#terry collier

[2tonerecords]

1. original series terry collier being rather cheeky

2. toots

3. lynval based off one of my fav lyn photos

4. thommo doodles Cuz hes silliest and hes my favourite

[6gigsofgroovies]

Date yourself for a while

Easy to dispense with: I haven't found anything quite as thrilling to me as "Lazy Line Painter Jane." Still, a few clicks through a Monica Queen YouTube search yields lovely, quaking results. To return to the Belle & Sebastian though, one sure sign of a great artist (I mean musical but maybe the rule can be extrapolated inter-medium) is an ability to get odd, compelling, often freer and singular performances from their collaborators – see, for example, Chief Keef on Hold My Liquor" or the whole of Pussy Cats. I always feel mild disappointment upon finding nothing elsewhere in their catalog that's quite as gripping as what is often my introduction to an artist. Which is certainly my problem. Another error: imagining that the performances that captivate me are Stuart Murdoch's or Kanye West's or John Lennon's doing alone or even for the most part, as if Monica Queen or Chief Keef or Harry Nilson aren't the ones I'm hearing, the ones actually making the sound.

Maybe I'm being excessively fair.

For your trouble:

[ocmerunaway]

Suzanne Collier gets her wrist broken by her then fiancé an hour after he quits the police force. She runs, of course, to Terri Driver, the woman to blame for her ex and his awful mood... but Terri has always been home and hope and love... but can Terri really make it better this time? 

[fashionbooksmilano]

Chic Clicks

Exhibition curator Ulrich Lehmann

Hatje Cantz Publ. , Berlin 2002, 150+140 pages, 23,5x30cm, ISBN 3-7757-1135-X

euro 90,00

email if you want to buy booksinprogressmilano@yahoo.it

Catalogue reads from both directions, with texts in the center of the book, with hundreds of full color photographs by a range of artists including Philip-Lorca diCorcia, Anders Edstrom, Takashi Himma, Richard Prince, Collier Schorr, Cindy Sherman, Larry Sultan, Erwin Wurm, and many others. Published on the occasion of the exhibition held first in Boston from January 23-May 5, 2002, and subsequently at Fotomuseum Winterthur from June 15-August 18, 2002. 

Chic Clicks est la première publication traitant du conflit entre la revendication artistique et la réalité commerciale dans la photographie de mode. 40 photographes de renom présentent des travaux libres et inédits ainsi que des commandes publiées dans des magazines de mode ; cinq essais traitent de la photographie de mode dans sa signification culturelle et sociale.

Chic Clicks présente à la fois des clichés privés et expérimentaux de photographes qui se sont fait un nom avec des photos de mode, et des photos de mode de photographes qui se sont d'abord fait connaître par leur travail artistique et qui, par conséquent, ont reçu des commandes de magazines de mode et d'entreprises.

Les artistes : Fred Aufray, Laetitia Benat, Anuschka Blommers & Niels Schumm, Koto Bolofo, Mark Borthwick, Jean-François Carly, Alex Cayley, Banu Cennetoglu, Donald Christie, Philippe Cometti, Philip-Lorca diCorcia, Corinne Day, Horst Diekgerdes, Anders Edström, Alexei Hay, Takashi Homma, Mikael Jansson, Marcelo Krasilcic, Christophe Kutner, Tom Lingnau et Frank Schumacher, Glen Luchford, Richard Prince, Dmon Prunner, Blaise Reuterswärd, Terry Richardson, Satoshi Saikusa, Jimo Salako, Luis Sanchis, Collier Schorr, Cindy Sherman, David Sims, Antonio Spinoza, Larry Sultan, Iké Udé, Javier Vallhonrat, Jonathan de Villiers, Matthias Vriens, Erwin Wurm

10/06/24

[help-im-a-medstudent]

(Audio)Book Review

Geneva - Richard Armitage

Rating: ⭐⭐⭐⭐⭐

Blurb: Nobel Prize-winning scientist Sarah Collier has started to show the same tell-tale signs of Alzheimer’s disease as her father: memory loss, even blackouts. So she is reluctant to accept the invitation to be the guest of honour at a prestigious biotech conference – until her husband Daniel, a neuroscientist, persuades her that the publicity storm will be worth it. The technology being unveiled at this conference could revolutionise medicine forever. More than that, it could save Sarah’s life.

In Geneva, the couple are feted as stars – at least, Sarah is. But behind the five-star luxury, investors are circling, controversial blogger Terri Landau is all over the story, and Sarah’s symptoms are getting worse. As events begin to spiral out of control, Sarah can’t be sure who to trust – including herself.

Review: I mainly downloaded this because a) it was free with my audible membership and b) I was obsessed with Spooks and Richard Armitage and Nicola Walker. This did not disappoint, it's gripping, there are plenty of twists some that I guessed and some that absolutely FLOORED me, it's told from several perspectives which was easy to follow and I need this as a film/tv series with those two playing the main characters. I don't know how to review this without spoiling but I always feel a good book makes you feel things about the main characters (whether that's positive or negative emotions) and I got so invested in this and yelled a lot at certain characters so it definitely ticked that box for me. It's not super science/biotech focussed and isn't sci-fi it's more an imagining of medical tech that is not currently available but could be soon. Apparently it was originally written to be an audiobook but I think there is a print version, I don't know if that would affect it in any way.

Trigger warnings: Alzheimer's dementia, mentions of assisted suicide, emotional abuse, murder, violence, gun violence, car accident, depiction of hallucinations and dissociative episodes

[justforbooks]

The actor Brigit Forsyth, who has died aged 83, made her name as Thelma in the BBC television series Whatever Happened to the Likely Lads? One critic described Thelma as so prim that she could turn the lifting of a lace curtain into an art form.

Dick Clement and Ian La Frenais’s creation, which ran from 1973 to 1974, was the sequel to the popular 1960s sitcom The Likely Lads, which starred Rodney Bewes and James Bolam as Bob Ferris and Terry Collier, two single north-east England factory workers who share a flat and the same interests – women, drink and football.

Thelma Chambers was brought in as a girlfriend for the upwardly mobile Bob, now in the white-collar class with a house, car and annual holiday on the Costa Brava, scoffed at by Terry, who clings on to his working-class roots. Thelma and Bob were married halfway through the two series of the show.

“Up until then, I had done a lot of drama on telly,” said Forsyth. “If I wasn’t being murdered, I was murdering somebody or I was a disturbed art teacher. I was playing quite a lot of deranged people, so comedy was a nice change.”

She created laughs again with the sitcom Sharon and Elsie (1984-85), in which she co-starred as the middle-class Elsie Beecroft alongside Janette Beverley as the more down-to-earth Sharon Wilkes, two employees in a greetings card manufacturing company.

But Forsyth’s own favourite television part was Francine Pratt in Playing the Field (1998-2002), the on- and off-pitch women’s football drama created by Kay Mellor. Her character, who hates the game, is married to the Castlefield Blues’ sponsor, played by Ricky Tomlinson, and keeps him happy in return for designer clothes and other luxuries.

“I have never played awful glamour before,” she said. “I had a blond wig, six-inch heels, makeup and my bosom hitched up high.”

Forsyth was born in Malton, North Yorkshire, to Scottish parents, Anne (nee Forsyth), an artist, and Frank Connell, an architect and town planner, and brought up in Edinburgh. She was mesmerised by Stanley Baxter’s performances as a pantomime dame at the city’s King’s theatre and, aged 18, landed her own first lead role, as Sarat Carn, on her way to the gallows, in Charlotte Hastings’s play Bonaventure with the Makars amateur drama group.

But when she left St George’s school, Edinburgh, her parents insisted she learn a skill, so she trained as a secretary. After a couple of jobs, she headed for London and Rada (1958-60), where she won the Emile Littler prize.

She began her professional career back in Edinburgh with the Gateway theatre company (1960-61) before moving on to the Theatre Royal, Lincoln (1961-62) and the Arthur Brough Players in Folkestone (1962). With other actors already named Brigit McConnell and Bridget O’Connell, she changed her professional name to Forsyth on her return to Lincoln in 1962.

At the Edinburgh festival three years later, she played one of the witches in a headline-making production of Macbeth. “That show caused an absolute uproar because they wanted the witches to have the bodies of young girls and the faces of old women, and they wanted us to have our top half naked,” Forsyth recalled. “But the Earl of Harewood, who was running the EIF at the time, said ‘No’. So they put nipple caps on us, which looked absolutely disgusting – and they used to drop off each night. It was absolutely hysterical.”

Later, in the West End, Forsyth played Annie in The Norman Conquests (Globe, now Gielgud, and Apollo theatres, 1974-76) and Dusa in the feminist play Dusa, Fish, Stas and Vi (Mayfair theatre, 1976-77). She put her TV breakthrough down to cutting her hair short. “It proved a tremendously lucky omen,” she said.

That break came with Adam Smith (1972), in which she played the younger daughter of the title character, a Scottish minister (Andrew Keir). The director, Brian Mills, then worked with Forsyth on the psychological thriller Holly (1972), when she took the part of a young art teacher kidnapped by a mentally unstable student. Forsyth and Mills married in 1976.

Television roles kept on coming. She was Veronica, one of the product-promotion team, in The Glamour Girls (1980-82), Harriet in the inter-generational sitcom Tom, Dick and Harriet (1982-83), and Helen Yeldham, a hotelier, in the 1989 series of Boon.

There were also appearances in soap opera: as GP Judith Vincent in The Practice (1985-86); Babs Fanshawe, Ken Barlow’s escort agency date who dies of a heart attack, in a 1998 Coronation Street episode; Delphine LaClair, a sales rep for a French company interested in buying Rodney Blackstock’s vineyards, for two short runs in Emmerdale (2005 and 2006); Cressida, mother of the millionaire Nate Tenbury-Newent, in Hollyoaks in 2013; and three roles in Doctors between 2000 and 2012.

Forsyth also played the miserable Madge, who frustrates her sister Mavis’s attempts at a relationship with Granville, in the sitcom sequel Still Open All Hours (2013-19).

A cellist from the age of nine, Forsyth starred as the real-life virtuoso Beatrice Harrison in a 2004 tour of The Cello and the Nightingale. Also on tour, she was a remarkably believable Queen Elizabeth II in A Question of Attribution (2000) and played Marie in Calendar Girls (2008). “I’m Mrs Frosty-Knickers, the one who doesn’t approve of it all.”

In 2017, she played a terminally ill musician in the stage comedy Killing Time, written by her daughter, Zoe Mills, who acted alongside her. At the time, Forsyth revealed that her maternal grandfather, a GP in Yorkshire, had helped dying patients to end their lives. Declaring herself a supporter of euthanasia, she said: “He bumped off probably loads of people with doses of morphine.”

In 1999, Forsyth separated from her husband, but they remained friends until his death in 2006. She is survived by their children, Ben and Zoe.

🔔 Brigit Forsyth (Brigit Dorothea Connell), actor, born 28 July 1940; died 1 December 2023

Daily inspiration. Discover more photos at Just for Books…?

[astrovian]

The full synopsis for Richard Armitage's novel, Geneva:

Nobel Prize-winning scientist Sarah Collier has taken a step back from work to spend more time with her family. Movie nights with her husband Daniel and their daughter Maddie are a welcome respite from the scrutiny of the world’s press. As much as it hurts, it’s good to be able to see her father more too. He’s suffering from Alzheimer’s and needs special care.

Sarah has started to show tell-tale signs of the disease too. She’s been experiencing blackouts and memory loss. It’s early days but she must face the possibility that she won’t be there to see her daughter grow up. Daniel, a neuroscientist himself, is doing his best to be supportive but she already knows that she will have to be the strong one. For all of them.

So when Sarah is invited to be the guest of honour at a prestigious biotech conference in Geneva she declines, wanting to stay out of the public eye – that is until Daniel shows her the kind of work that the enigmatic Mauritz Schiller has been developing.

Flown first class to the spectacular alpine city and housed in a luxury hotel, Sarah and Daniel are thrust back into the spotlight. As they try to shut out the noise of the public media storm, in private Sarah is struggling with her escalating symptoms. And the true extent of what Schiller has achieved is a revelation. This is technology that could change medicine forever. More than that, it could save Sarah’s life.

But technology so valuable attracts all kinds of interest. Wealthy investors are circling, controversial blogger Terri Landau is all over the story, and someone close to Schiller seems bent on taking advantage of the situation for themselves. Sarah feels threatened and does not know who to trust – including herself. Far from being her lifeline Schiller's technology may be her undoing.

As events spiral out of control Sarah and Daniel are faced with the ultimate question: how far would you go for someone you love?

Geneva will be narrated by Richard Armitage, Nicola Walker and Jane Perry.

[ubu507]

'O lurcher loving collier…' Terry Lee (b.1932) UCL Art Museum

[grahamstoney]

Musique Concrète and Other Experimental And Electronic Music

New Post has been published on https://grahamstoney.com/music/musique-concrete-and-other-experimental-and-electronic-music

Musique Concrète and Other Experimental And Electronic Music

In the subject Creative Music Technology at university last semester, I was asked to listen to a collection of experimental and electronic music to stimulate my creative imagination, and to write what I liked and didn’t like about it. Here’s my rather cynical take on the genre.

Musique Concrète

Pierre Schaeffer and Pierre Henry – Symphonie pour un Homme Seul

This piece reminded me of Strauss’s Symphonia Domestica; only less musical. I’m a Homme Seul (single man) and my life doesn’t sound anything like this. In his book La musique concrète, Schaeffer described the work as “an opera for blind people…”. Haven’t they suffered enough?

Edgard Varèse – Poème Électronique

The audio equivalent of Luis Bunuel & Salvador Dali’s Un Chien Andalou.

Does to my ears what the asbestos coating on the walls of the Philips Pavilion at the 1958 Brussels World’s Fair for which it was commissioned, would do to my lungs.

György Ligeti – Artikulation

George Lucas must owe Ligeti millions in royalties for R2D2’s sound effects. Initially I thought I was joking when I first wrote that, but I’ve since discovered that he was actually trying to create a sort of phonetic speech in electronic music, which pretty much fits R2D2’s dialogue. Plus, the title is German for “articulation”. That should have been a giveaway.

I thought this piece might make more sense to me if I played it backwards, so I dropped it into Logic Pro X and reversed it. I couldn’t tell the difference. Perhaps I would have enjoyed it more if I listened to it in the original quadraphonic. I’ll just end noting that Ligeti abandoned electronic music after composing this piece.

Iannis Xenakis – Concret PH

2 minutes and 44 seconds of breaking glass to my ears. I think I’d rather listen to Kraftwerk.

Karlheinz Stockhausen – Kontakte

It’s long. It’s too long. I think this is how Jacob Collier learned to play piano in his mother’s womb; but look at him now. The title is German for “Contacts”, which I think Stockhausen interpreted as “Just hit the things.” Maybe it sounds better in the original quadraphonic.

Stockhausen was evidently a pioneer of the extended dance remix, as the work exists in several versions: “Nr. 12”, “Nr. 12½” and “Nr. 12⅔”

Bernard Parmegiani – Accidents / harmoniques

Parmegiani had studied mime before turning his hand to electro-acoustic composition, and in this piece it really shows. From the album De Natura Sonorum (the nature of sound). I felt like there were Martians in my head listening to this. Surely he’s just playing a joke on us.

Pauline Oliveiros – Bye Bye Butterfly

Bids farewell to the institutionalized oppression of the female sex while also providing inspiration for the sound of the Theramin. Gave my new monitor speakers a good workout; I hope the neighbours enjoyed it too.

Tape Loops

Steve Reich – It’s Gonna Rain

I’ve got this pervasive feeling that it’s going to rain. I’m not sure why. I liked the way the meteorological message panned left and right. More like It’s Gonna Have An Acid Trip.

Halleluiah Part II is over. I’m not sure how I lasted the full 18 minutes.

Terry Riley – Mescalin Mix

Parts of this sounded to me like an industrial version of native Australian bush sounds. I felt like I was on a camping trip in the 23rd century.

Brian Eno – 1/1

From his album Music For Airports/Ambient 1, which apparently coined the term Ambient Music. Brian Eno has a lot to answer for. However, this track put me in a relaxing state, ready to fall asleep on the plane; so I liked it.

Sampling

Luc Ferrari – Ronda, Spain, June 2001

After being jolted awake by the sound of a loud sliding door opening to greet the day, I was drawn into this by the sweet sound of a French woman’s voice. I imagined she was Ferrari’s lover, speaking to him in bed after awakening on a warm Spanish summer Sunday morning. I wanted to know what she was saying, but my French isn’t good enough. In my mind’s eye, they head to a busy market together to buy some croissants for breakfast, where we hear a man’s voice repeating “numero quatro”, which I assumed is Spanish for “number 4”. As the voices fade, the sound becomes more musical and we return to the soft sound of Ronda speaking to her beloved back in their villa together. I quite liked it.

My interpretation, however, is not what the composer had in mind. According to him, the point of Les Anecdotiques (The Anecdotals) is to dispense with the story altogether. My busy market was, in fact, the sound of Spanish tourists in a museum. While he describes the woman’s words as “Spontaneous and intimate”, in this context they are simply words in a foreign language with no narrative purpose. Just another one of Pierre Schaeffer and Michel Chion’s sound objects, if you will. My narrative interpretation of what was intended as an explicitly anecdotal work is testament to the human brain’s tendency to make meaning out of nothing. It turns out Rhonda is a village in Spain, not a woman.

Still, I enjoyed my little fantasy, thank you Luc.

John Oswald – Manifold

Wow, this was short. I didn’t even have time to eat breakfast while listening to it. It was only about as long as the Spotify ads, but certainly more fun. I recognised a couple of songs, like U2’s With or Without You and Sinead O’Connor’s Nothing Compares To You. Artists who use samples liberally often sample obscure works, sometimes affording them attention they would otherwise have missed; but in this work Oswald went mainstream. It sounded to me like the soundtrack to a sample-abusing hip-hop artist from the 1990’s being beaten up in a boxing ring by all the artists who reckoned he’d ripped off their work.

Tod Dockstader – Water Music: Part III

I quite liked this piece. The cuteness of the sounds and the stereo effects bouncing between the left and right channels really drew me in. I’ve recently got myself some decent monitor speakers for my home studio and this piece really worked on them. Pretty amazing for something released in 1963.

Dockstader started out in the 1940’s, prior to the invention of magnetic tape, editing his steel wire recordings with a lit cigarette. That makes me realise how much I take the piece-of-crap Logic Pro X File Editor for granted. Listening to this, I found myself wanting to know what was going to happen next, like I was watching a soap opera on TV; only with no actual story.

Synthesis

Karlheinz Stockhausen – Studie I

I found this quite disorienting to listen to. I guess it was revolutionary in 1953 but I reckon now you could whip it up in Ableton in about 5 minutes using the Random MIDI Effect and some automation.

Eliane Radigue – Jetsun Mila (Pt.1) / Birth and Youth (Excerpt)

I liked how the pulsing ambient drone sound in this grew over time; it drew me in and had me wondering what was going to happen next. Unfortunately the answer was: not much. Gradually a rhythmic element with some high pulsing tones which grew over time came in. It was a bit like listening to a very slow EDM dance track from underwater in a diesel-powered submarine going at full throttle for 12 minutes.

Laurie Spiegel – Appalachian Grove: I

I liked the pulsing stereo effects in this piece and the way the tonal characteristics of the sound varied while the pitch changed. It’s much more melodic than the other tracks we’ve listened to and that made it more enjoyable to my ears. It got a bit harsh in the middle though. This piece puts the musique in musique concrète.

Morton Subotnick – Silver Apples of the Moon – Part A

Perhaps the sound designer for Star Wars had this in mind when creating the sound effects for R2D2. I kind of lost the flow of the conversation without the witty English-accented retorts from C3PO though. Morton Sobotnick is described as The Mad Scientist in one interview, and I think if I listen to this too often I’ll end up fitting one of the DSM-5 diagnostic categories I’m learning about over in PSYC1002.

Suzanne Ciani – Concert at Phil Niblock’s Loft

This piece had some funky sounds that I liked. The start reminded me a bit of Kraftwerk but without the rhythm and melody; although it did get more melodic later. I’d probably give it a Distinction for its use of technology given it was made in 1975, but only a Credit for musicality.

Barry Schraeder – Lost Atlantis: Introduction

At first, I thought this sounded a lot like a modern ad for KFC; then I realised I was hearing a Spotify ad.

I liked the ambient sounds in this piece and the way it surged in and out with its “mysterious tone colors”. It slowly builds to a crescendo until we get the drop that EDM lovers crave, and then built more quickly to the ultimate drop at the end. I kept wondering what was going to happen next; I’d still rather listen to Fleetwood Mac, Supertramp or Queen though.

Contemporary Examples

Amon Tobin – Foley Room

DJ & producer. Retain percussive quality through sounds. Horsefish & Esther’s. Create beauty and delicate textures from sounds. Pitched percussive material. Fast loops. New textures. Funky beats. Check out the Foley Room Documentary.

Aphex Twin – 1ST 44

Acid house DJ in rave scene. Intelligent Dance Music. More complex sampling, polyrhythms, rhythmic patterns. From Collapsed album. Polyrhythms sounded funky. Lots of variation.

Holly Herndon – Chorus

Intersection of humanity and technology. Recorded web browsing. Stereo ping-pong effects. Here’s a talk she gave about her creative process.

Kaitlyn Aurelia Smith – Riparian

This was my favourite out of these three, largely because it sounds the most musical to my ears. I liked the pulsing beat in this track. I can hear a bass line for instance, melodies played on the synth and lyrics, although I can’t tell what they are saying. I also like the way the soundscape swirls around when listened to with headphones. It feels ambient, immersive and musical all at the same time. I get the sense that she’s using the electronics at her disposal in service of the music rather than the other way around. There’s even a great video about how she uses modular synthesis.

Graham Stoney – Foster le Concrète

“How hard can it be?”, I asked myself. And since I had an assignment to do, I wrote my own musique concrète track based on the drum rhythm from one of my favourite songs, Coming of Age by Foster The People. I even made a breakdown video showing how I did it; because that’s what the assignment required.

Conclusion

I didn’t take too easily to some of the more experimental musique concrète pieces we studied at the beginning of this semester. The weekly listening tasks felt harsh to my untrained ears and I would think mean things like:

“Didn’t the Geneva Convention ban cruel and unusual punishment?”

Perhaps these tracks will never be my preferred go-to pieces for chilling out on a Friday night, but when I look back at some of my cynicism-laced early comments in these discussion threads, I cringe. I just didn’t appreciate the historical significance of these pieces and how they might have influenced later electronic music that I do enjoy, like Kraftwerk say.

Then in Angharad Davis’s Music Colloquium Series talk on George Antheil’s Ballet Mécanique, when she played a snippet of the work I heard sounds reminiscent of musique concrète. Sure enough, they were roughly contemporaneous, and Antheil had been living in Paris at the time musique concrète was just getting started. You never know when something you study in one arena will pop up elsewhere.

Another thing I’ve learned in this subject is about taking creative risks and learning to follow my gut instincts without worrying whether a concept will work, or other people will like it. This has been an opportunity for me to explore that. My Formative Skills Assignment piece Foster le Concrète was in part a reaction to my frustration at the lack of discernible rhythm in some of the early pieces we studied. However, I really didn’t know whether the concept was going to work, and that was a little anxiety-inducing; especially given that I was doing it for an assignment which would be graded. I was quite touched to hear other students say they liked the end result, and I feel more confident about following my gut instincts in future and seeing what I end up.

Finally, I’ve been really inspired by the creativity of the other students in this subject. It’s been a weird experience studying online this year without ever meeting them in person, but I’ve really enjoyed hearing the creative works everyone came up with. They’re all so distinctive and amazingly different, it’s incredible; yet they were all products of the same brief. I can’t wait to hear everyone’s works on the radio, TV, movies, video games, Spotify, or whatever audio technology is around when we all graduate: live streaming direct to our neurons perhaps?

[maytheoddshq]

132nd Hunger Games - Recap

VICTOR: Nano, District 3

ARENA: Camp Nightlock

DURATION: 4 days

RECAP:

Camp Nightlock is a classic summer camp filled with activity cabins, communal spaces, and sleeping cabins numbered one through twelve. It's surrounded by a dense forest and there's a lake to the east. The camp has been abandoned, almost as if suddenly — as if everyone has disappeared overnight and left it to the tributes.

8 tributes die during the Bloodbath, which is fought in the center of the camp besides a large campfire. Collier Lignite (D12), in a rush to get away from Terri Kloth (NPC) after snagging a role of duct tape, kills Jay Elle (D2). Juliana Carnelian (D1) fights with her district partner Victor Sterling (D1) over a knife and forces him to land on his wrist, putting it out of commission; she walks away with the knife.

By the time the campers – tributes have scattered from the flagpole, eight cannons sounded. Collier Lignite (D12) in a rush to get away from Terri Kloth after snagging a roll of duct tape, kills Jay Elle (D2); Juliana Carnelian (D1) fights with her District partner Victor Sterling (D1) over a knife and forces him to land on his wrist, putting it out of commission and she walks away with the knife. Sawyer Bell (D6) and Cornelia Terra (D2) fight over a tube of antibiotic cream. Sawyer attempts to gouge out Cornelia's eyes, leaving Cornelia injured. Ellemora Datum (D3) and Edison Mitchell (D5) fight over some trail mix, and Mora throws dirt and rocks in Edison's face, but Edison wins the fight. Rowan Durum (D9) and Madge Boxcar (NPC) fight over a compass and Rowan is victorious.

Several tributes score kills early on during the Bloodbath, but afterwards, they scatter to different corners of the camp. And so the lines are drawn, but the lines are a bit wiggly. Alliances are unclear, trust is unclear — people move from one pairing to another, not landing on anything solid just yet. But that's about to change, as the second day dawns and the loudspeaker comes to life to announce that the tributes will be playing a mandatory game of Capture the Flag. They have been split into teams and told that if they win the game, they will receive the necessary supplies to survive Tuesday. The teams are as follows:

Blue:

Victor Sterling

Cornelia Terra

Edison Mitchell

Ren Ophio

Collier Lignite

Riley Durum*

Earl Leebird*

Spela Schmounton*

Orange:

Juliana Carnelian

Ellemora Datum

Nano Byte

Sawyer Bell

Rowan Durum

Madge Boxcar*

Terri Kloth*

(*NPC)

Underneath the loudspeaker, midway up the flagpole, is Roe Dyland (NPC), strung up by the ankle. A strange symbol is carved into the tribute's back. Nevertheless, the game must commence.

The orange team hides their flag in the high ropes course, a journey that costs Ellemora Datum her life as Sawyer Bell pushes her to her death (by accident? Perhaps.). The team creates a decoy out of an orange piece of fabric from the arts and crafts cabin and tie it around Roe's leg. Juliana guards the fake flag and several others search.

The blue team hides their flag under the docks. Ren and Cornelia are runners while Collier, Edison, and Victor guard their flag. Ren and Connie do end up finding the orange flag, but it's too late — Nano finds blue's flag first, ending the game. The orange team all receive a gift of sunscreen, half a canteen of water, and a s'more at dawn the next day. Ellemora isn't the only one to not survive the day, however, as Cornelia kills Victor before the day is through.

The next morning the sun is hotter and brighter than it has been before. Heat survival becomes very important and the tributes find their way into the cabins for what little relief the shade provides. The morning also brings another flagpole show: Spela Schmounton (NPC) has been hung up by the ankles. If tributes were awake early enough, they may have heard the screams of someone being... trapped? Hunted? Picked? — before the sun rose that morning. The symbol that was on Roe's ankle is on Spela's as well. It's clear that something or someone is haunting this camp.

Edison Mitchell is forced to kill Rowan Durum to put him out of his misery after he's attacked by the horse in the stables. She later dies of sickness in Nano's arms just moments before a vial of medicine reaches her.

The heat wave breaks at the end of the sweltering third day, but the night doesn't bring much mental relief. Each tribute is now being stalked by a shadow — something that moves steathily and follows them, just out of reach. If a tribute goes into a building, their shadow bangs on the windows and doors, unrelenting. The pursuits lasts all night, and in the morning, they find that every building has the same eerie symbol found on the flagpole victims carved onto the doors and in various trees throughout the woods.

During the night, Ren and Collier are running from the shadows when Ren mistakes Collier for her attacker. They run Collier through with a knife in self-defense before realizing who they've stabbed. Collier dies, leaving Ren shaken. Sawyer runs into Cornelia in the woods and is killed, partly in thanks to what might be a Gamemaker intervention giving Cornelia an advantage when Sawyer lets it slip that she may have cheated with the help of a Gamemaker.

The dawn brings the end of the shadows, but again, relief is short-lived, as that evening, the smell of smoke wafts through the camp. The creature who has been hunting the tributes makes herself known: an impossibly tall nurse whose coat has the symbol that's been carved into Roe and Spela's ankles as well as the buildings and trees in the camp. She is a monster, burning the camp down and forcing the tributes into the center to face her.

Juliana Carnelian is her first victim, with the nurse stepping on her chest and breaking her ribcage as well as piercing some of her organs. The situation is beyond repair and Ren ends her suffering.

Cornelia sacrifices herself so that Nano might have a chance at living, and the only two tributes who remain are Ren and Nano. Ultimately, Nano wins a fight between the two of them, but it's the nurse who finishes Ren off in the end. Nano emerges victorious, the sole survivor and the Victor.

Kills Leaderboard:

1st: Cornelia Terra - 5 kills

2nd: Nano - 3 kills

3rd: Juliana Carnelian // Sawyer Bell // Edison Mitchell // Ren Ophio - 2 kills

4th: Rowan Durum // Collier Lignite // Victor Sterling - 1 kill

5th: Ellemora Datum - 0 kills

Rankings:

VICTOR: NANO BYTE. DISTRICT THREE.

2nd: Ren Ophio - D7 - Killed by GM Event

3rd: Cornelia Terra - D2 - Killed by GM Event

4th: Juliana Carnelian - D1 - Killed by Ren Ophio

5th: Sawyer Bell - D6 - Killed by Cornelia Terra

6th: Collier Lignite - D12 - Killed by Ren Ophio

7th: Earl E. Byrd - D10 - Killed by Cornelia Terra

8th: Edison Mitchell - D5 - Killed by Nano

9th: Rowan Durum - D9 - Killed by Edison Mitchell

10th: Riley Durum - D9 - Killed by Cornelia Terra

11th: Spela Schmountain - D4 - Killed by Gamemaker Event

12th: Victor Sterling - D1 - Killed by Cornelia Terra

13th: Terri Kloth - D8 - Killed by Juliana Carnelian

14th: Madge Boxcar - D6 - Killed by Nano

15th: Ellemora Datum - D3 - Killed by Sawyer Bell

16th: Roe Dyeland - D8 - Killed by Gamemaker Event

17th: Lumen Essence - D5 - Killed by Edison Mitchell

18th: Axel Ottle - D4 - Killed by Sawyer Bell

19th: Alex Plaine - D10 - Killed by Nano

20th: Mort Ality - D12 - Killed by Juliana Carnelian

21st: Pete Reedish - D11 - Killed by Rowan Durum

22nd: Jay Elle - D2 - Killed by Collier Lignite

23rd: Nico Thyme - D11 - Killed by Cornelia Terra

24th: Will Durness - D7 - Killed by Victor Sterling

[xionisgr]

ISBN:978-960-16-7818-4 Συγγραφέας: Mort Terry Εκδότης: Εκδόσεις Πατάκη Σελίδες: 431 Ημερομηνία Έκδοσης: 2018-11-01 Διαστάσεις: 21x14 Εξώφυλλο: Μαλακό εξώφυλλο

[manpetasgr]

ISBN:978-960-16-7818-4 Συγγραφέας: Mort Terry Εκδότης: Εκδόσεις Πατάκη Σελίδες: 431 Ημερομηνία Έκδοσης: 2018-11-01 Διαστάσεις: 21x14 Εξώφυλλο: Μαλακό εξώφυλλο

[a078740849aposts]

ISBN:978-960-16-7818-4 Συγγραφέας: Mort Terry Εκδότης: Εκδόσεις Πατάκη Σελίδες: 431 Ημερομηνία Έκδοσης: 2018-11-01 Διαστάσεις: 21x14 Εξώφυλλο: Μαλακό εξώφυλλο

[thelenazavaroniarchive]

17th May 2024.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟕𝟒. The weekend television pages listed Lena and Norman Collier as this weeks guests on Junior Showtime on ITV at 4.05 pm.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟕𝟒. In America, Radio & Records mentioned that Ma! was getting lots of plays on middle Of The Road radio stations.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟕4. Variety had a full page advertisement for Lena.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟕4.

𝐓𝐮𝐞𝐬𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟕𝟕. Lena appeared in The Royal Show at the Kings Theatre, Glasgow. Recorded by STV, to be broadcast on the 22nd. Lena sang He’s Got The Whole World In His Hands, Pinch Me Am I Dreaming and Razzle Dazzle accompanied on stage by the Brian Rogers dancers.

𝐒𝐚𝐭 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟖0. There was An article about Lena in Cashbox magazine. page 32.

𝐒𝐮𝐧𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟖𝟏. Lena appeared at The Grand Theatre, Leeds. in a charity gala night for the Jewish National Fund.

𝐌𝐨𝐧𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟖𝟐. Record Business listed Lena’s new single.

𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟖𝟒. In Australia, Channel 3 repeated one of Lena's shows.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟖𝟓. Lena was interviewed by Terry Wogan broadcast on BBC 1, 7.00pm - 7.40 pm. She spoke about her depression and anorexia.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟏𝟗𝟗𝟔. The Irvine Herald ran a competition to win tickets to see Tommy Scott in concert.

𝐖𝐞𝐝𝐧𝐞𝐬𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟐𝟎𝟎𝟎. The Scotsman ran a piece about Anorexia with mention of and a photograph of Lena.

𝐓𝐮𝐞𝐬𝐝𝐚𝐲 𝟏𝟕𝐭𝐡 𝐌𝐚𝐲 𝟐𝟎𝟐𝟐. Anchor fm broadcast a programme about Lena's LP Ma!... as part of it's Bizarre Albums series.

[michelebrockent]

HIV and the Journey Toward Zero Part 2 from Journey Towards Zero on Vimeo.

The "HIV and the Journey Toward Zero" series sparks important conversations around the end of the HIV epidemic. What does “the end” mean for those who have been there from the start, those living with HIV today and those leading the way to an HIV-free future?

Part 2 of the series, "The Legacy," follows the everyday lives of younger advocates and people living with HIV. This next generation of leaders is at the beginning of their journey, and they offer a frank perspective on the realities and misconceptions shaping their world and the future.

Director: Chan C. Smith Producers: Alexis Jaworsky, Lisa Masseur, Chan C. Smith Executive Producer: Lisa Masseur Editor: Christina Stumpf Director of Photography: Chan C. Smith 1st Asst. Camera: Matthew Miele Assistant Camera: Mireillee “M” Lamort Production Coordinator: Julia Barr Production Business Manager: Mary Pat Forston Production Accountant: Lisa Bird Sound Utility: Patrick Bresnahan, Nicholas Fanelli, Nicholas Price, Shu Ling Yong Color by: ColorNation Colorist: Calvin Bellas Dialog Editor: Steve Wilke, Mix Kitchen Sound Effects Editor: Sophia Fishkin and Ava Shparago, Mix Kitchen Supervising Sound Editor/Re-Recording Mixer: Sam Fishkin, Mix Kitchen

Chicago Dept. of Public Health: Executive in Charge of Production: David Kern Chief Development Executive: Jorge Cestou Director of Creative Affairs: James Scalzitti Creative Executive: Riley Sorin Marketing Consultant: John Marth

Special appearances by: Carole Collier Dominique Savage

Music by: Slang Music Group

Additional music provided by: Audio Jungle, Musicbed

Archival and Stock Footage: Chris GotFootage Pond 5

Images Provided By: Terry Dudley Karma Munez Milani Varela

Special Thanks To: Anointed Vessel Ministries CALOR Carole Collier Center on Halsted Chicago Film Office Chicago Park District Dominique Savage El Rescate Eleven04 Fantasy Nightclub Hydrate Chicago Illinois Film Office Infinity Hyde Kentrele Shipp Lighthouse Foundation of Chicagoland Lotus Grand Ballroom Magnanimous Media Straight Outta Ballroom 8 & Aftermath Unique Williams The Varela Family Vivi Healthcare

Promotion provided by Bigmouth Creative

Filmed on Location in Chicago, IL