#painter director carpenter

[everything-maxriemelt]

Collection fragments and turning them into an idea

[cosmicpuzzle]

Occupations Signified by each Planet 👩🏻‍💻💼💰💸

Sun: Politics, entertainers, military and army commanders, directors, Government officials, public servants, ministers, Prime Ministers, Presidents, Governors.

Moon: Nursing, babysitters, chefs, coast guard, navy, real estate agents, kindergarten teachers, import export, restaurants, clothing, grocery shop.

Mars: Dentist, surgeon, butcher, real estate builders, mechanical/civil engineers, cooks, bodyguards, army, military, airforce, chemists, mechanics, hair cutters, fabrication, marital arts, firefighters, masseuses.

Mercury: Accountants, bookkeepers, data analyst, all types of data work, teachers (especially school), consultants, writers, businessmen, traders, astrologers, speech therapist, language translators, bankers, media personnel, journalist, social media manager, mathematicians, computer operators, customer support, lawyers, coders, programmers, minister.

Jupiter: Lawyers, judge, priest, mentors, advisors, coach, sports coaches, teachers, professors (college level), financial consultants, legal counsel, travel agent, preachers, spiritual teachers, Gurus.

Venus: Artist, movie stars, celebrity, musicians, dancers, singers, jewelers, luxury car dealers, sweet shops, marriage counselor, interior designers, fashion designers, textiles, perfume dealers, air hostess, sex workers, makeup artist, brokers, painters, designers, holiday or vacation agents, ambassadors.

Saturn: Manual jobs, masonry, carpenter, iron or steel worker, geologist, servants, oil and gas worker, executioner, mortician, social service, gardener.

Rahu: Technology, programmers, scientist, nuclear management, toxic chemicals, anesthesia, visa agents, advertising, online jobs, online marketing, drug specialists, alcolol dealers, smartphone service.

Ketu: Astrologers, psychics, monks, nuns, medical workers, doctors, pin hole surgeons, charity, social service, mathematicians, clock and watch makers, black magicians.

For Readings DM

[shelleysmary]

gotta laugh at everyone who has ever said that "~unLiKE tHe pEtEr jACkSoN fILmS~ the trop people don't care about tolkien, don't care about middle-earth, it's a soulless adaptation for the money just because amazon is behind it" because (and i say this while also saying fuck amazon, fuck jeff bezos. it goes without saying - two things can be true at the same time, i can't believe it bears repeating)

how do you think films and television get made?? hate to break it to you, but it's all for the money. new line cinema didn't say "we love tolkien, pj, let's do this for free!" they were literally looking for a franchise hit when they decided to take the films over from miramax - which is exactly what every studio and their mom is trying to do now!!! it's movie business, baby! to say the people behind trop - the actors, the casting directors, the production designers, the vfx artists, the art directors, the armorers, the costume designers, the set decorators, the makeup artists, the ADs, the carpenters, painters, prop-makers, steelworkers, laborers, animal handlers, sound editors, miniature builders, stuntpeople, craftspeople, movement and dialect coaches, trainers, lighting techs, jewelers, etc. - don't care about the story they're telling???? is a wild reach. obviously they work for the showrunners who work for amazon who care the most about making a profit, but so did peter jackson and new line!! wanting your project to be financially and critically successful is not an inherently evil thing, come on guys, are you still buying into the starving artist fallacy 😭

there are tons of little nods to the silmarillion and other parts of the legendarium in the rings of power. yes, there are also changes and goofs, but lotr and the hobbit film trilogies also had their fair share of changes and goofs. i just think that "these people didn't read the books/this is just a money grab/pj & co. cared about the source material while these losers clearly don't" are tired arguments used to justify subjective opinions, not to mention the way it reeks of revisionist history considering the way tolkien purists initially took great issue with deviations made in lotr and especially the hobbit.

it's almost like...the most hated tolkien adaptation is ever the current one.

[mybeingthere]

Ivan Rabuzin (1921 - 2008) was a self-taught artist known for his lyrical paintings celebrating peace and love on earth. He was born in the village of Kljuc, near the town of Novi Marof, in Croatia. After he left elementary school, he learned the trade of carpentry, achieving master level at the Craft School in Zagreb in 1947. For a short period of time he attended an evening art school for workers where he was taught by the painter and sculptor Kosta Angeli Radovani. From 1950 to 1963 he worked in a joinery firm in Novi Marof, first as master carpenter, then as foreman and technical manager, and finally as acting managing director.

Rabuzin's earliest preserved drawings and paintings date from the mid 1940s and display an academic and realistic Rabuzin's earliest preserved drawings and paintings date from the mid 1940s and display an academic and realistic treatment of his subjects and a striving for impressionist effects. He began to exhibit his work in 1956. After a long period working as an amateur, in 1959 he discovered the theme of lyrical landscapes and with it his own visual language. Finding archetypal symbols in the surrounding countryside, he began to create personal and highly recognisable works. He achieved this through a process of abstraction, systematic simplification and a conscious endeavour to approximate everything to its closest geometrical form: he painted wreaths of spherical clouds, trees with round trunks, dome-shaped hills, flower and sun spheres. Rabuzin found the utmost simplicity, concision and perfection in the sphere and the circle, which were to become his symbols of the absolute, symbols of completeness.

(This is an article extract; full article in Raw Vision #52)

[scotianostra]

The Scottish painter William Dyce died on February 14th 1864 in Streatham.

Born at 48 Marischal Street in Aberdeen to a well off family William was educated at the Royal Academy schools, and then travelled to Rome for the first time in 1825. While he was there, he studied the works of Titian and Poussin.

Dyce was highly cultured and widely talented (he was an accomplished musician and wrote learned essays on antiquities and a prize-winning paper on electromagnetism), but initially he was successful mainly as a rather conventional portraitist in Edinburgh.

In 1837 he moved to London to work for the newly founded Government School of Design (which developed into the Royal College of Art) and he made a tour of state art schools in France and Germany to study their methods. His report on his findings led to his appointment as superintendent (director) of the School in 1840. He resigned in 1843, but he remained a central figure in the art world—indeed ‘there was no major [artistic] undertaking in mid nineteenth-century Britain in which he did not play either an executive or advisory role’.

In particular he was a key figure in the revival of fresco painting, which was stimulated mainly by the mural decoration (begun 1843) of the new Houses of Parliament. Dyce’s own work there has deteriorated badly, but his Neptune Resigning to Britannia the Empire of the Sea is one of the best preserved of all Victorian frescos. This was one of several royal commissions for Dyce, who was a favourite of Prince Albert. In addition to murals, he produced a varied range of easel paintings, from high-minded religious scenes (he was a devout Christian) to the delightfully sentimental Titian’s First Essay in Colour his Pegwell Bay, Kent is considered one of the most remarkable of all Victorian landscapes.

Dyce’s strong colours, firm outlines, naturalistic detail, and thoughtful sincerity of approach formed a bridge between the Nazarenes and the Pre-Raphaelites, and Ruskin said that it was Dyce who gave him his ‘real introduction’ to the Pre-Raphaelites when, at the 1850 Royal Academy exhibition, he ‘dragged me literally up to the Millais picture of the Carpenter’s Shop, which I had passed disdainfully, and forced me to look for its merits’.

He was working on the frescoes in Westminster when he collapsed, and later died at his home in Streatham on 14 February 1864. He was buried at St Leonard’s Church, Streatham. A nearby drinking fountain, designed in the neo-Gothic style by Dyce, was subsequently dedicated to him by the parishioners.

Pics are a bust of the artist, Sir James McGrigor, Life Study (Head of Christ), A highland Ferryman and the grave of William Dyce.

[intoxicatingimmediacy]

Oakland wants to pay filmmakers to make movies here

A proposed city incentive for productions in Oakland and Stephen Curry’s media company joining the East Bay Film Collective could mean a boost for filmmaking in the Town. [...] Actor and producer Rafael Casal, best known for the movie-turned-TV-show Blindspotting and most recently for his role as Hunter X-5/Brad Wolfe in the Disney+ TV show Loki, told the Oaklandside during a phone interview that the incentives have been in the making for a long time. Casal and his production partner, Daveed Diggs, had been in conversation with Fife long before she became a councilmember. “What we discovered the first time we were working on the television show was just how much money goes into a season of television and how heavily you can pour into a local economy if you can incentivize the networks to allow you to shoot in locations that are less traditional for Hollywood,” Casal said. “We collectively began to understand that these significant financial barriers were preventing us from filming a show about Oakland in Oakland. It felt like a silly problem to have because other cities had tackled this and could hire local unions, and pour money into the local economy.” [...] In addition to the production crew, union, and nonunion actors for speaking and background roles, the incentives aim to create job opportunities in other sectors, such as catering, security, transportation, set carpenters, and painters. “We think about directors, producers, and actors, but that is 2% of the staffing. The building of sets requires so many carpenters, architects, and catering for months. We’re talking about renting locations and paying location fees, hiring 40 people out of this union, 70 people out of this union,” Casal said. “It’s a significant job creation program if there are multiple shows shooting at once.” [...] Like Fife, Casal believes the incentives will help revitalize the local economy. “This is the art scene asking for more resources and permission to create local art in a way that generates significant revenue for hundreds and hundreds of people, and that just felt very exciting,” Casal said. “That’s what the Bay Area is all about, creating an art scene that is self-sufficient.”

[jamieroxxartist]

Tuesday, July 23, 2024. Episode #1409 of 🎨#JamieRoxx’s Pop Roxx Radio 🎙️#TalkShow and 🎧#Podcast w/ Featured Guests:

Doug Strong (#Director, Co-#Writer) & Kira L. Wilson (#Actress) The Parallels of Loneliness; #Film | #Short, #drama

Pop Art Painter Jamie #Roxx (www.JamieRoxx.us) welcomes #DougStrong & #KiraLWilson ( #TheParallelsofLoneliness; Film | Short, Drama) to the Show!

● IMDB (Film) www.imdb.com/title/tt31433636 ● IMDB (Doug) www.imdb.com/name/nm9950977 ● IMDB (Kira) www.imdb.com/name/nm8381237

The Parallels of Loneliness was originally made for Winterfilm XI competition. It was nominated for 10 awards and took home trophies for: Best Picture, Best Cinematography, Best Production Design and Best Lead Female Actor. This film has been revised and sent to numerous film festivals around the world. At this time, it will only be viewable during the festival screenings.

Doug Strong is a director, editor, writer, and cinematographer from Cincinnati, Ohio. Known for River Road, Psycho Bastard, 24 Percent, and The Parallels of Loneliness, He's won many awards for his work including Best Film: Psycho Bastard (Fright Film 2021), Best Narrative Short: Psycho Bastard (Blue Chip Media Awards 2022), Best Cinematography: 24 Percent (Winterfilm 2023) and Best Film and Best Cinematography: The Parallels of Loneliness (Winterfilm 2024). Best Kill for Psycho Bastard 2022 (Days of the Dead Indianapolis) and Doug has also been nominated by Cincinnati City Beat Magazine for Best Local Filmmaker 4 years in a row. He has two dogs, a German Shepherd named Elio and a red Boston Terrier named Apple. Next up for Doug is the Fright Film competition in August 2024, and currently he's doing a film festival run with Parallels of Loneliness, already being officially selected for 2 upcoming festivals including DMoff and Hilliard. A feature-length horror film could be on the horizon. Favorite movies include John Carpenter's Halloween, and Stanley Kubrick's The Shining.

Kira L. Wilson is a multi-award winning actress, production designer, and producer from Dayton, Ohio represented by Heyman Talent Agency as well as Talent Fusion. 8 years ago, Kira was a full-time insurance agent and happened to “fall into” acting on a local feature film. It had always been her dream to be an actor but never had the opportunity to do so until then. After a highly successful 2 years of networking and acting work, she left her career of 20 years to pursue acting professionally. In addition to acting, she has produced a number of highly successful short films, worked on production design/set decorating, and wardrobing, has been a location manager quite a few times, and assisted with casting projects.

Kira has been involved in over 200 projects such as commercials, print modeling, short & feature films, music videos, and industrials and can be seen on numerous streaming services and television programs for AppleTV, Amazon Prime, Tubi, Roku Channel, Cineverse, Oxygen, TVOne, and HLN networks. Kira is also known by many of her industry peers as “The Chameleon” for her ability to physically transform into practically any character thus making her a well sought after actor to portray biographical roles.

When she’s not working on projects and studying her craft, Kira enjoys traveling, watching movies, attending film festivals, filming alternative hair educational videos on Instagram and YouTube, cooking, volunteering, and fostering for animal rescue, interior design, and spending time with her family and 3 dogs.

● Media Inquiries: Doug Strong, FB: @DougStrong Kira L. Wilson, FB @kira8899

[ulkaralakbarova]

A hospice nurse working at a spooky New Orleans plantation home finds herself entangled in a mystery involving the house’s dark past. Credits: TheMovieDb. Film Cast: Caroline Ellis: Kate Hudson Violet Devereaux: Gena Rowlands Luke Marshall: Peter Sarsgaard Ben Devereaux: John Hurt Jill: Joy Bryant Bayou Woman: Marion Zinser Mama Cynthia: Maxine Barnett Hallie: Fahnlohnee R. Harris Desk Nurse: Deneen Tyler C.N.A.: Ann Dalrymple Nurse Trula: Trula M. Marcus Madeleine Thorpe: Jen Apgar Robertson Thorpe: Thomas Uskali Grace Thorpe: Jamie Lee Redmon Martin Thorpe: Forrest Landis Nurse Audrey: Tonya Staten Creole Gas Station Owner: Isaach De Bankolé Creole Mother: Christa Thorne Papa Justify: Ronald McCall Mama Cecile: Jeryl Prescott Frail Customer: Lakrishi Kindred Luke’s Secretary: Sabah Paramedic: Joe Chrest Party Guest: David J. Curtis Party Guest: Tiffany Helland Party Guest: Brian Ruppert Film Crew: Producer: Stacey Sher Set Decoration: Beauchamp Fontaine Original Music Composer: Ed Shearmur Costume Design: Louise Frogley Producer: Iain Softley Director of Photography: Dan Mindel Art Direction: Drew Boughton Producer: Michael Shamberg Unit Production Manager: Clayton Townsend Casting: Ronna Kress Production Design: John Beard Producer: Daniel Bobker Editor: Joe Hutshing Writer: Ehren Kruger Costume Supervisor: Joyce Kogut Producer: Lorenzo P. Lampthwait Steadicam Operator: Colin Anderson Carpenter: Leo Lauricella Sound Mixer: Peter J. Devlin Set Production Intern: Hiro Taniguchi Key Hair Stylist: Susan Germaine Gaffer: Adam Harrison Sound Designer: Harry Cohen Standby Painter: Andrew P. Flores Location Manager: M. Gerard Sellers Production Supervisor: Gary R. Wordham Visual Effects Coordinator: Stephanie Pollard Greensman: Ronald S. Baratie Key Grip: Thomas Gibson Craft Service: Chris Winn Stunt Coordinator: Buddy Joe Hooker Lighting Technician: Greg Etheredge Supervising Sound Editor: Wylie Stateman Construction Foreman: Chuck Stringer Painter: Andrew M. Casbon III Stunts: Liisa Cohen Transportation Captain: Louis Dinson Scoring Mixer: Chris Fogel Video Assist Operator: Greg Mitchell Special Effects Supervisor: Jason Hamer Thanks: Michelle Guish Post Production Supervisor: Tania Blunden Stand In: Lexi Shoemaker Digital Compositors: Sean McPherson Art Department Coordinator: Stephanie Higgins Frey Makeup Artist: June Brickman Set Costumer: Laurel Frushour Set Dressing Artist: Dale E. Anderson Propmaker: William Davidson Rigging Gaffer: Martin Bosworth Production Manager: Kimberly Sylvester Music Supervisor: Sara Lord Leadman: Jason Bedig Leadman: Brad Bell Grip: Gordon Ard Production Intern: William Jackson Transportation Coordinator: Ed Arter Set Designer: Mick Cukurs First Assistant Camera: John T. Connor Visual Effects Supervisor: Karl Herbst Script Supervisor: Elizabeth Ludwick-Bax Best Boy Electric: Larry Cottrill Production Coordinator: Zoila Gomez Still Photographer: Merrick Morton Special Effects Coordinator: Bob Stoker Editorial Production Assistant: Jen Woodhouse Foley: Craig S. Jaeger Dolby Consultant: Thom ‘Coach’ Ehle Art Department Assistant: Amanda Fernald Jones Sculptor: Fred Arbegast Aerial Director of Photography: Phil Pastuhov Orchestrator: Robert Elhai Visual Effects Supervisor: Dan DeLeeuw Construction Coordinator: Dave DeGaetano Seamstress: Giselle Spence Driver: Bill C. Dawson Property Master: Peter C. Clarke Publicist: Patti Hawn ADR Supervisor: Hugh Waddell Sound Effects Editor: Christopher Assells Assistant Art Director: Jann K. Engel Hairstylist: Kathryn Blondell First Assistant Director: Gary Marcus First Assistant Editor: Davis Reynolds Electrician: Jimmy Ellis Production Accountant: Gregory D. Hemstreet I/O Supervisor: Ryan Beadle Set Medic: John Lavis Visual Effects Producer: Gary Nolin Rigging Grip: Mike Nami Jr. Boom Operator: Kevin Cerchiai Casting Associate: Courtney Bright Stunt Coordinator: Tom Bahr Stunts: Conrade Gamble Stunts: Annie Ellis ADR Mixer: Jeff Gomillion Camera Production Assistant: Alex Scott Storyboard Artist: Richard K. Buoen Assistant Location Manager...

[scottfleary11]

Crafting Theatre Scenery: The Art and Process of Construction

Theatre scenery construction is an essential aspect of theatrical productions, bringing to life the environments in which stories unfold. It involves a unique blend of creativity, engineering, and craftsmanship, allowing designers and builders to transform a blank stage into a vivid, immersive world. This article explores the various elements of theatre scenery construction, from design concepts to the final touches that complete a stage.

Understanding the Design Process

At the heart of theatre scenery construction is the design process, which begins with the vision of the production team. Scenic designers collaborate with directors and other creative personnel to establish a visual theme that reflects the narrative and emotional tone of the play. This collaborative effort often results in sketches or digital renderings that serve as blueprints for the physical construction of the scenery.

A crucial aspect of this phase is considering the logistical challenges of the stage, including its dimensions, sightlines, and how scenery will be used during the performance. Designs must be practical, allowing for quick changes between scenes and accommodating the actors' movements. Once the designs are finalized, detailed plans, including dimensions and materials, are created to guide the construction process.

Materials and Techniques

Theatre scenery can be constructed using a variety of materials, depending on the desired aesthetic and functional requirements. Common materials include wood, metal, fabric, and foam. Each material has its own properties, affecting weight, durability, and appearance. For instance, wood is often used for creating sturdy structures like platforms and flats, while lightweight materials like foam are popular for intricate designs that require easy transport and setup.

Various construction techniques are employed to bring the designs to life. These include traditional woodworking methods, such as framing and joinery, as well as modern approaches like CNC routing and 3D printing. Each technique offers distinct advantages, allowing for greater precision and creativity in the construction process. The choice of technique often depends on the complexity of the design, the budget, and the resources available to the production team.

Building the Scenery

Once the designs and materials are in place, the actual building of the scenery begins. This process is typically carried out in a scene shop, where skilled artisans work to construct the elements based on the detailed plans. Teams of carpenters, painters, and fabricators collaborate to assemble the scenery, ensuring that each piece is crafted to meet the specifications of the design.

The construction phase involves not only building the scenery but also painting and finishing it. Scenic artists play a vital role in this stage, using various techniques to create realistic textures, colors, and effects that enhance the visual storytelling. Techniques such as faux finishing, airbrushing, and sponging can be employed to create the illusion of depth and detail, making the scenery more immersive for the audience.

Installation and Final Touches

After the scenery is constructed, it must be transported to the theatre for installation. This stage can be complex, requiring careful planning to ensure that all pieces fit together seamlessly on stage. Once in the theatre, the scenery is assembled and secured, and any necessary adjustments are made to accommodate the specific stage layout.

Final touches, such as lighting and sound effects, are integrated at this stage to enhance the overall atmosphere of the production. Effective lighting can dramatically alter the appearance of the scenery, highlighting certain elements while casting shadows on others, adding depth and intrigue to the performance.

[palmviewfm]

any jobs you'd like to see that aren't already taken? :)

yes  !  we've  got  tons  of  jobs  that  you  can  go  for  !  here's  some  ideas  you  could  consider  using for your muses:  more  characters  working  in  acting  and  theatre,  reporter,  travel agent, caterer,  accountant,  barber,  hairstylist,  makeup artist,  podcaster, publicist, marketing manager, artist,  author, pr manager, retail, photographers, interior designer, director, real  estate  agent,  dentist,  veterinarian,  painter,  carpenter,  electrician,  graphic  designer,  consultant,  counselor,  hotel  manager,  video game developer, athletes, and  receptionists  !

[brookstonalmanac]

Birthdays 8.13

Beer Birthdays

Arnulf of Metz (582 C.E.)

William Blackall Simonds (1761)

Anders Jöns Ångström (1814)

Charles Wells (1842)

Lilly Anheuser (1844)

William J. Lemp Jr. (1867)

Mark Carpenter (1943)

Dave Keene (1955)

Tom Nickel (1972)

Five Favorite Birthdays

Ben Hogan; golfer (1912)

Annie Oakley; sharpshooter (1860)

Philippe Petit; high-wire artist (1949)

George Shearing; jazz pianist (1919)

Felix Wankel; German engineer (1902)

Famous Birthdays

Felix Adler; ethics philosopher (1851)

Giovanni Agnelli, Italian businessman, founded Fiat (1866)

Anders Jöns Ångström; Swedish physicist (1814)

Benny Bailey; trumpet player (1925)

John Logie Baird; Scottish engineer, television inventor (1888)

Grace Bates; mathematician (1914)

Kathleen Battle; opera singer (1948)

Danny Bonaduce; actor (1959)

Neville Brand; actor (1920)

Jane Carr; English actress (1950)

Dave Carter; singer-songwriter and guitarist (1952)

Fidel Castro; Cuban dictator (1927)

William Caxton; English linguist, printer (1422)

Bobby Clarke; Philadelphia Flyers C (1949)

Will Clarke; author (1970)

Tom Cohen; philosopher (1953)

Dave "Baby" Cortez; R&B pianist, organist, and composer (1938)

Alex de Renzy; film director (1935)

Joycelyn Elders; admiral and physician (1933)

Dan Fogelberg; pop singer (1951)

Julius Freed; inventor, "Orange Julius" (1887)

James Gillray; English caricaturist (1756)

Paul Greengrass; English film director (1955)

George Grove; English musicologist and historian (1820)

Pat Harrington Jr.; actor (1929)

Alfred Hitchcock; film director (1899)

Don Ho; singer (1930)

John Ireland; English composer (1879)

Salomon Jadassohn; German composer (1831)

Bert Lahr; actor (1895)

George Luks; painter (1867)

Salvador Luria; Italian-American microbiologist (1912)

Bernard Manning; English comedian (1930)

Debi Mazar; actor (1964)

Jimmy McCracklin; blues/R&B singer-songwriter (1921)

Vladimir Odoyevsky; Russian philosopher (1803)

Tom Perrotta; novelist (1961)

Valerie Plame; CIA agent and author (1963)

Kevin Plank; businessman, founded Under Armour (1972)

Thomas Pogge; German philosopher (1953)

Llewelyn Powys; British writer (1884)

Gene Raymond; actor (1908)

Herb Ritts; photographer (1952)

Buddy Rogers; actor and musician (1904)

Frederick Sanger; English biochemist (1918)

John Slattery; actor (1962)

Goldwin Smith; English-Canadian historian (1823)

Lucy Stone; feminist, suffragist (1818)

Margaret Tafoya; Native American Pueblo potter (1904)

Regis Toomey; film director, actor (1898)

Richard Willstätter; German-Swiss chemist (1872)

[cyberpunk-r-j]

The Most Excellent and Lamentable Tragedy of Romeo and Juliet

I am very excited to announce that I am directing a Cyberpunk production of The Most Excellent and Lamentable Tragedy of Romeo and Juliet for Kitchener Waterloo Little Theatre's 2024/2025 season.

:: In the dangerous neon lit streets, two young lovers, from fiercely rival corporate families, rely on the aid of the Holy AI in an attempt to elope. Grey streets, neon signs, cybernetics, punk fashion, powered swords, and even an AI: Romeo & Juliet in a cyberpunk setting. ::

Auditions: August 25-27, 2024

Performances: Fridays & Saturdays @8:00 pm Sundays @2:00pm November 22 - December 8, 2024

I am still looking for lots of help to bring this tragic story to the stage. If you are interested in helping out with any of the following roles, please contact me at cyberpunk-r-j@kwlt.org (or via any other way you may have of contacting me):

Stage Manager

Assistant Stage Manager

Technical Director

Lighting Design

Head Carpenter

Carpenter

Set Painter

Head Costumer

Assistant Costumer

Head of Properties ("Props")

Producer

Back Stage Crew

Audition Wrangler

NOTE: If you are interested in helping, but are concerned about lack of experience, know this: at KWLT "we pride ourselves as being an entry point to theatre experience". Everyone has a first time in a position, and there are people who will not only be willing, but excited to show you the ropes.

You will be hearing more in the near future about everything from my vision, how I work with the script, approach to age, race, and gender when casting, and pretty much anything that I find inspiring.

I am so excited to get this out of my head (where it has been percolating for approximately 10 years!) and on to the stage. I am looking forward to creating this production with the community, and share with an even larger community!

[ambrosiafm]

Job ideas?

carpenters, wedding planners, school teachers, therapists, gardeners, lawyers, pediatricians, palm readers / tarot card readers, midwife, mechanics, surgeons, accountant, models, cake decorators, bakers, firefighters, paramedics, writers, veterinarian, dentist, professional athlete, hair dresser, blacksmith / metalworker, electrician, painter, chiropractor, psychiatrist, web developer, child care worker, nurses, former/child actors, former band members who broke up, funeral directors -- owners of businesses ; restaurants, boutiques, flower shops, cafe's, book stores, used book stores, tea shops, salon owner, craft stores !!

[yessadirichards]

Hollywood's working class turns to nonprofit funds to make ends meet during the strike

THALIA BEATYNEW YORK

Shawn Batey was sweating in the August sun on the 100th day of the writers strike, carrying her “IATSE Solidarity” sign on the picket line outside Netflix's New York offices, but she was glad to be there.

A props assistant and documentary filmmaker, Batey is a member of the International Alliance of Theatrical Stage Employees, the union that represents most Hollywood crew members, and has recently worked on “Pose” and “Russian Doll.” But since the writers strike began in May and the actors joined them on July 14, Batey has had trouble covering her expenses — so she applied to the emergency fund from the Entertainment Community Fund for help.

“They say apply when you’re at a critical point,” said Batey, adding that she needed to show her union card, her wages and, in her case, that she'd worked as a member of the union for a certain number of years. The application is lengthy, but she said, “It is definitely worth for people to apply. Just be patient.”

Batey — who used her grant to pay her rent, phone bill and electric bill, and other expenses — is one of 2,600 film or television workers that the Entertainment Community Fund has helped during these strikes, granting $5.4 million as of Aug. 25. The fund, formerly known as The Actors Fund, is one of several nonprofits that have long supported workers who make the entertainment industry run, but who were essentially gig workers long before the term was coined. That includes both unionized and nonunionized workers, and those on strike as well as those who've lost work because of it.

The fund has received the most requests for help from people in California, followed by Atlanta and New York. It’s raised $7.6 million so far and is granting about $500,000 a week. For now, it’s issuing one-time grants of up to $2,000 for individuals or $3,000 for families.

“It's a lot of the crafts people, the wardrobe people, the makeup people, the carpenters that build the sets, the painters, the electricians,” said Tom Exton, chief advancement officer for the Entertainment Community Fund. He said the fund has supported industry members through many previous crises, including the AIDS epidemic and financial crisis, and would continue to fundraise to provide help as needed.

Another charity created more than 100 years ago to help entertainment workers get through through tough periods, the Motion Picture & Television Fund, helps administer funds from some of the unions to provide emergency assistance specifically for their members. It declined to disclose the amount of financial support its received from those unions. The fund also provides financial and counseling support to unaffiliated workers and offers housing to industry veterans over the age of 70.

Bob Beitcher, its president and CEO, said many of the lowest-paid entertainment workers have little savings or reserves coming out of the pandemic. The federal programs and protections, like eviction moratoriums that helped keep entertainment workers and many others afloat during COVID-19 shutdowns, also aren't around now.

“They are losing their homes. They’re losing their cars and trucks. They’re losing their health insurance,” Beitcher said. “And it’s pretty awful.”

Striking actors and writers have accused the studios of purposefully prolonging the strike so that they lose their homes.

MPTF has been getting 200 calls a day as opposed to 20 a day before the strike. Over 80% of callers are “below-the-line” workers, meaning not the actors, writers, directors or producers. They've processed 1,000 requests for financial assistance through the end of July, the fund said, with applicants waiting an average of two weeks for the money to be dispersed.

Beitcher called for greater support from industry members, in an open letter on Aug. 17, saying, “As a community, we are not doing enough to support the tens of thousands of crew members and others who live paycheck to paycheck and depend on this industry for their livelihood. They have become the forgotten casualties during these strikes, overlooked by the media.”

MPTF said it has raised $1.5 million since the letter was published.

The SAG-AFTRA Foundation, a nonprofit with a mission to support the members of the actors union, quickly raised $15 million with $1 million donations from Jennifer Lopez and Ben Affleck, Oprah Winfrey and Julia Roberts in the first three weeks of the actors strike. Other $1 million donations came from George and Amal Clooney, Luciana and Matt Damon, Leonardo DiCaprio, Hugh Jackman and Deborra-Lee Furness, Dwayne Johnson, Nicole Kidman, Ryan Reynolds and Blake Lively, Arnold Schwarzenegger and Meryl Streep.

Cyd Wilson, the foundation's executive director, said her pitch to the top talent is that even the biggest stars need the army of smaller actors, many of whom live paycheck to paycheck, to make their movies and television shows.

“Those are the people that we’re going to be helping the most, because those are the people that are going to be hurting the most,” she said.

The foundation exclusively supports the 160,000 members of the union and 86% of those performers don't make enough work in a year to qualify for health insurance, Wilson said.

“They waitress, they bartend, they work catering, they drive Uber, they babysit, they dog walk, they housesit. They have all these secondary jobs in order to be able to survive,” she said.

As the strike goes on, the funds expect more and more union members will lose their health insurance because they will not have worked enough hours to remain eligible. A small group of mostly showrunners decided they wanted to specifically fundraise to cover health care for crew members, and set up a fund with the MPTF.

“It’s one thing for us to be sacrificing our own day-to-day for our greater good, but to watch our brother and sister union stand beside us?” said actor and writer Andrea Savage. “We just got together and said, ‘How can we show that we’re there for them? And also really put our money where our mouth is and actually do something concrete?’”

On Wednesday, talk show hosts Stephen Colbert, Jimmy Fallon, Jimmy Kimmel, Seth Meyers, and John Oliver launched the “Strike Force Five” podcast, with proceeds from the limited run going to the writers and crew on their TV shows. Mint Mobile and premium alcohol maker Diageo signed on as presenting sponsors.

Savage, along with other actors like “Girls” creator Lena Dunham and “Black Monday” star Paul Scheer, started talking on WhatsApp groups, then met on Zoom and eventually founded The Union Solidarity Coalition. They've raised $315,000 so far in part from a benefit show in Los Angeles on July 15 that went to the MPTF fund (Savage said she and Scheer covered the cost of the portable toilets).

The writer Liz Benjamin helped set up an initial auction, which included a ceramic vase made by Seth Rogen and a blue dress worn by Abbi Jacobson in the series “Broad City,” raising more than $8,600. A second auction opens in mid-September on eBay.

Batey says she is still trying to figure out how to make ends meet in September and for the rest of the strike. She's thinking about where else her skills might be applicable and whether to get temporary work outside her field. In the meantime, she supports the striking writers and actors.

“It's dignity and standing up for yourself," she said. "So if it means we have to take a hit right now for the bigger cause, it’s worth it.”

[scotianostra]

19th September 1806 saw the birth of William Dyce, the painter and educator.

Born at 48 Marischal Street in Aberdeen to a well off family William was educated at the Royal Academy schools, and then travelled to Rome for the first time in 1825. While he was there, he studied the works of Titian and Poussin.

Dyce was highly cultured and widely talented (he was an accomplished musician and wrote learned essays on antiquities and a prize-winning paper on electromagnetism), but initially he was successful mainly as a rather conventional portraitist in Edinburgh.

In 1837 he moved to London to work for the newly founded Government School of Design (which developed into the Royal College of Art) and he made a tour of state art schools in France and Germany to study their methods. His report on his findings led to his appointment as superintendent (director) of the School in 1840. He resigned in 1843, but he remained a central figure in the art world—indeed ‘there was no major [artistic] undertaking in mid nineteenth-century Britain in which he did not play either an executive or advisory role’.

In particular he was a key figure in the revival of fresco painting, which was stimulated mainly by the mural decoration (begun 1843) of the new Houses of Parliament. Dyce's own work there has deteriorated badly, but his Neptune Resigning to Britannia the Empire of the Sea is one of the best preserved of all Victorian frescos. This was one of several royal commissions for Dyce, who was a favourite of Prince Albert. In addition to murals, he produced a varied range of easel paintings, from high-minded religious scenes (he was a devout Christian) to the delightfully sentimental Titian's First Essay in Colour his Pegwell Bay, Kent is considered one of the most remarkable of all Victorian landscapes.

Dyce's strong colours, firm outlines, naturalistic detail, and thoughtful sincerity of approach formed a bridge between the Nazarenes and the Pre-Raphaelites, and Ruskin said that it was Dyce who gave him his ‘real introduction’ to the Pre-Raphaelites when, at the 1850 Royal Academy exhibition, he ‘dragged me literally up to the Millais picture of the Carpenter's Shop, which I had passed disdainfully, and forced me to look for its merits’.

He was working on the frescoes in Westminster when he collapsed, and later died at his home in Streatham on 14 February 1864. He was buried at St Leonard's Church, Streatham. A nearby drinking fountain, designed in the neo-Gothic style by Dyce, was subsequently dedicated to him by the parishioners.

My favourite painting of his that I have seenis the one of the inside of Rosslyn Chapel.