l'étage de la bonbonnière Madame et Mademoiselle, pour présenter les nouvelles internationales « toutes les heures, 5 minutes avant l'heure ». Ingénieur du son (studio d'enregistrement): entre 1955 et 1972, Herby a enregistré plus de 80% des albums réalisés par tous les orchestres haïtiens. Quant à ses prouesses de technicien de radio, d'amplificateurs, etc., n'en parlons pas. « Music from 10 to 11 », une école sur les ondes. Si la Dessalinienne était notre hymne national du matin, pour nous autres, jeunes musiciens de l'époque, le thème de l'émission de jazz « Music from 10 to 11 » -sur fond de rythme bossanova-, présentée tous les soirs par Herby lui-même, était devenu notre hymne du soir. A travers ce programme, cela dès la genèse de Radio Métropole, Herby élargissait nos horizons musicaux. Nous fûmes exposés aux Stan Getz, Dizzy Gillespie, George Benson, Ella Fitzgerald, Charles Mingus, Cannonball Adderly, John Coltrane, Charlie Parker, etc. Nous devînmes familiers des big bands de Duke Ellington, Woody Herman, Artie Shaw et de Count Basie. Trois ans plus tard, avec son ami Gérald Merceron (un autre contributeur de la musique en Haïti), il nous a permis de voir évoluer sur scène (et de rencontrer) ces musiciens pour lesquels nous nous accrochions à nos cadrans (ainsi le chantait si bien Herby «129 on radio dial... »). D'autres, tels Lee Konitz, Jim Hall, Ron Carter, Jack de Johnette, Sarah Vaughn, Eumir Deodato, Herby Mann, s'ajoutèrent à la liste des illustres visiteurs. On rencontrait parfois ce dernier déambulant tout seul au Boulevard Jean Jacques Dessalines. Herby n'était pas à son coup d'essai. Déjà en 1962, il encourageait David Young (un ami commun qui est parti) à faire venir en Haïti le grand Jazz saxophoniste américain Zoot Sims (de son vrai nom John Haley Sims). (Arrivés ici en Haïti, la première personne qu'ils se sont fait le devoir de visiter fut Mme Georgette à son Flamingo Bar -et lupanar- à Martissant). « Excellence », est le mot que je préfère utiliser pour qualifier la carrière de Herby Widmaïer. Car toutes ses entreprises sont imprégnées de ce désir contagieux de surpasser le standard ordinaire. Il est indéniable que nous, qui grandissions en Haïti à cette époque, avions pleinement bénéficié de cette ambition de bien faire. De faire mieux. Quant à moi, je me suis servi de ce modèle pour me guider dans mes nombreuses productions à Carnegie Hall et au Lincoln Center. En plus, j'ai été vraiment honoré d'avoir pu inclure la voix d'Herby (Haïti de Marcel Sylvain son dernier enregistrement en date), dans mon CD « 1804-2004 Happy Birthday Haiti ». Aujourd'hui, la station qu'il a créée reste encore une institution de référence qui priorise la qualité. Pas de nivellement par le bas. Pas d'«informations sous toutes réserves ». Il avait bien inculqué à ses fils Richard et Joël les principes primordiaux du medium. Les normes inéluctables de la déontologie de la profession. Actualisation de soi ? Herby a utilisé son potentiel pour servir. Nous sommes tous partie à un contrat social tacite qui stipule que nous devons laisser l'espace où nous évoluons mieux que nous l'avons trouvé. Herby Widmaïer peut être fier d'avoir honoré ses obligations contractuelles. Merci Herby! ~ Jean Jean-Pierre - See more at: http://lenouvelliste.com/lenouvelliste/article/119041/Merci-Herby.html#sthash.LV1zH2ZM.dpuf --------------------------------------- "Issa El Saieh - Choucoune" Lead Vocalist HERBY WIDMAIER https://youtu.be/kgqq0Upqkx8 Herbert Widmaier Rest in Peace and 💖 You are all in our thoughts and prayers Richard Widmaier, Mushy Widmaier Gousse, Joel Widmaier, and the entire family. HAITI☆LEGENDS #HerbyWidmaier #LEGENDSNeverdie #haitilegends #Radiométropole #Haiti #MerciHerby #JeanJeanPierre #iamgabrisan