#ron blumberg

[newyorkthegoldenage]

Ron Blumberg, City Street (Fifth Avenue), ca. 1932. Oil on canvas.

Photo: 1st Dibs

[portraituresque]

The Broken Mirror - Ron Blumberg - Self-Portrait

[motherofplatypus]

Bisan Owda is a journalist in Gaza that keeps updating about the barbaric genocide actions that israel committed with weapons supplied mainly by US, all the while living through that genocide itself.

Over 30k+ has been killed, and over 15k+ of those are children and babies.

The celebs and artists who wanted to rescind Bisan's nomination are as follow:

Ari Ingel, Executive Director, Creative Community for Peace

David Renzer, Former Chairman/CEO Universal Music Publishing Group, CCFP Chairman & Co-Founder

Steve Schnur, Worldwide Executive & Music President, Electronic Arts, CCFP Co-Founder

Rakefet Abergel, Actor/Director, Cyclamen Films

Orly Adelson, Former President of ITV Studios, America

Marty Adelstein, CEO, Tomorrow Studios

Anne-Marie Asner, Co-Founder, Animation Israel

Jeff Astrof, TV Producer/Showrunner, Other Shoe Productions

Michael Auerbach, Partner, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner Auerbach Hynick Jaime LeVine Sample & Klein

Dean Bahat, Attorney, Ziffren Brittenham

Andrea Ballas, VP Comms, CBS

Jackie Barrie, A&R Manager, Nvak Collective

Richard Baskind, Partner & Head of Music, Simons Muirhead & Burton

Aton Ben-Horin, Executive VP of Global A&R, Atlantic Records Group

Steven Bensusan, President, Blue Note Entertainment Group

Adam Berkowitz, Founder and President, Lenore Entertainment Group

Sharon Bialy, Casting Director, Bialy/Thomas & Associates

Josh Binder, Co-Founder and Partner, Rothenberg Mohr & Binder, LLP

Neil Blair, Founding Partner, The Blair Partnership

Selma Blair, Actress, Author, Advocate, Sainted Productions

Rebecca Blumberg, SVP Ad Sales, Paramount

Evan Bogart, Songwriter & CEO, Seeker Music

Benjamin Budde, CEO, Budde Group GmbH

Bruce Burger, Producer, RebbeSoul

David Byrnes, Attorney, Ziffren Brittenham

Civia Caroline, Social Impact Consultant, CLiC Impact

Pamela Charbit, Director of A&R, Warner Music Group

Emmanuelle Chriqui, Actor, Yellow Ray Entertainment

Leanne Coronel, Talent Manager, The Coronel Group

Raye Cosbert, Managing Director, Metropolis Musi

Paul Craig, Ceo, Nostromo Management

Doug Davis, NATAS Member, 2x Emmy winner, The Davis Firm

Rebecca De Mornay, Actor

Jamie Denbo, Co-Executive Producer, Grey’s Anatomy, ABC/Disney

Josh Deutsch, Chairman/CEO, Premier Music Group

Avi Diamond, Director, Film/TV Sync, Warner Music Canada

Craig Dorfman, President and Owner, Frontline MGMT

Rachel Douglas, Manager, Range Media Partners

David Draiman, Frontman, Disturbed

Jeremy Drysdale, Screenwriter, bigbamboo

Craig Emanuel, Ryan Murphy Productions

Hannah Epstein, Agent, CAA

Rami “Kosha dillz” Even-Esh, Rapper/Comic/Actor

Lindsay Fabes, Actor

Ron Fair, Record Producer & CEO, Faircraft Inc.

Sharon Farber, Composer, Score by Score Music

Danny Federman, Owner, Maccabi Tel Aviv Basketball Club

Eric Feig, Attorney and TV Academy Member, Feig/Finkel

Patti Felker, Attorney, Felker Toczek Suddleson McGinnis Ryan LLP

Ken Fermaglich, Partner, United Talent Agency

Ross “Remedy” Filler, Artist

Shalom Fisch, President, MediaKidz Research & Consulting

David Fishof, CEO, RRFC Films, LLC

Siri Garber, Publicist, Platform

David Gardner, President, Artists First

Barbara Garshman, CEO, Garshman Productions LLC

Gary Gersh

Gary Ginsberg, Senior VP, SoftBank Group Corp.

Brian Ralston, Composer/Producer, Studio 74 Music, LLC

David Glick, Founder & CEO, Edge Group

Zusha Goldin, Celebrity Photographer, Zusha Goldin

Michael Goldwasser, President, Easy Star Records

Andrew Gould, President, Music Publishing

Scott Greenberg, Partner, LBI

Steven Greenberg, Founder and President, S-Curve Records

Daniel Grindlinger, Writer

Ronnie Harris, Partner, Harris & Trotter

Michael Hirschhorn, Manager, Streaming and Sales, Atlantic Records

Linda Edell Howard, Attorney, Novick Law

Rich Ingram, Artist/Creator

Neil Jacobson, Former President, Geffen Records, Founder & CEO of Hallwood Media

Michael Kaplan, Writer/Producer

Sam Katz, Music Manager, Homebase MGMT, LLC

Zach Katz, CEO & Co-Founder, Fixated

Ketura Kestin, Film Producer, Serendipity Productions

Amanda Kogan, Manager, Aaron Kogan Management

Keetgi Kogan Steinberg, Writer/Producer/Showrunner

Jason Kozel, Creative Executive, Range Media Partners

Rick Krim, CEO, Krim Music + Media

Evan Lamberg, President, North America, Universal Music Publishing Group

Sherry Lansing, Former CEO, Paramount Pictures

Colin Lester OBE, Founder/Chairman, JEM Music Group

Sean Liebowitz, Agent

Koura Linda, Founder & CEO, Space Dream Productions

Marci Liroff, Intimacy Coordinator/Casting Director

Cory Litwin, Managing Partner, Range Media Partners

David Lonner, CEO, The David Lonner Company

Ben Maddahi, President, Unrestricted Publishing & Mgmt

Gabriel Mann, Composer

Deborah Marcus, Executive, CAA Foundation

Susan Markheim, Full Stop Mgt., The Azoff Company

Amanda Markowitz, Actor/Producer, SAG/AFTRA & PGA

Orly Marley, President, Tuff Gong Worldwide

Devra Maza, Screenwriter

Debra Messing, Actor/Producer

Hilary Michael, Agent and Partner, WME

Beth Milstein, Writer

Jennifer Morrow, Actor, CAA

Patrick Moss, Writer, Moroccan Boychik

Robert Munic, Writer/Showrunner, Pull The Pin Productions, Inc.

Lisa Nupoff, Manager, iminmusic management

Scott Packman, Founder and Managing Member, SSP Partners LLC

Mark Pinkus, President, Rhino Records

Jonah Platt, Actor/Producer

Wendy Plaut, SVP Music & Celebrity Talent, Paramount Global

Jessica Poter, Writer, Gustavo Anibal Productions

Golan Ramraz, Writer/Producer, EGX Film Factory

Bruce Resnikof

Frederic Richter, Producer, Writer & Researcher

Wendy Robbins, Executive Producer, Creators Inc

Dan Rosen, President, Warner Music Australasia

Rick Rosen, Co-Founder, Endeavor, WME

Aaron Rosenberg, Partner, Myman Greenspan Fox Rosenberg Mobasser Younger & Light

Gregg Rossen, Screenwriter

Michael Rotenberg, CEO, 3 Arts Entertainment

Joshua Rothstein, CEO/Founder, Ice Cream For Dinner

Haim Saban, Chairman and CEO, Saban Capital Group

Glenn Sanders, Writer/Director/Creative Director, Masonry Creative

Ayelet Schiffman, SVP Head of Promotions, Island Records

Paul Schindler, Senior Partner, Greenberg Traurig LLC

Jordan Schur, CEO and Chairman, Mimran Schur Pictures and Suretone Entertainment

Adam Schwartz, Writer

Sam Schwartz, Partner, Gorfaine/Schwartz Agency

Jay Schweid, Founder/CEO, ephelants/Village

Adam Segal, President, The 2050 Group

Ben Silverman, Chairman and Co-CEO, Propagate Content

Ralph Simon, Chairman & Chief Executive Officer, Mobilium Global Limited

Tamar Simon, Owner/CEO, Mean Streets Management

Martin Singer, Attorney, Lavely and Singer

Halle Stanford, President of Television, The Jim Henson Company

Mimi Steinberg, Writer/Producer

Jonathan Steinsapir, Partner, Kinsella Holley Iser Kump Steinsapir

Gary Stiffelman, Founder, GSS Law

Traci Symanski, CEO, Co-Star Entertainment

Aaron Symonds, Film Composer

Fernando Szew, President, Fox Entertainment

Tal Tavin, Actor

Adam Taylor, President, APM Music

Michael Testa, Casting Director, Michael Testa Casting

Fred Toczek, Partner, Felker Toczek Suddleson Abramson McGinnis Ryan LLP

Eric Tuchman, Writer/Producer, MGM-TV

Noa Vinshtok, Streaming, Range Media Partners

Joshua Washington, International Recording Artist, JoDavi Music LLC

Avi Weider, Filmmaker, Loop Filmworks

Jon Weinbach, President, Skydance Sports

Nola Weinstein, Tech Executive

Ilana Wernick, Writer/Producer, Fox

Modi Wiczyk, Co-Founder, MRC

Evan Winiker, Managing Partner, Range Music

Seth Yanklewitz, Casting Director, Yanklewitz Pollack Casting

Sharon Tal Yguado, Founder & CEO, Astrid Entertainment

Ky Zaretsky, Manager, Range Media Partners

David Zedeck, Global Co-Head of Music

[Sources: here, here, and here]

[gwendolynemaxine]

this story is a circle.

edgar  allan  poe  ♡  the  virgin  suicides  //  jeffrey  eugenides  ♡  portrait  of  the  artist  as  a  young  corpse  //  heather  o’neill  ♡  annabelle  lee  //  edgar  allan  poe  ♡  ron  marz  ♡  a  few  more  last  words  //  g.r.r.  martin  ♡  comic  book  marketplace  //  arnold  t.  blumberg  ♡  jonathan  lethem  ♡  death,  disablity,  &  the  superhero  :  the  silver  age  &  beyond  //  jose  alaniz  ♡  oresteia  //  robert  icke  ♡  deathless  //  catherynne  m.  valente  ♡  bigger  than  the  whole  sky  //  t. S.  ♡  blonde  //  joyce  carol  oates

[sharperthewriter]

Chapter 29 of Roneo and Kimliet

Chapter 29

(Feb. 15, 2006, 4:49pm)

It was now time for the fifth and final scene of Act I of Romeo and Juliet . And Kim feared this scene as the worst one of the act, for she had to kiss Ron on the lips...without any Moodulating chip.

It is not a BF/GF kiss in any way, shape or form . she thought to herself, You are doing this only for a grade, nothing more.

Lord Capulet, played by Reeger, came on to the stage first. This was followed by Tybault, played by TJ (who doubled as one of the Chorus members and who Barkin gave to since he didn't announce who played the character), Zita as Lady Capulet. Kim, of course, came in as Juliet, and the Nurse, played by Ashley A. Half of the class made up the Capulets when not as the chorus

They then saw Ron, Felix and Arnie as Romeo, Benvolio, and Marcuito, respectively.

Kim gulped upon seeing Ron, while Ashley A gave an evil smirk.

Just you wait and see, Possible...

Reeger then proclaimed, "Welcome, gentlemen. The ladies who aren't shy shall dance for you! Ha, my ladies, which of you will refuse to dance now? Does this hit close to home? Welcome gentlemen. Come on musicians, play music!"

Amanda sighed from her desk and put out a CD player with a CD that says, "Lame-o 16th Century Elizabethian Music" in permanent marker. She put the CD inside the player and started to play it. She had been instructed by the Glee Three to stop at certain intervals in the scene.

The students on the stage began to dance to the Shakespearian music.

To one of the Capulet's Cousins, played by Earwin Lawson whom was a senior at the time of Middleton High and played defensive end for the Mad Dogs football team, Reeger then added.

"Ah, sir. These unexpected guests are welcome. No, sit, sit, my Capulet cousin. We're too old to dance. How long has it been since you and I last wore masks?"

Earwin replied, "I'd say about 30 years."

"What? No, it hasn't been that long. It was at Lucentio's wedding. No matter how quickly the years fly by, it's been just 25 years since we last wore masks.

Ron went to a servingman, played by Mikey Blumberg. Mikey, as well as his other friends from 3rd Street School from their youth, were all juniors at Middleton High.

He was looking at his longtime friend.

"Who is the girl on the arm of that lucky man over there?" Ron asked, trying to keep himself in character.

Mikey replied, "I don't know, sir."

"Oh, she shows the torches how to burn bright! Her beauty is too good for this world; she's too beautiful to die and be buried. She outshines the other women like a white dove in the middle of a flock of crows. When this dance is over, I'll see where she stands, and then I'll touch her hand with my rough and ugly one. Did my heart ever love anyone before this moment! My eyes were liars because I never saw true beauty before tonight."

Inside Ron's head, there was Joyous Ron, Angry Ron, Fearful Ron, Disgust Ron, and Sadness Ron.

"I don't know if we should do this..." Fearful Ron replied, "I don't know if we should kiss Kim. It could impact our friendship with her in a negative way. He's known her for almost 13 years!"

"Look at it this way..." Angry Ron said "...it's either this or getting an F on the course and not graduating on the stage!"

"But shouldn't we celebrate that we are actually going to get Ron to finally, for real, kiss Kim?" Joyous Ron asked. "It would be like getting the largest chimmerito that Bueno Nacho has ever made! Covered in sweet and spicy Diabo sauce!

"No...Kim's going to get mad at him...her parents are going to get mad at him...and he'll get grounded for life by his parents!" Sadness Ron whined before breaking down in tears.

"Ewww...I think she would totally use the wrong lip gloss to kiss Ron on the lips." Disgust Ron said.

Tybault, played by TJ, then came onto the scene glaring at Ron.

"I can tell by his voice that the man is a foul Montague!" Looking at the Page, played by Gus, who also was doing double-duty as one of the chorus members, he added, "Get me my sword!"

With his eyes back at Ron, TJ continued, "What, does this peasant dare to come here with his face covered by a mask to sneer and scorn our celebration?"

Gus gave TJ a styrofoam and grey plastic sword.

TJ added, "Now, by the honor of our family, I do not consider it a crime to kill him!"

Reeger intervened and asked "Why? What's going on here, nephew? Why are you so angry?"

"Uncle, this man is a Montague-our enemy!" TJ exclaimed, "He's a scoundrel who's come here out of spite to mock our party!"

"That must be Romeo, right?" Reeger asked.

"That's him, that villain Romeo." TJ exclaimed.

"Calm down, cousin. Leave him alone!" Reeger insisted, "He carries himself like a dignified gentleman..."

Ron was also picking his nose while waiting for his line.

"...and to tell you the truth, he holds a reputation throughout Verona as a well-behaved young man. I wouldn't insult him in my own house for all the wealth in this town. So calm down. Just ignore him. That's what I want, and if you respect my wishes, you'll look nice and stop frowning because that's not the way you should behave at a feast."

"It's the right to way to act when a villain like him shows up!" TJ countered, "I won't tolerate him!"

"You will tolerate him! What, little man? I say you will. What the...am I the boss here or you?" Reeger exclaimed "You'll start a riot among my guests! There will be chaos and it will be your fault.

"But uncle, we're being disrespected!" TJ shouted.

"Go on, go on..." Reeger mocked, "You're an insolent little man. Is that how it is, really? This stupidity will come back to bite you. You're a punk, get away! Keep your mouth shut or else!"

"More light! More light!" Reeger then called out to the lighting crews to intensify the stage lights. They did so.

Turning back to TJ, he added, "I'll shut you up!"

"The combination of forced patience and pure rage is making my body tremble!" TJ insisted, holding onto the plastic sword, "I'll leave here now, but Romeo's prank, which seems so weet to him now, will turn bitter to him later."

As TJ left, the other students on the stage resumed the coordinated dancing. Amanda then whispered something to the head student of the lighting crew to focus on the attention of Kim and Ron, whom were also dancing as well up to this time. This was also when Amanda turned the video camera to focus on the pair as well as zooming in to make sure she got some grade-A footage for Bonnie and her co-horts.

When the lighting focused on them, Kim gulped as she held both hands with Ron. Both of their cheeks began to blush at the fluttering language of the next few lines.

"Your hand is like a holy place that my hand is unworthy to visit." Ron said to Kim with his cheeks blushing. "If you're offended by the touch of my hand, my two lips are standing here like blushing pilgrims, ready to make things better with a kiss.

Kim gathered the strength to read her next line, despite her nervousness.

"Good pilgrim, you don't give your hand enough credit. By holding my hand, you show polite devotion. After all, pilgrims touch the hands of statues of saints. Holding one palm against another is like a kiss."

Amanda meanwhile focused the video camera on them.

"Don't saints and pilgrims have lips too?" Ron asked, leaning in closer to Kim.

"Yes, pilgrim!" Kim replied, "They have lips that they're supposed to pray with."

It's only a play, Possible. It's only a play.

"Well then, saint, let lips do what hands do" Ron replied with his cheeks blushing even more. "I'm praying for you to kiss me. Please grant my prayer so my faith doesn't turn to despair.

Kim replied nervously smiling, "Saints do move, even when they grant prayers."

Ron then replied, "Then don't move while I act out my prayer."

As he said this, Ron leaned in, took a deep breath and kissed Kim on the lips for a small six seconds. Amanda zoomed in with the camera with glee.

"Now my sin has been taken by your lips." Ron said with a slightly higer voice over this act.

"Do my lips now have your sin?" Kim asked, her cheeks just flush with red.

"Sin from my lips?" Ron wondered, "You encourage crime with your sweetness. Give me my sin back."

And with that, both he and Kim kissed a second time on the lips. This time, it was a five second kiss.

"You kissed like you studied how." Kim replied after composing herself upon kissing her best friend twice in that span of 15 seconds.

Ashley A, upon seeing that Amanda has done her job in capturing both kisses of Team Possible for Bonnie, pushed Ron to the side and said to Kim while slightly pulling up her bib down overalls. The pin to her belt broke earlier in the day and it was no good in doing up the strap since she manipulated both buckles so Ashley A was forced to hold them up by the hand.

"Madam, your mother wants to talk to you."

Ron then asked to Ashley A, "Who is her mother?"

Ashley A said with a slight grin, for she and the rest of the Mean Cheers agreed to meet at Bonnie's house at 7:30pm tonight. Bonnie also texted that she was at ballet practice, for that was her routine every Wednesday.

"Indeed, young man, her mother is the lady of the house. She is a good, wise, and virtuous lady. I nursed her daughter, whom you were just talking to. Let me tell you, the man who marries her will become very wealthy."

Ron then stood alone and said, "Is she a Capulet? Oh, this is a heavy price to pay! My life is my enemy's debt."

Felix then came to Ron and said, "Come on, let's go while everything is still perfect.

Ron replied to Felix over what had happened. "Yes, but I'm afraid I'm in more trouble than ever."

Reeger came up to the pair and said, "No, gentlemen, don't get ready to go now. We have a little dessert coming up. Is that really true, Well then, I thank you both. I thank you honest gentlemen. Good night. Bring more torches over here. Come let's get to bed. Ah, my man, I swear it's getting late. I'm going to get some rest"

And with that, almost everyone left the stage except for Ashley A and Kim. Kim's blushing from those two kisses had faded away.

"Come over here, nurse." Kim insisted to the Mean Cheer member, "Who is that gentleman?"

Ashley A replied , "He is the son and heir of old Tiberio."

Kim then asked, "Who's the one who's going out the door right now?"

Ashley A then said, "Well, that one, I think, is young Petruchio."

"Who's the one following over there?" Kim then questioned, pointing, "The one who wouldn't dance?"

"I don't know his name." came Ashley A's reply.

"Go ask." Kim insisted. Ashley A ran off the stage while holding up her bib-down overalls.

Kim thought to herself.

It's a good thing I didn't see the MC Honey-Britina video. My parents would freak if I wore them like that. And Ashley A needs to get herself a belt.

"If he's married, I think I'll die rather than marry anyone else." Kim said while the blush returned to her face.

Ashley A returned. This time, she managed to refasten the left overall strap, leaving the right one undone.

"His name is Romeo. He's a Montague." Ashley A replied, "He's the only son of your greatest enemy."

Kim turned to the audience, which consisted only of Amanda, Barkin, and a few of the Drama students, including the Glee Three, plus a scientist and one of the Golden Dancers awaiting her ride because she ended up in detention. Her name was Lisa.

She said. "The one man I love is the son of the one man I hate! I saw him before I knew who he was and learned it too late! What a monster love is to make me love my worst enemy."

Ashley A then asked, "What's this? What's this?"

"A rhyme I learned just now from somebody I danced with." Kim replied.

Gus called from off-stage, "Juliet!"

"On our way! Come on, let's go!" Ashley A insisted, "The strangers have all left!"

The two girls exited and mercifully ended the first act.

[ulkaralakbarova]

Two women, Nic and Jules, brought a son and daughter into the world through artificial insemination. When one of their children reaches age, both kids go behind their mothers’ backs to meet with the donor. Life becomes so much more interesting when the father, two mothers and children start to become attached to each other. Credits: TheMovieDb. Film Cast: Jules: Julianne Moore Nic: Annette Bening Paul: Mark Ruffalo Joni: Mia Wasikowska Laser: Josh Hutcherson Tanya: Yaya DaCosta Jai: Kunal Sharma Clay: Eddie Hassell Sasha: Zosia Mamet Luis: Joaquín Garrido Brooke: Rebecca Lawrence Levy Stella: Lisa Eisner Joel: Eric Eisner Waify Girl: Sasha Spielberg Clay’s Dad: James MacDonald Bartender: Margo Victor Sous-chef (uncredited): Stuart Blumberg Waiter (uncredited): Diego Calderón Pregnant Woman (uncredited): Amy Grabow Partygoer (uncredited): Nino Nava Film Crew: Writer: Lisa Cholodenko Producer: Daniela Taplin Lundberg Production Design: Julie Berghoff Producer: Gary Gilbert Producer: Jeffrey Kusama-Hinte Producer: Celine Rattray Producer: Phillippe Hellmann Director of Photography: Igor Jadue-Lillo Costume Design: Mary Claire Hannan Editor: Jeffrey M. Werner Producer: Jordan Horowitz Stand In: Toni Kallen Additional Editor: Nancy Richardson Stunts: Cassidy Vick Hice Stunt Coordinator: Mark Norby Writer: Stuart Blumberg Original Music Composer: Carter Burwell Co-Producer: Charles E. Bush Jr. Executive Producer: J. Todd Harris Executive Producer: Neil Katz Co-Producer: Todd J. Labarowski Executive Producer: Riva Marker Co-Producer: Joel Newton Executive Producer: Galt Niederhoffer Executive Producer: Anne O’Shea Casting: Laura Rosenthal Executive Producer: Andy Sawyer Executive Producer: Steven Saxton Executive Producer: Christy Scott Cashman Executive Producer: Ron Stein Co-Producer: Bergen Swanson Art Direction: James Connelly Set Decoration: David A. Cook Co-Producer: Camille Moreau Movie Reviews: Filipe Manuel Neto: **A “gay friendly” film that manages to be minimally neutral to also please those who are out of political and ideological struggles.** The troubled causes have never been so popular as they are today: from abortion to euthanasia, from the historical question between colonizing and colonized countries to the return of looted artworks by European museums, passing through the causes of the Gay Movement, whose acronym grows every year, to embrace any new definition invented for each way of feeling and living sexuality, reflecting a need for affirmation that is felt more strongly than the convenience of presenting a certain union in the ranks. This “gay friendly” film fits perfectly into a growing list of cinema works dedicated to scrutinizing the dynamics of these new families. The advantage of this film is that it is not overly militant. The script introduces us to two mature women, who live in a stable lesbian relationship and who decided to get pregnant, by artificial insemination (obviously the more traditional method was discarded for obvious reasons), the semen donor was the same and the children who were born are, therefore, half-siblings on the part of the father (whom they do not know). It is precisely the search for her biological father and the creation of a closer relationship with him that takes the plot forward, with the introduction of this friendly and uncomplicated man totally destabilizing the life of that house. I liked the movie in general. At the same time that it tries to deny that idea, much replicated, that two lesbians would instill their own sexual orientation in their children, the film seeks to create a question around the inviolability of the anonymity of the donors of seminal material… I cannot speak for everyone, but I would never donate semen if I suspected that, years later, someone might have knocked on my door and said he was my son. Anonymity is something that should be inviolable and sacred here, regardless of the will of those involved. It was the point in the script that bothered me the most, but there were a few more. For me, the strongest poi...

[wyomingtennis]

2022-23 Wyoming Press Box HS All-State Awards

The crew here at WyomingTennis.com have enjoyed covering the game all season, seeing the players in top form. Looking forward to next season! WYOMING GIRLS STATE PLAYER OF THE YEAR Gabby Blumberg, Kelly Walsh WYOMING BOYS STATE PLAYER OF THE YEAR Andrew Lock, South WYOMING STATE TENNIS ROOKIES OF THE YEAR Hailey Mathis-Breitkopf, Central Colin Crecelius, East NORTH REGIONAL COACH OF THE YEAR, GIRLS Kelley Glackin, Sheridan SOUTH REGIONAL COACH OF THE YEAR, GIRLS Ron Bronson, Central NORTH REGIONAL COACH OF THE YEAR, BOYS Paul Dykeman, Jackson SOUTH REGIONAL COACH OF THE YEAR, BOYS Phil Harder, Green River

COMMUNITY SERVICE AWARD Josh Cossitt

In the future, we'd love to see the spring season get more organized in the form of a Mixed Doubles State Championship where individual schools around the state can submit 1 entry and the one-day event could be a fun way to culminate spring tennis.

Schools could have one entries per region and you could do a quick one-day regional, followed by a state tournament. It wouldn't need to be WHSAA sanctioned or anything, but it would be a fun way to give seniors a swan song, give players a chance to compete across teams and spice up the spring season since it's so short.

[leitoracomcompanhia]

Um estranho 

“Com o decorrer dos anos perdera a profissão, a família, o lar, encontrava-me à margem de todos os grupos sociais, sozinho, amado por ninguém, olhado por muitos com desconfiança, em constante e amargo conflito com a opinião pública e a moral, e embora continuasse a viver no âmbito da esfera burguesa, era, por via de todo o meu modo de sentir e de pensar, um estranho nesse mundo.

Hermann Hesse, “O Lobo das Estepes”; pintura de Ron Blumberg.

[lilithsplace]

Strolling the Forrest, c.1959 - Ron Blumberg (1908–2002) oil on panel  |  source:

[nofatclips]

Wind Danse by Chick Corea from the album My Spanish Heart [Also on: Spotify]

[newyorkthegoldenage]

Ron Blumberg, Used Cars, ca. 1934. Gouache.

Photo: 1st Dibs

[portraituresque]

Ron Blumberg - Self-Portrait

[ruthmedia2]

The World to Come (15)

The World to Come (15)

The World to Come (15)            Director: Mona Fastvold             Runtime: 98 minutes Cast: Katherine Waterston, Vanessa Kirby, Casey Affleck, Christopher Abbott Synopsis: Somewhere along the mid-19th century American East Coast frontier, two neighbouring couples battle hardship and isolation, witnessed by a splendid yet testing landscape, challenging them both physically and…

[vanessakirbyfans]

Katherine Waterston and Vanessa Kirby play 19th-century farmers' wives who develop a passionate connection in Mona Fastvold's drama co-starring Casey Affleck and Christopher Abbott.

A friendship that blossoms into romance offers two mid-19th century farmers' wives refuge from their joyless marriages and routines of menial drudgery in Mona Fastvold's The World to Come.

Adapted from Jim Shepard's moving 2017 short story of the same title, this Venice competition entry is set in a rugged upstate New York where the winters are harsh and the patriarchy hangs heavy. Resignation seems to be the default mode for Abigail and Tallie (Katherine Waterston and Vanessa Kirby, respectively), the women at the story's center, whose lives revolve around keeping their husbands' stomachs full and their ambitions afloat. The initially halting, increasingly urgent intimacy that grows between them comes as a relief, but also a frustration — an agonizing taste of what life could be like if they weren't locked into roles dictated by their time, place and culture.

The World to Come has much to recommend it, including the polish and precision of Fastvold's directorial touch and a terrific quartet of leads (Casey Affleck and Christopher Abbott play the heroines' spouses) who, among other things, deliver mouthfuls of unwieldy period dialogue with dexterity and conviction. Kirby, especially, is a marvel, radiant and haunting as the more outgoing of the central pair.

That the movie succeeds to the extent it does is somewhat of a miracle given how often it gets in its own way. Indeed, The World to Come is nearly undone by a single glaring flaw: The drastic over-reliance on voiceover composed largely of lines lifted from the short story. On a sentence to sentence basis, what we hear — mainly Abigail's diary entries, read by Waterston — is vivid, at times strikingly lovely. But it's also so jarringly literary, and so extremely frequent, that it yanks us out of the delicate spell cast by the film's painterly, austerely beautiful images and nuanced performances. Meant to draw us into the outwardly placid protagonist's churning inner world, the voiceover has the opposite effect: one of distancing and interruption. Rarely have I so wanted to tell a first-person narrator to — for lack of more delicate phrasing — put a sock in it.

Shepard, the story's author, is credited as co-screenwriter (along with novelist Ron Hansen), so it's tempting to diagnose the problem as excessive fidelity to source material. Admittedly, the narration makes dramatic sense. Abigail is a stifled intellectual, and writing is her talent and escape; the passages from her journal give us access to feelings that her air of sleeves-rolled-up stoicism doesn't immediately suggest and her everyday duties — baking bread, plucking chickens, milking cows — don't provide an outlet for. The World to Come uses voiceover as its primary tool in building a portrait of female interiority.

But that choice underestimates the other tools at the film's disposal — namely, the director's own visual gifts and her first-rate cast. Waterston is a skilled enough performer and Fastvold an evocative enough stylist to conjure the depths of Abigail's desires and disappointments without having her give an emotional play-by-play. Much as I admired and was at times stirred by The World to Come, I'm convinced it would be a significantly stronger movie with 75 percent of the narration stripped away.

Early scenes pull us into the daily grind of Abigail and her taciturn husband Dyer (Affleck) as they struggle to keep their farm functioning while mourning the loss of their young daughter. There is distance between them — which Dyer openly deplores — though remnants of tenderness, too. Mostly, for Abigail, there is a numbing sameness to the days that pass.

A ripple in that sameness comes in the form of a new couple in the area: Tallie and her hog farmer husband, Finney (Abbott). From the moment Abigail lays eyes on Tallie — with her luxuriant tangle of red hair, splash of freckles and alert blue eyes — she's fascinated. Tallie returns Abigail's curious gaze.

Before long, the women are paying each other regular visits, candid Tallie coaxing reserved Abigail out of her shell. The two share gossip, grievances and, eventually, personal confidences as they create a space away from the men — the lives — they have settled for. Fastvold and her leading ladies establish the characters' dynamic and trace their dawning attraction persuasively, as Abigail finds herself dazzled by Tallie's boldness and independent spirit while Tallie is moved by Abigail's kindness and sharp intelligence. Their closeness is built from a gently crescendoing accumulation of gestures — stolen smiles and glances, the graze of a finger, a bundle of birthday gifts, a foot massage, a hungry kiss — and rendered more intense by their shared sense of looming danger; Abigail and Tallie know that if they're caught, the consequences will be dire.

The omnipresence of Abigail's narration during the movie's middle stretch may call to mind the recent work of Terrence Malick, a great filmmaker whose use and abuse of voiceover has become a devastating weakness. The heroine's musings here may be less drifty and dreamily existential than their Malickian counterparts, but there are eye-rollers of various types — from flowery ("my heart is like a leaf borne over a rock by rapidly moving water"); to obvious ("Astonishment and joy," she sighs following her first embrace with Tallie. Then, in case we didn't get the memo: "Astonishment and joy. Astonishment and joy."); to TMI (when Dyer falls ill: "I've restored him somewhat with an enema of molasses, warm water and lard").

Those lines would be a heavy lift for any performer, and there's something a bit mannered in the hushed pitch and lilting cadences of Waterston's voiceover. She's much more affecting in her scenes with Kirby, the Modigliani-esque graveness of her face melting into a warm, giddy smile.

And how could it not? Kirby gives Tallie a mischievous gleam in her eye and a low, slightly naughty voice that makes her every utterance sound like a confession. The actress conveys more with a slightly cocked eyebrow and clench of the jaw than most do with an entire face-full of emoting, and her magnetism here feels effortless; Tallie isn't as flamboyant as Kirby's flouncy, fancily frocked Princess Margaret from The Crown, but she's somehow just as full of spark and drama.

Affleck and Abbott, meanwhile, lend their characters dimension and specificity, making them more than cardboard impediments to their wives' fulfillment. Speaking in a hoarse, wounded whisper, Affleck locates something deeply human in the hapless, love-starved Dyer, a limited man who nevertheless is capable of seeing beyond his own needs — of having "sympathy," as he notes at one point. Dyer becomes a partner to Abigail at a crucial moment, something that differentiates him starkly from Kinney, a rigid prig who can't conceive of Tallie as anything but an extension of himself. Abbott plays him with a flicker of madness, a streak of sadism that gives the story's turn toward darkness a kind of queasy inevitability.

Even with its flaws, this represents a step up from Fastvold's last movie, the creepy but slight mood piece The Sleepwalker (2014). There's a sense of confidence and control here, starting with DP André Chemetoff's evocative compositions and scrupulously judged camerawork, which favors stillness over movement and balances close-ups with longer shots situating the actors within rustic, sparsely decorated interiors or more majestic outdoor spaces. The setting is stunning (the film was shot on 16mm in Romania), but The World to Come never succumbs to period-drama prettifying. Nature is a seen as a wild, threatening force — Tallie's trek through a blizzard is captured with cacophonous nightmarishness — wielding as much power over the characters' lives as their own choices.

Daniel Blumberg's supple score, by turns mournful, playfully jazzy and full of roiling menace, is one of several other contributions that collectively create an impression of sensitive craftsmanship. Luckily for The World to Come, that impression lingers longer than the film's aggravations.

[sharperthewriter]

Episode 11 - Coach Possible

Plot: When Kim’s dad gets injured coaching a kids soccer team, Kim takes over as coach and Ron fears her competitiveness is taking the fun out of the sport. In the meantime, Junior invites Europe’s royalty to a disco...until Senior takes over.

Rides: Mr. Blumberg

MHS Readerboards: none.

Favorite Lines:

Kim: Ron? What are you doing here? Ron: I come for the games, but I stay for the burnt pizza smell. Mmmm. Oh!

  SSS: You cannot simply smash your foe, SSJ: Why not? SSS: You must give your foe a chance. SSJ: To do what?! SSS: To shimmy up the cable and try something heroic.

  Ron: Working on the Senior and Junior case? Kim: Wrong again. Ron: Ah, soccer. Or as the English call it, football.

Ron: See, that’s your Kimness talking. Kim: Well, I am Kim. Ron: It’s just a game, with small children, who cry when they see you coming.   Strengths: The line delivery, the humor with the Senors, 

Weaknesses: Kim’s S1 bossiness reaches max levels here

Score: 8 Nacos out of 10

[oalsup]

“How soon my sorrow hath destroyed my face.”

Richard II 4.1.290

image credit: The Broken Mirror by Ron Blumberg