#there's also kuras who le
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strunmah-mah · 10 months ago
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There's been a lot of discussions of Kuras as a Satan figure. Which fair enough, he seems to be a fallen angel, granting knowledge to humans that causes their death is very snake in the garden etc.
But the nails through the palm is a very Christlike image.
It makes me wonder; How much of his guilt is genuinely his own, and how much is he being scapegoated for by someone else?
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winterwhisperz-blog · 10 months ago
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Hey i just read your touchstarved headcanons and I LOVE IT!!!
And Here’s my request is that can you do a scenario of TS boys with MC who can speak different languages??? (like Italian or French)
Don’t worry i am a patient person and I won’t rush you. And i hope you’ll make more scenarios of the TS boys in be future.
YES HI HELLO !! I am, SO SO SORRY for taking two thousand centuries to respond to this—I’ve been pretty stressed over work so I haven’t been able to write headcanons as much— BUT TYSM FOR THE ASK !! IM SO HAPPY YOUVE ENJOYED MY HEADCANONS !
I do want to apologize in advance that these are going to be shorter and less one-shot like, than my others. These will be more like my Kuras Headcanons I made awhile ago—(Life has been kicking my butt lately so my motivation has been LOW)
But I hope you still enjoy them !!
Also huuuuge thanks to @danyvhell-writes
For helping me with these ideas !! You’re a saint 🙏
ALR LES GO
Note: gn reader! Fluff
Warnings: PROBABLY OOC PLS DONT HATE ME
Ais
ALR ALR AHAHAHAHA
So, one of my besties would do this A LOT where she would just switch into Spanish and I’d just be there like ???
So I thought it would be funny if you did that with Ais here
Imagine you’re in some kind of argument, a stupid, light one you know— and to annoy him
YOU JUST SWITCH INTO A WHOLE DIFFERENT LANGUAGE
He’s completely stunned, red eyes wide as you just start rambling, (very passionately) in a language he doesn’t understand
As you go on though, he just becomes utterly impressed, watching your mouth as he studies the words coming out of it (and just because he’s flirty LMAOOOO)
After you’ve had your fun, he comments something like “Impressive, Sparrow.” And then asks you, ofc, if you can teach him what you said
To tease him a bit more, you don’t tell him for a bit until he BRINGS OUT THESE GIANT PUPPY EYES
So you do start teaching him, just long evenings hunched over books or a paper as you teach him different phrases and words, the candle light dancing on his focused gaze.
And one day, out of the blue, he starts calling you Sparrow in the language you were speaking(and you also hear him practice words while talking with Princess—AND ITS SO ADORABLE)
After he’s becoming pretty good at it, you then proceed to tease other people(Leander) by randomly switching mid-conversation into a different language <33
Leander
NOW WITH THIS ONE, it reminded me of this really cool video of a guy switching between loads of languages in one song
IMAGINE showing this off to Leander one rowdy night at the Wet Wick
Maybe it’s even one of his favorite songs ??? And hearing you sing it in so many languages would absolutely knock him off his feet.
Another thing I think he’d go CRAZY FOR
Pet names, in whatever language.
Like ?? You call him something like “Mi amor…” for Spanish, or “Tesoruccio.” For Italian ??
He’s done for. Doomed. Dead. Will beg you to repeat it over and over while he showers your hands or arms with kisses.
He’s also one that would definitely be okay with you calling these pet names in public—he wants to be all smug that HES the one called yours.
He probably also learns whatever language you speak as well, might already know it because bro probably had tutors that taught him so many languages man.
In return for the pet names, he probably calls you something like “λατρεία μου” or “latria mu” (My adored !!! 🥹 in greek)
Kuras
NOW, THIS IS INTERESTING
I’m guessing since Kuras is an Angel, he knows like ??? Every language?
So when he finds out you speak others, he’s instantly curious, impressed, and now it’s quiz time.
You pass by a certain object, plant, anything, and he asks you how to say it in your language(s). Even if he may already know, he likes to hear it coming from you, enjoying the glint in your eyes as you explain things.
Another thing he’ll do, is when you’re having a library date, he’ll hand you a book and request you translate it. Either from your language to—whatever language people speak in Eridia ?? Or from that language to yours.
These will turn into nightly strolls with you translating a poem or book as he strides beside you, golden eyes locked on every word.
In return, he’ll translate whatever text into a language you don’t know. (I wonder if angels have a specific language??)
A name for him, I think it’d be cute if you called him 아름다운 천사 (Beautiful Angel in Korean !!)
Whether this is after or before you know he’s an Angel, he finds it both amusing and endearing. (Or painfully ironic if his life as an Angel is a tough subject)
Mhin
OKAY SOSOSOSOSO !! Mhin evidently thirsts for knowledge, they’re a lil nerd and they’re rlly bad at hiding it (A mood really. one of the reasons I love them <3) and my friend mentioned they’re more of a listener? So like I can see them just—paying very close attention to every word you say
At times they may not seem to be listening to you as you ramble, or catch a few words of slang from your language(s). But they’re actually secretly a sponge and soak up every little detail.
And now this may be just me but Mhin gives off such I must impress you with all my random facts vibes.
They ask questions about the languages you speak, the slang, the meanings, how to pronounce things correctly, everything
And then they do their own research, soaking up all they can before appearing to you one day and just starting the conversation in your language(s)
When you show any sign of being impressed, they will look away blushing and try to act cool but nahhh buddy you aren’t fooling anyone we know you spent forever working on that
Similar to Ais, lots of late night lessons where you get to teach Mhin about your language(s)! Just you two looming over an open book, Mhin scribbling down notes, looking so concentrated and you even spot a smile starting to form as they start getting better and better. (I love themmmmm 😭)
Mhin asks you to quiz them a lot, and looks so !! !! Just proud of themself when they pass. (Before realizing it and their self loathing kicks in and they revert back to >:( ) You want to tell them that they don’t need to be quizzed but look at their face !! Let them impress you okay !! They’re top 1 student !!
If you want you can joke about them having to call you Professor(Mc) or something but ur just gonna get a deep frown and glare like 😒 nuh uh AHAHSHS
Vere
Ohhh vere my nemesis. (He’s the toughest for me to write i have to like mentally and physically ambush him in a fast food parking lot before I can get anything outta him)
(I love him so much though so here we go !! Thanks to my friend for giving me a lot of help in this one because otherwise I’d be a doomed woman)
My friend brought up since he’s a fox, he’s very sensitive to sound !! So when you’re speaking in your mother language, he notices how your tone might change, watches as your tongue moves against your teeth or the top of your mouth, idk but he makes it a sensual thing somehow 😭
Definitely flirts with you in your language(s), says the most outrageous thing and watches as you get stunned or flustered by it, absolutely delighted that no one but you (or anyone who’s unfortunately being nosy and can understand) knows what he’s saying.
Okay this may be dumb but it’s so funny to me imagine Vere like putting on his most smooth, seductive tone, convincing the people around that he’s gonna say like the most erotic thing but he ends up just saying something like 💀 “Avocados” in your language(s) or like “Leander looks like a chicken breast” he does it to see you laugh but also because Leander overhears and could tell his name was said and thinks Vere is like— finally coming around but only you two rlly know Vere is just sexily roasting him.
Due to recent lore being dropped, and in his lil character sheet, it says Vere has a huge love for the arts. I think it’d be really neat if you introduced him to things specifically written in your language(s) !! Like books that originated from your country, plays that are only acted in that language(s), just a tour of the language! And if he doesn’t know your languages(s) then teaching him is gonna be like 💀 somehow so flirty
Will definitely call you Professor(Mc) but he makes it sound absolutely horrendous and cringey and you will regret it you probably should turn back
Jokingly will ask if you’ll give him a golden sticker if he behaves—do it, just to humble him.
OKAY WE’VE REACHED THE END WOOOT WOOT !!!! I DIDNT THINK I’D MAKE IT !!! Been stuck in this endless void for ages !!
Hem hem, thanks so much for the ask !!! I’m so so sorry it took forever 😭 writer’s block nearly had my head this time uh oh
Thank you again to my bestie for helping me out !!
Now I hope you see the most beautiful sunset, eat your favorite dessert, learn something new, and have a happy spring !! 🫶🩷✨
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verypersonalscreencaps · 20 days ago
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The time has come. After playing catch up the last couple of days, I’ve finally settled on my top 20 films of 2024. I haven't seen many new films this year (moving into a new house is a massively stressful time, who knew? 😅) I did my best to rank them. Tell me your thoughts and show me your lists!
THE ZONE OF INTEREST (dir. Jonathan Glazer)
LE COMTE DE MONTE-CRISTO (dir. A. de La Patellière & M. Delaporte)
LEE (dir. Ellen Kuras)
THE OUTRUN (dir. Nora Fingscheidt)
LA PASSION DE DODIN BOUFFANT (dir. Trần Anh Hùng)
ANORA (dir. Sean Baker)
CIVIL WAR (dir. Alex Garland)
BIRD (dir. Andrea Arnold)
THE SUBSTANCE (dir. Coralie Fargeat)
JE NE ME LAISSERAI PLUS FAIRE (dir. Gustave Kervern)
KINGDOM OF THE PLANET OF THE APES (dir. Wes Ball)
YOUNG WOMAN AND THE SEA (dir. Joachim Rønning)
MONSTER (dir. Hirokazu Kore-eda)
DANS LA PEAU DE BLANCHE HOUELLEBECQ (dir. Guillaume Nicloux)
BACK TO BLACK (dir. Sam Taylor-Johnson)
FANCY DANCE (dir. Erica Tremblay)
FALLEN LEAVES (dir. Aki Kaurismäki)
SOMETIMES I THINK ABOUT DYING (dir. Rachel Lambert)
THE DEAD DON’T HURT (dir. Viggo Mortensen)
JANET PLANET (dir. Annie Baker)
it’s also time to wish you all a HAPPY and SAFE New Year. Have a wonderful time wherever you are in the world. Big love 💗💗
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vidyagamereference · 1 year ago
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A psychic who doesnt like me and is waiting for me to turn out to be a dick: whats that fake bitch thinking
Inside my brain: Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Leander Le-
Psychic: oh maybe theyre not malicious just dumb
Inside my brain: hey now that youre here have you ever noticed that at the top of all of Kuras's circles and most of the other shapes that could be halos (triangles diamonds etc) are in some way imperfect broken or inturrupted and also-
Psychic: how are you doing this?
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slowlydifferentbluebird · 2 years ago
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Hey Author! I've been reading your posts and I'm really enjoying your writing. I saw that you've been asking for some requests and I have one for you. Could I please get a headcanon on Vampire!Le Sserafim going out at a nightclub, looking for their next meal. They find you, the reader, with a rare blood type that's considered a delicacy in vampire culture. They decide to isolate you and trap you in an alleyway. It isn't until you say "You need to realize I'm not trapped here with you, you're trapped here with me" that they realize that their next meal turns out to be a vampire hunter.
Once again, please and thank you!
Le Sserafim headcanon - Vampire!AU - Vampire!Le Sserafim trapped by the Hunter!Reader
Requests are open
Hello! I'm loving this request, it's so specific and interesting to write. In addition i'm having a lot of fun with the AUs. I hope that the result satisfy you.
Vampire!Le Sserafim X GN!Hunter!Reader
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Reader's Pov
Vampires, uh? Fascinating creatures. Some love them and some hate them. Some fear them and some cheer for them. But how much do we really know about them?
Little, to be honest. However the episode i'm about to tell you surely will help you to know them better.
You must know that Hybe, one of the most important company of the country is ruled by vampires, but they are not all the same. Oh no, it would be too easy. There are different clan.
The one I will talk about today is the latest, the new entry, the one composed by the youngest vampires, an in particular, all women.
But enough with the notions from school book. Let's get into the action.
That night you were definitely too well-dressed for your destination: a nightclub. To be precise one of the most famous of the city: the Sour Grapes.
Even before entering the club, you noticed something unusual. This pretty young girl was a few steps from the local and she was just minding her business.
But when you passed by her, she looked into your eyes and give you her biggest smile. It melted your heart. And then she started talking to you.
"Hello, who are you?" "Hi, lovely girl, I'm Y/N, and you?" "I'm Eunchae, nice to meet you! Are you going to the Sour Grapes?" "Yes, indeed, why?" "Oh, well, I was thinking that someone with such a beautiful suit shouldn't be lining up, would you like to enter through the staff entrance?"
You were surprised by the sweetness and confidence of this teenager, but you were also worried about another thing. "Yes, Eunchae, I would love, but are you not too much young to work in such a place?" "And are you not too much classy to visit such a place?".
"Touché" you thought. "However", she continued, "don't worry, I only work in kitchen. Now come with me!" Said that she grabbed your hands and she took by you in the alleway.
You two entered in the club and for just a moment you were displaced by the lights and sounds of the local. But with help of the little Chae, you overcomed them in no time.
After few minutes Eunchae started running towards a person, while calling her name, "KURA-CHAN!".
The person, that you presumed to be japanese by her nickname, hugged the younger one and then looked at you for seconds that seemed hours. She was not just looking at you, she was staring as she was judging you.
The moments ended because Eunchae introduced you and explained you that Sakura, her complete name, was the nightclub's manager.
"Oh, Eunchae, you did a great job! Such a beautiful person should be a guest of the Sour Grapes. Now leave this to me. And go talking to Chaewon, she needs to be...informed".
That’s when you knew the game had started
From there you said bye to the maknae and let Sakura show you her local: the tables, the pole dance poles and the bar.
Here she started talking to the bartender, "Yujin-ah, do you see this beautiful face? Well, tonight everything is on the house for this face. So, do your best to satisfy Y/N."
Yujin bowed to her superior, then started talking with you. "Hello gorgeous, what can I do for you?". You thought about it one second, maybe two, and with the utmost nonchalance, you said...
"A Bloody Mary". Yunjin looked at you with a giant smirk on her face. When you asked her about it, she only answered "Oh, I just found it funny, because it's my favorite cocktail".
She gave you the cocktail and then has shown you the way to the best spot to watch the pole dancers. But before you went, she said "If you need anything, just raise a hand and someone will come to you"
With the red liquid in your hand, you reached the spot Yunjin pointed to you. You sat on a comfy sofà and started chilling.
After few seconds a girl approached the pole and started looking at you. She was pale, beautiful and her facial features so delicate. You two didn't talk actually, but you did it with your eyes.
A man near the DJ announced with a micro "And now starts the show of Kazuha, the Japanese swan". And he was damn right. Her elegance on the pole was incredible. Sometimes it seemed to you the she almost floated.
You were mesmerized by her performance. You could have stay here for hours without stopping watching her, but someone interrupted you.
It was this man clearly drunk, more gel than hair and the shirt which was about to explode due to his belly. "Look at you, all alone in this dark place, do you need some company?"
You simply looked into his eyes and said "No, go away". You must have hurt his pride because his drunk face turned into an angry espression.
"How dare you tell me what to do? You'll pay for this, you stupid b-". His rant stopped because out of nowhere he collapsed. You thought he just passed out because he was drunk as hell.
Actually it was not the reason. In fact right behind the figure of the big man, there was a short girl with the bob haircut.
"Sorry for the inconvenience, I hope this asshole didn't bother you too much. I'm Chaewon, the head of the security, and I would like to give you my honest apologies".
So she was Chaewon. You told her that it was all good, but she insisted to help you to clean up. In fact the drunk man, falling on the floor, spilled part of his drink on you.
At the end you accepted, so she started to guide you towards the toilet. But you were not that stupid and you know perfectly that you were going to the opposite direction.
So when you ended up in the initial alleyway, you were not surprised. And you were not surprised neither by the fact that outside Kazuha, Sakura, Yunjin and Eunchae were waiting for you.
Chaewon, behind you, pushed you in the middle of the group. "It must be our lucky day, girls, such a rare bloody type is quite something to find", said Sakura.
"Even better if it comes to you on its own legs. Come on girls, let's start the meal". Finished Yunjin. All the girls let their sharp canines go out.
Tsk tsk. Young vampires...how boring. They are so predictable and ingenuos. You could simply take your silver gun and end them in few minutes, but why do not have a bit of fun?
At the first step they made towards you, you simply took off your coat. They freezed. "What is this smell? It's terrible. I can't breath." Said the maknae.
"Oh, this? This is pink garlic of Agrigento, Sicily. One of the best vampire repellent", you answered.
"Why did we not smell till now? Kazuha asked. "How did you know our identities?" was the question of Chaewon.
"Why? How? What? Oh, come on, girls, this is not school. I have rare blood type, as you said, so I live with a target on my back. Being prepared is the minimum".
The girls at that point were about to pass out. It was a matter of seconds. While the blacking out, the last thing they heard was your voice. "Thanks for the night, girls, I had fun. I have been your guest, so be mine for a bit. Goodnight".
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outofgloom · 5 years ago
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Naming the Rahkshi
The name Rahkshi--and the element -rahk upon which individual Rahkshi-designations are based--actually predates direct contact between the Makuta and the Matoran. Shortly after their emergence, the Makuta began experimentation with small amounts of energized protodermis using their own antidermic essence. These experiments resulted in what would later be refined into Rahkshi armor, driven by early forms of kraata. 
The Makuta sent these servants out to neighboring islands in order to gather information, where they inevitably encountered Matoran inhabitants. Due to their larval nature and unstable essence, the early kraata driving these proto-Rahkshi had no means of communication, and they dissolved after a short period of time, leaving the derelict shells behind.
Needless to say, the Matoran who encountered the early Rahkshi had no frame of reference for them: they did not fit into the larger system that the Matoran understood, and on a purely physical level, the Rahkshi armor was mechanical--not biomechanical--adding to their unusualness. Because of this, the Matoran first classified the emissaries of the Makuta as urhahi “not system-normal” (> rhahi > rahi) due to their inability to communicate. 
Later, when the kraata of the proto-Rahkshi dissolved, leaving behind their crude armor-shells, the Matoran referred to them as urhaha “very system-abnormal; great abnormality” (by reduplication of the stem-component ha of urha-). This was partly due to the fact that the “corpses” of the Rahkshi were not removed by the Red Star system, since they were not recognized as revivable biomechanical units. The Matoran obsessively avoided these corpses, regarding them as bad luck.
When the Makuta sent out additional waves of improved Rahkshi, the Matoran shunned contact with them entirely, calling them urhaha-ka “spirit(s) of great abnormality” (-ka “spirit, being”; > urhahka > urhahk > rahk). When the Makuta became aware of how the Matoran had reacted, they were darkly amused but accepted the new name for their creations. At the same time, they recognized that the term rahk was, in a sense, being applied to them as well, given that Kraata/Rahkshi were directly derived from the essence of the Makuta. In response, they appended the marker -shi “offspring, spawn” to the name as an additional pun. Rahk-shi: the offspring of rahk, the spirits of great abnormality--the “sons of Makuta”.
rahk     pn. “spirit(s) of great abnormality”, eMt. urhahka, from urhaha “very system-abnormal” (see raha) and -ka “spirit, being” [rahk < urhahk < urhahka < eMt. urhaha-ka].
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Over the centuries, as the presence of Rahkshi on many islands became more commonplace, the Matoran developed individual tags to classify them based on their elemental alignment. These designations paralleled already-existing lexemes in the language referencing antonyms of concepts associated with each element. 
As an example, the name turahk developed from a prefixation of ta- “(elemental) fire” to urhahk “spirit of great abnormality”, but it also coexisted with, and was influenced by, the lexeme tura “fear, cowardice” (from ta- and urha “system-abnormality”). As a result, the names for the different Rahkshi breeds have a double-meaning: one simply representing an elemental variant of Rahkshi (e.g., turahk = the Rahkshi of ta- “fire”) and one referencing the associated powers/abilities of that Rahkshi breed (e.g., turahk = the Rahkshi of tura “fear, cowardice”). Some of the most common Rahkshi breeds are listed below, excerpted from the Matoran Dictionary (3rd Edition):
turahk     pn. (1) “spirit of great abnormality, ta-variant”, (2) “spirit of fear/cowardice”, eMt. ta-urhahk, from ta- “(elemental) fire” and urhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also tura “fear, cowardice”. 
guurahk     pn. (1) “spirit of great abnormality, ga-variant”, (2) “spirit of disintegration”, eMt. ga-urhahk, from ga- “(elemental) water” and urhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also guura “disintegration”. 
lerahk     pn. (1) “spirit of great abnormality, le-variant”, (2) “spirit of toxicity/poison”, eMt. le-urhahk, from le- “(elemental) air” and urhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also lera “toxicity, poison”. 
kurahk     pn. (1) “spirit of great abnormality, ko-variant”, (2) “spirit of anger/rage”, eMt. ko-urhahk, from ko- “(elemental) ice” and urhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also kura “anger, rage”. 
vorahk     pn. (1) “spirit of great abnormality, vo-variant”, (2) “spirit of hunger”, eMt. vo-urhahk, from vo- “(elemental) lightning” and urhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also vora “hunger, energy-draining”. 
panrahk     pn. (1) “spirit of great abnormality, po/onu-variant”, (2) “spirit of fragmentation”, eMt. pa-nu-rhahk, from pa- “(elemental) stone” (see po-), nu- “(elemental) earth” (see onu-) and rhahk “spirit of great abnormality” (see rahk); on the second meaning, cf. also panra “fragmentation”. 
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gramilano · 5 years ago
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Karen Kain. Photo by Karolina Kuras
Karen Kain will retire as Artistic Director of The National Ballet of Canada in January 2021 and will be named Artistic Director Emeritus. She has been the company’s Artistic Director since 2005.
Toronto Life once said,
Under the reign of Karen Kain, The National Ballet of Canada has flowered into one of the most thrilling companies in the world.
Kain is the longest-serving Artistic Director of the National Ballet since founder Celia Franca, and has led the organisation with great success. One of the greatest classical dancers of her generation, she joined The National Ballet of Canada in 1969 and went on to a distinguished career. She retired from dancing in 1997 and took up the position of Artist-in-Residence, a role later expanded to Artistic Associate, then Artistic Director in 2005. Under her tenure, the National Ballet embarked on 23 international tours, commissioned, co-commissioned and co-produced 24 new works, and achieved financial success with 10 years of operating surpluses.
The Company’s Executive Director Barry Hughson, remarked,
Karen Kain has been an extraordinary partner, collaborator and has become a dear friend. She has impeccable taste, a keen eye for talent and a deep and abiding passion for this country, company and artform. As a Canadian cultural icon, she is also remarkably humble, kind, and generous. When she steps down in January of 2021, we will have worked together for seven years and they have been some of the most exciting, satisfying and meaningful in my career because of her.
Kain commissioned and acquired an astonishing total of 65 works for the company, including such memorable full-length productions as Romeo and Juliet by Alexei Ratmansky, Nijinsky, The Seagull and A Streetcar Named Desire by John Neumeier, Alice’s Adventures in Wonderland and The Winter’s Tale by Christopher Wheeldon, Frame by Frame by Robert Lepage and Guillaume Côté, Le Petit Prince also by Côté, Hamlet by Kevin O’Day, Pinocchio by Will Tuckett and she will be directing and staging a new Swan Lake in June 2020.
The one-act ballets that Kain commissioned or acquired for the company include Emergence by Crystal Pite, Chroma and Genus by Wayne McGregor, Petite Mort by Jiří Kylián, The Man in Black by James Kudelka, The Vertiginous Thrill of Exactitude and Approximate Sonata 2016 by William Forsythe, Watch her by Aszure Barton and The Dreamers Ever Leave You by Robert Binet.
Cornell C. V. Wright, Board Chair of The National Ballet of Canada, said,
Karen Kain is an extraordinary artist and an extraordinary leader. This great organisation has been so fortunate to benefit from her brilliance for the past 50 years. When Karen agreed to take on the role of Artistic Director, she identified three distinct goals: to return the company to the international stage, to attract the world’s greatest choreographers and dancers and to cultivate Canadian talent. To say she achieved these goals is an understatement. Karen surpassed expectations of all three.
The National Ballet is now in demand around the world, receiving accolades from audiences and critics in Moscow, New York and Paris to name just a few. The world’s greatest choreographers including Crystal Pite, Christopher Wheeldon, Wayne McGregor and Alexei Ratmansky have created or set work on the company. Canadian choreographic talent has been fostered through exciting programmes she initiated. Karen continues to inspire excellence in all who have the privilege to work with her. While her visionary leadership will be greatly missed by all of us when she steps down as Artistic Director in January 2021, I am so pleased and grateful she has agreed to continue her connection with the company as Artistic Director Emeritus.
Karen Kain in Romeo and Juliet. Photo by Andrew Oxenham
Karen Kain in Romeo and Juliet. Photo by Anthony Crickmay
Karen Kain said,
I am so proud of The National Ballet of Canada and feel so fortunate to have had this wonderful company as my artistic home for 50 years. The role of Artistic Director is the most challenging, and the most rewarding, of my career. The goals I set when I assumed this position required a huge commitment from our dancers, staff, board and donor community. The unwavering support I received allowed my dreams to become a reality and I am so grateful.
A new generation of National Ballet dancers have taken international stages by storm and thrilled even the most discerning ballet audiences. The world’s most in-demand choreographers have come to our studios to work with our artists and shared exciting new work with our audiences. We have fostered Canadian talent through CreativAction, the appointment of Choreographic Associates and Innovation, our all-Canadian programmes. I look forward to celebrating my 50th anniversary during the 2019/20 season and unveiling programming for 2020/21 in February.
Being Artistic Director of this organisation has been the greatest honour of my life. When I step down in January 2021, I know I leave a financially stable company with the very best dancers in the world, one of the most diverse and coveted repertoires and an international reputation for the highest level of excellence.
Karen Kain. Photo by Karolina Kuras
Karen Kain to Retire as Artistic Director of The National Ballet of Canada Karen Kain will retire as Artistic Director of The National Ballet of Canada in January 2021 and will be named Artistic Director Emeritus.
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theplaylistfilm · 7 years ago
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THE FILM SOCIETY OF LINCOLN CENTER ANNOUNCES
THE FEMALE GAZE, JULY 27 – AUGUST 9
A two-week survey of 36 films shot by 23 female cinematographers
Agnès Godard, Natasha Braier, Joan Churchill, and Ashley Connor in person
The Film Society of Lincoln Center announces The Female Gaze (July 26 – August 9), spotlighting the amazing work of such accomplished international female cinematographers as Agnès Godard, Natasha Braier, Kirsten Johnson, Joan Churchill, Maryse Alberti, Ellen Kuras, Babette Mangolte, and Rachel Morrison. Laura Mulvey’s landmark 1975 essay “Visual Pleasure and Narrative Cinema�� suggested an imbalance of power in film dominated by the male gaze and heterosexual male pleasure; this series poses the question: is there such a thing as the “Female Gaze”?
This year, Morrison made history as the first woman nominated for the Best Cinematography Oscar for Mudbound, a triumph that also underscored the troubling issue of gender inequality in the film industry. Few jobs on a movie set have been as historically closed to women as that of cinematographer—the persistence of the term “cameraman” says it all. Despite this lack of representation, trailblazing women have left their mark on the field through extraordinary artistry and profound vision. As seen through their eyes, films by directors like Claire Denis, Jacques Rivette, Chantal Akerman, Ryan Coogler, and Lucrecia Martel are immeasurably richer, deeper, and more wondrous.
The Female Gaze opens with a double feature of unforgettable collaborations between Agnès Godard and Claire Denis—from the sensual gaze on male bodies in Beau travail to that of familial love in 35 Shots of Rum—launching the series’ central dialogue with Godard in person. Then on July 28, cinematographers Natasha Braier, Ashley Connor, Agnès Godard, and Joan Churchill join Film Society audiences to discuss their careers, experiences in the film industry, and their interpretations of the Female Gaze in a free talk, sponsored by HBO®.
Full line up.
Maryse Alberti Creed Ryan Coogler, USA, 2015, 133m The legend of Rocky lives on as Michael B. Jordan’s gutsy Adonis Johnson—son of Apollo Creed—sets out to prove he’s got what it takes to be the next champ, leaving his luxe L.A. life behind to train in the hard-knock gyms of Philadelphia with the Italian Stallion himself. After the breakout success of Fruitvale Station, director Ryan Coogler shows his facility for major budget spectacle, balancing a rousing underdog sports story with a poignant portrait of intergenerational friendship. The virtuoso lensing of Maryse Alberti astonishes in a dazzling four-and-a-half minute fight sequence that unfolds in one bruising, breathless take. Thursday, August 2, 1:30pm Sunday, August 5, 9:00pm
Velvet Goldmine Todd Haynes, UK/USA, 1998, 35mm, 124m The birth of Oscar Wilde; the staged death of a flamboyant rock star modeled closely after David Bowie; the delirious inebriation of London at the height of the glam era: Haynes’s discourse on celebrity culture is as sprawling and multi-tracked as his previous film, Safe, had been clinically restrained. Much of Velvet Goldmine, the story of a journalist who tries to reconstruct the sordid life story of the failed glam rock star he’d idolized as a young man, was shot in London, and the move gave Haynes a chance to abandon the cloister-like suburbs of his earlier films for a much more colorful, Dionysian milieu. Haynes and cinematographer Maryse Alberti crafted one of the most visually thrilling music movies of the 1990s. An NYFF36 Selection. Sunday, July 29, 8:30pm Tuesday, August 7, 4:15pm
Barbara Alvarez The Headless Woman / La mujer sin cabeza Lucrecia Martel, Argentina/France/Italy/Spain, 2008, 35mm, 87m Spanish with English subtitles DP Barbara Alvarez imparts a restrained—and very strange—spatial texture to Lucrecia Martel’s excitingly splintered third feature, about a woman (a stunning María Onetto) in a state of phenomenological distress following a mysterious road accident. Martel’s rare gift for building social melodrama from sonic and spatial textures, behavioral nuances, and an unerringly brilliant sense of the joys, tensions, and endless reserves of suppressed emotion lurking within the familial structure is here pushed to another level of creative daring. An NYFF46 selection. 35mm print courtesy of UCLA Film & Television Archive. Saturday, July 28, 1:00pm
Akiko Ashizawa Tokyo Sonata         Kiyoshi Kurosawa, Japan, 2008, 120m Japanese with English subtitles What strange deceptions lurk beneath the placid veneer of the average Japanese family? Horror maestro Kiyoshi Kurosawa’s unexpected—but wholly rewarding—foray into family melodrama-cum-black comedy quivers with an undercurrent of dread as salaryman dad (Teruyuki Kagawa) loses his job and desperately attempts to maintain the illusion that he’s still employed; his grade-school son (Kai Inowaki) rebels by secretly taking (gasp!) piano lessons; and mom (Kyōko Koizumi) finds what she’s been looking for with her own kidnapper. The elegant long shots of Akiko Ashizawa toy with the meticulous framings of Ozu as Kurosawa guides the film through a series of increasingly audacious tonal shifts. An NYFF46 selection. Tuesday, August 7, 6:45pm
Diane Baratier The Romance of Astrea and Celadon / Les amours d'Astrée et de Céladon Éric Rohmer, France, 2007, 35mm, 109m At the age of 88, Éric Rohmer bid adieu to cinema with this enchanting mythological idyll, which brims with all the vitality and freshness of youth. Frequent Rohmer cinematographer Diane Baratier conjures a sun-dappled bucolic dream vision of fifth-century Gaul, where a beguiling fable of romantic misunderstanding plays out when a band of druids and nymphs intervene in the lovers’ quarrel between androgynously beautiful shepherd Celadon (Andy Gillet) and his jealous paramour Astrea (Stéphanie Crayencour). Introducing hitherto untapped themes of gender and sexual fluidity into his work, Rohmer crafts an exalted paean to love both spiritual and carnal. An NYFF45 selection. Friday, August 3, 2:00pm Thursday, August 9, 7:00pm
Céline Bozon La France Serge Bozon, France, 2007, 35mm, 102m French with English subtitles In the fall of 1917, as World War I rages, a lovelorn soldier’s wife (Sylvie Testud) disguises herself as a man and sets off for the front in search of her missing husband. Along the way, she meets up with a company of soldiers under the command of a gruff lieutenant (Pascal Greggory), who reluctantly allows Camille to join their ranks. From time to time, these surprisingly sensitive, introspective men break out an assortment of homemade instruments and perform original songs written for the film by Benjamin Esdraffo and the artist known as Fugu, styled after the American “sunshine pop” of The Beach Boys and The Mamas and the Papas. Exquisitely shot by Céline Bozon (the director’s sister), this unclassifiable hybrid of war movie and movie musical is truly unlike anything you’ve ever seen before. Print courtesy of the Institut Français. Wednesday, August 1, 6:45pm Wednesday, August 8, 1:30pm
Natasha Braier The Milk of Sorrow / La teta asustada Claudia Llosa, Spain/Peru, 2009, 35mm, 94m Spanish and Quechua with English subtitles Fausta, the only daughter of an aged indigenous Peruvian mother, is said to have been nursed on “the milk of sorrow.” This accursed designation is bestowed on the children of victims of the former terrorist regime. Fausta has learned of her mother’s past and her own presupposed fate through invented song, which is both an art form and oral history tradition. Upon her mother’s death, she must venture beyond the safety of her uncle’s home and choose whether or not to lend her gift of song so that she can pay for a proper burial. Llosa and DP Natasha Braier capture the striking beauty of Lima’s outskirts, as well as a revelatory performance by Magaly Solier, with dignity and grace. Winner of the Golden Bear at the 2009 Berlin Film Festival. A New Directors/New Films 2009 selection. Sunday, July 29, 3:30pm (Q&A with Natasha Braier)
The Neon Demon Nicolas Winding Refn, Denmark/France/USA/UK, 2016, 118m Like a 21st-century Showgirls meets Suspiria, Nicolas Winding Refn’s delirious plunge into the fake plastic horror of the image-obsessed fashion industry trafficks in both high-camp excess and kaleidoscopically stylized splatter. Elle Fanning is the guileless recent L.A. transplant whose fresh-faced youth and beauty almost instantly land her a high-profile modeling contract. Whatever “it” is, she has it. And a coterie of monstrously jealous, flavor-of-last-month Hollyweird burnouts will stop at nothing to get it. Working in a supersaturated, electric day-glo palette, DP Natasha Braier fashions a sleek, freaky-seductive vision of L.A.’s dark side. Saturday, July 28, 8:00pm (Q&A with Natasha Braier)
Caroline Champetier The Gang of Four / La bande des quatre Jacques Rivette, France/Switzerland, 1989, 160m French and Portuguese with English subtitles Four women, a shadowy conspiracy, and a whole lot of acting exercises: we’re firmly in Rivette territory in one of the director’s most spellbinding explorations of the sometimes terrifyingly thin line between everyday life and the strangeness beneath it. A quartet of aspiring actresses live together while studying with a demanding coach (Bulle Ogier). As they rehearse Pierre Marivaux’s La Double inconstance, offstage drama creeps into their lives in the form of a menacing mystery man (Benoît Régent) with a sinister story to tell. Caroline Champetier’s moody lensing—muted reds, golds, and browns—creates the feeling of an all-enveloping universe operating according to its own paranoid logic. Friday, July 27, 3:15pm Wednesday, August 8, 6:15pm
Holy Motors Leos Carax, France, 2012, 116m French and English with English subtitles Cinematographers Caroline Champetier and Yves Cape both lensed this unclassifiable, expansive movie from Leos Carax about a man named Oscar (longtime collaborator Denis Lavant) who inhabits 11 different characters over the course of a single day. This shape-shifter is shuttled from appointment to appointment in Paris in a white-stretch limo driven by the soignée Edith Scob (Eyes Without a Face); not on the itinerary is an unplanned reunion with Kylie Minogue. To summarize the film any further would be to take away some of its magic; the most accurate précis comes from its own creator, who aptly described Holy Motors after its world premiere in Cannes as “a film about a man and the experience of being alive.” An NYFF50 selection. Saturday, August 4, 7:15pm Monday, August 6, 4:00pm
Le Pont du Nord Jacques Rivette, France, 1982, 129m French with English subtitles Paris becomes a labyrinthine life-size game board in one of the most elaborate of Jacques Rivette’s sprawling, down-the-rabbit-hole cine-puzzles. Bulle Ogier and her daughter Pascale star, respectively, as a hitchhiking ex-con and a leather-clad tough girl who meet by chance on the city streets, come into possession of a curious map, and find themselves caught in a sinister cobweb of underworld conspiracy. Shooting seemingly on the fly, almost documentary-style on the streets of Paris, cinematographers Caroline Champetier and William Lubtchansky telegraph a freewheeling, anything-goes sense of play, as well as a creeping surveillance paranoia. An NYFF19 selection. 4K restoration from the 16mm negative, supervised by Véronique Rivette and Caroline Champetier at Digimage Classic, with the help of the CNC. Friday, August 3, 6:30pm
Joan Churchill Aileen: Life and Death of a Serial Killer Nick Broomfield & Joan Churchill, UK/USA, 2004, 93m Just months after Monster made Aileen Wuornos a household name—and Charlize Theron an Oscar darling—documentarian Nick Broomfield and co-director/cinematographer Joan Churchill unleashed this riveting portrait of the real-life serial killer. Of the two films, it remains the more chilling experience, an unflinching face-to-face encounter with a deeply damaged soul who, as she prepares for her imminent execution, is at once eager to set the record straight, angrily defiant, and increasingly delusional. Daring to find the humanity in one of the most vilified criminals of the century, Broomfield and Churchill—whose camera remains ever-alert and skillfully unobtrusive—craft a haunting, complex look at a life gone wrong. Monday, July 30, 6:45pm (Q&A with Joan Churchill)
Ashley Connor Sneak Preview! The Miseducation of Cameron Post Desiree Akhavan, USA, 2018, 90m Based on the celebrated novel by Emily M. Danforth, Desiree Akhavan’s second feature follows the titular character (Chloë Grace Moretz) in 1993 as she is sent to a gay conversion therapy center after getting caught with another girl on prom night. In the face of intolerance and denial, Cameron meets a group of fellow sinners, including amputee stoner Jane (Sasha Lane) and her friend Adam (Forrest Goodluck), a Lakota Two-Spirit. Together, this group forms an unlikely family with a will to fight. Akhavan and DP Ashley Connor evoke the emotional layers of Danforth’s novel with an effortless yet considered attention to the spirit of the ’90s and the audacious, moving performances of the ensemble cast. A FilmRise release. Sunday, July 29, 6:00pm (Q&A with Ashley Connor)
Josée Deshaies House of Tolerance / L’Apollonide: Souvenirs de la maison close Bertrand Bonello, France, 2011, 35mm, 122m French with English subtitles “I could sleep for a thousand years,” drawls a 19th-century prostitute—paraphrasing Lou Reed—at the start of Bonello’s hushed, opium-soaked fever dream of life in a Parisian brothel at the turn of the century. House of Tolerance is, among other things, Bonello’s most gorgeous and complete application of musical techniques to film grammar, his most rigorous attempt to sculpt cinematic space, his most probing reflection on the origins of capitalist society, and his most sophisticated study of the movement of bodies under immense constraint. A shocking mutilation, a funeral staged to The Moody Blues’ “Nights in White Satin,” a progression of ritualized, drugged assignations and encounters: Bonello and frequent collaborator Josée Deshaies capture it all with a mixture of casual detachment and needlepoint precision. Wednesday, August 1, 2:00pm Sunday, August 5, 4:30pm
Crystel Fournier Tomboy Céline Sciamma, France, 2011, 35mm, 82m French with English subtitles A sensitive, heartrending portrait of what it feels like to grow up different, Céline Sciamma’s beautifully observed coming-of-age tale aches tenderly with the tangled confusion of childhood. When ten-year-old Laure’s family moves to a new neighborhood during the summer, the gender-nonconforming preteen (played by the impressively naturalistic Zoé Héran) takes the opportunity to present as Mickäel to the neighborhood kids—testing the waters of a new identity that neither friends nor family quite understand. Sciamma’s warmly empathetic tone is perfectly complemented by the soft-lit impressionism of Crystel Fournier’s glowing cinematography. Print courtesy of the Institut Français. Monday, August 6, 2:15pm Thursday, August 9, 9:15pm
Agnès Godard Beau Travail Claire Denis, France, 1999, 35mm, 92m French, Italian, and Russian with English subtitles Denis’s loose retelling of Billy Budd, set among a troop of Foreign Legionnaires stationed in the Gulf of Djibouti, is one of her finest films, an elemental story of misplaced longing and frustrated desire. Beneath a scorching sun, shirtless young men exercise to the strains of Benjamin Britten, under the watchful eye of Denis Lavant’s stone-faced officer Galoup, their obsessively ritualized movements simmering with barely suppressed violence. When a handsome recruit wins the favor of the regiment’s commander, cracks start to appear in Galoup’s fragile composure. In the tense, tightly disciplined atmosphere of military life, Denis found an ideal outlet for two career-long concerns: the quiet agony of repressing one’s emotions and the terror of finally letting loose. An NYFF37 selection. Print courtesy of the Institut Français. Thursday, July 26, 7:00pm (Q&A with Agnès Godard)
35 Shots of Rum / 35 rhums Claire Denis, France/Germany, 2008, 35mm, 100m French and German with English subtitles When is a rice cooker more than just a rice cooker? When it’s in the masterful hands of Claire Denis, who somehow transforms it into a moving metaphor for the evolving relationship between a Parisian train conductor (Alex Descas) and his devoted twenty-something daughter (Mati Diop) as he gently nudges her out of the nest and each tests the waters of new relationships. Warmed by the ember-glow of Agnès Godard’s beautifully burnished cinematography, Denis’s delicately bittersweet take on the Ozu-style family drama conveys worlds of meaning and emotion—attraction, heartache, loss, hope—in a mere glance, a gesture, and, yes, a kitchen appliance. Thursday, July 26, 9:30pm (Introduction by Agnès Godard) Tuesday, July 31, 1:00pm
The Intruder / L'intrus Claire Denis, France, 2005, 35mm, 130m French, English, Korean, Russian, and Polynesian with English subtitles Rich, strange, and tantalizingly enigmatic, Denis’s crypto-odyssey is a mesmeric sensory experience that haunts like a half-remembered dream. Inspired by a book by philosopher Jean-Luc Nancy, The Intruder skips across time and continents—from the Alpine wilds to a neon-lit Korea to a tropical Tahiti suffused with languorous melancholy—as it traces the journey of an inscrutable, ailing loner (Michel Subor) seeking a black market heart transplant and his long-lost son. An impressionist wash of hallucinations, memories, and dreams are borne along on the lush textures of Agnès Godard’s shimmering cinematography. Print courtesy of the Institut Français. Saturday, July 28, 3:00pm (Q&A with Agnès Godard) Thursday, August 9, 4:15pm
Kristen Johnson Cameraperson Kirsten Johnson, USA, 2016, 102m How much of one’s self can be captured in the images shot of and for others? Kirsten Johnson’s work as a director of photography and camera operator has helped earn her documentary collaborators (Laura Poitras, Michael Moore, Kirby Dick, Barbara Kopple) nearly every accolade and award possible. Recontextualizing the stunning images inside, around, and beyond the works she has shot, Johnson constructs a visceral and vibrant self-portrait of an artist who has traveled the globe, venturing into landscapes and lives that bear the scars of trauma both active and historic. Rigorous yet nimble in its ability to move from heartache to humor, Cameraperson provides an essential lens on the things that make us human. A 2016 New Directors/New Films selection. Friday, July 27, 6:30pm Thursday, August 2, 4:15pm
Derrida Kirby Dick & Amy Ziering, USA, 2002, 35mm, 84m Postmodern intellectual rockstar Jacques Derrida receives an appropriately self-reflexive portrait in this playful, probing documentary. Framed by the French philosopher’s statements about the inherent unreliability of biography, it finds co-director Amy Ziering attempting to tease out the links between Derrida’s radically influential thinking (he expounds on everything from forgiveness to Seinfeld) and his own life. Even as the alternately witty and reflective Derrida remains cagey about personal matters, Kirsten Johnson’s attentive camera captures revealing flashes of the man behind the ideas. What emerges is a fascinating interrogation of filmic truth: a documentary that relentlessly deconstructs itself. Friday, July 27, 8:45pm
Ellen Kuras Eternal Sunshine of the Spotless Mind Michel Gondry, USA, 2004, 35mm, 108m The feverish imaginations of DIY surrealist Michel Gondry and screenwriter Charlie Kaufman kick into overdrive for the great gonzo sci-fi romance of the early 2000s. When nice guy dweeb Joel (Jim Carrey) encounters blue-haired spitfire Clementine (Kate Winslet) on the LIRR, there’s a spark of attraction, but also something familiar—almost as if they’ve met before… Cue a ping-ponging, time- and space-collapsing journey through memory and a star-crossed love gone sour. The high-contrast handheld camerawork of Ellen Kuras enhances the whiplash sense of disorientation in what is, ultimately, a heart-wounding parable about the ways in which we inevitably hurt those we love most. Wednesday, August 1, 4:30pm Saturday, August 4, 9:30pm
Swoon Tom Kalin, USA, 1992, 35mm, 93m One of the most daring works to emerge from the New Queer Cinema movement of the early 1990s, Swoon offers a radical, revisionist perspective on the infamous Leopold and Loeb murder case. Channeling the spirits of Dreyer, Bresson, and Jean Genet, director Tom Kalin challenges viewers to identify with two of the most notorious killers of the 20th century, their crime—the Nietzsche-influenced thrill killing of a schoolboy in 1920s Chicago—and punishment recounted in ghostly black and white by Ellen Kuras. Throughout, Kalin cannily deconstructs the ways in which Leopold and Loeb’s homosexuality has been historically sensationalized and demonized—a provocative analogy for queer persecution in the AIDS era. Monday, July 30, 2:00pm Monday, August 6, 8:30pm
Sabine Lancelin La captive Chantal Akerman, France/Belgium, 2000, 35mm, 118m French with English subtitles Chantal Akerman’s hypnotic exploration of erotic obsession plays like Vertigo filtered through the director’s visionary feminist formalism. Loosely inspired by the fifth volume of Proust’s In Search of Lost Time, it circles around the very-strange-indeed relationship between the seemingly pliant Ariane (Sylvie Testud) and the disturbingly jealous Simon (Stanislas Merhar), whose need to possess her completely in turn renders him hostage to his own destructive desires. The coolly contemplative camera style of Sabine Lancelin imparts an unbroken, trance-like tension, which finds release only in the thunderous roil of the operatic score. Print courtesy of Cinémathèque Royale de Belgique. Sunday, July 29, 1:00pm
The Strange Case of Angelica / O Estranho Caso de Angélica Manoel de Oliveira, Portugal, 2010, 35mm, 97m Manoel de Oliveira’s sly, metaphysical romance—made when the famously resilient director was a mere 102 years old—is a mesmerizing, beyond-the-grave rumination on love, mortality, and the power of images. On a rain-slicked night, village photographer Isaac (Ricardo Trêpa) is summoned by a wealthy family to take a picture of their beautiful, recently deceased daughter Angelica (Pilar López de Ayala). What ensues is a ghostly tale of romantic obsession as Isaac finds his dreams—and his photographs—haunted by the spirit of the bewitching young woman. The crisp chiaroscuro compositions of cinematographer Sabine Lancelin enhance the film’s otherworldly, unstuck-in-time aura. An NYFF48 selection. Friday, July 27, 1:00pm Wednesday, August 1, 9:00pm
Jeanne Lapoirie Eastern Boys Robin Campillo, France, 2013, 128m French with English subtitles Jeanne Lapoirie’s surveillance-style camera, looking from above, masterfully follows the men who loiter around the Gare du Nord train station in Paris as they scrape by however they can, forming gangs for support and protection, ever fearful of being caught by the police and deported. When the middle-aged, bourgeois Daniel (Olivier Rabourdin) approaches a boyishly handsome Ukrainian who calls himself Marek for a date, he learns the young man is willing to do anything for some cash. What Daniel intends only as sex-for-hire begets a home invasion and then an unexpectedly profound relationship. The drastically different circumstances of the two men’s lives reveal hidden facets of the city they share. Presented in four parts, this absorbing, continually surprising film by Robin Campillo (BPM: Beats Per Minute) is centered around relationships that defy easy categorization, in which motivations and desires are poorly understood even by those to whom they belong. Monday, July 30, 4:00pm Saturday, August 4, 4:45pm
Rain Li Paranoid Park Gus Van Sant, USA, 2007, 35mm, 85m At once a dreamlike portrait of teen alienation and a boldly experimental work of film narrative, Paranoid Park finds Gus Van Sant at the height of his powers. A withdrawn high-school skateboarder (Gabe Nevins) struggles to make sense of his involvement in an accidental death. He recalls past events across tides of memory, and expresses his feelings in a diary—which is, in effect, the movie we are watching. The extraordinary skating scenes, filmed by cinematographers Rain Li and Christopher Doyle in a lyrical mixture of Super 8 and 35mm, depict their subjects soaring in space, momentarily free of the earthly troubles of adolescence. An NYFF45 selection. Tuesday, August 7, 9:15pm
Hélène Louvart Beach Rats Eliza Hittman, USA, 2017, 95m Hittman follows up her acclaimed debut, It Felt Like Love, with this sensitive chronicle of sexual becoming. Frankie (a breakout Harris Dickinson), a bored teenager living in South Brooklyn, regularly haunts the Coney Island boardwalk with his boys—trying to score weed, flirting with girls, killing time. But he spends his late nights dipping his toes into the world of online cruising, connecting with older men and exploring the desires he harbors but doesn’t yet fully understand. Sensuously lensed on 16mm by cinematographer Hélène Louvart, Beach Rats presents a colorful and textured world roiling with secret appetites and youthful self-discovery. A 2017 New Directors/New Films selection. A Neon release. Thursday, August 2, 9:00pm
Pina [in 3D] Wim Wenders, Germany/France, 2011, 106m German, English, and French with English subtitles Wim Wenders began planning this project with legendary choreographer Pina Bausch in the months before her untimely death, selecting the pieces to be filmed and discussing the filmmaking strategy. Impressed by recent innovations in 3D, Wenders decided to experiment with the format for this tribute to Bausch and her Tanztheater Wuppertal; the result sets the standard against which all future uses of 3D to record performance will be measured. Not only are the beauty and sheer exhilaration of the dance s and dancers powerfully rendered by Hélène Louvart and Jörg Widmer’s lensing, but the film also captures the sense of the world that Bausch so brilliantly expressed in all her pieces. Longtime members of the Tanztheater recreate many of their original roles in such seminal works as “Café Müller,” “Le Sacre du Printemps,” and “Kontakthof.” An NYFF49 selection. Sunday, August 5, 2:00pm Tuesday, August 7, 2:00pm
The Wonders Alice Rohrwacher, Italy/Switzerland/Germany, 2014, 110m French with English subtitles Winner of the Grand Prix at the Cannes Film Festival, Alice Rohrwacher’s vivid story of teenage yearning and confusion revolves around a beekeeping family in rural central Italy: German-speaking father, Italian mother, four girls. Two unexpected arrivals prove disruptive, especially for the pensive oldest daughter, Gelsomina. The father takes in a troubled teenage boy as part of a welfare program, and a television crew shows up to enlist local farmers in a kitschy celebration of Etruscan culinary traditions (a slyly self-mocking Monica Bellucci plays the bewigged host). Hélène Louvart’s lensing combines a documentary attention to daily ritual with an evocative atmosphere of mystery to conjure a richly concrete world that is subject to the magical thinking of adolescence. An NYFF52 selection. Friday, August 3, 9:15pm Wednesday, August 8, 3:45pm
Irina Lubtchansky Around a Small Mountain / 36 vues du Pic Saint Loup Jacques Rivette, France/Italy, 2009, 35mm, 84m French with English subtitles     The final film from arch gamesman Jacques Rivette is a captivating variation on one of the themes that most obsessed him: the ineffable interplay between life and performance. Luminously photographed by Irina Lubtchansky in the open-air splendor of the south of France, it revolves around an Italian flaneur (Sergio Castellitto) who finds himself drawn into the world of a humble traveling circus led by the elusive Kate (Jane Birkin), whose enigmatic past becomes a tantalizing mystery he is determined to solve. In a career studded with sprawling shaggy dog epics, Rivette’s swan song is a deceptively slight grace note that contains multitudes. An NYFF47 selection.
Preceded by: Sarah Winchester, Ghost Opera / Sarah Winchester, Opera Fantôme Bertrand Bonello, France, 2016, 24m North American Premiere A film to stand in for an opera unmade: Bonello’s moody, baroque meditation on the heiress to the Winchester rifle fortune plays like a ballet-cum-horror film, an ornate tapestry of enigmatic images, chilling synths, and traces of a tragic and eccentric life. An NYFF54 selection. A Grasshopper Film release. Friday, August 3, 4:15pm Wednesday, August 8, 9:15pm
Babette Mangolte The Camera: Je or La Camera: I Babette Mangolte, USA, 1977, 88m Though perhaps best known as the cinematographer for Chantal Akerman’s groundbreaking 1970s work—as well as for her collaborations with avant-garde icons like Yvonne Rainer, Trisha Brown, and Marina Abramović—Babette Mangolte is a singular cinematic visionary in her own right. In this structuralist auto-portrait, Mangolte allows viewers to peer through the lens of her camera as she produces a series of still photographs, first of models, then of the streetscapes of downtown Manhattan. As we experience the act of image-making through her eyes, what emerges is a heady consideration of the art and act of seeing and of the complex relationship between photographer, subject, and viewer. Monday, August 6, 6:30pm
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles Chantal Akerman, Belgium/France, 1976, 35mm, 201m French with English subtitles A landmark of feminist art, Chantal Akerman’s minimalist masterpiece is both a monumental and microscopic view of three days in the life of a fastidious Belgian single mother (a sphinx-like Delphine Seyrig) as she goes about her housework, peeling potatoes and washing dishes with the same clinical detachment with which she makes love to the occasional john. And then slowly, almost imperceptibly, things begin to go awry… The rigorous, relentlessly impassive gaze of Babette Mangolte’s camera is transfixing but, in the words of the director, “never voyeuristic”; it’s a uniquely feminine way of seeing made manifest by one of the most sui generis filmmaker-cinematographer partnerships in history. Tuesday, July 31, 3:15pm Saturday, August 4, 1:00pm
Claire Mathon Stranger by the Lake / L’inconnu du lac Alain Guiraudie, France, 2013, 97m French with English subtitles Alain Guiraudie’s Cannes-awarded exploration of death and desire unfolds entirely in the vicinity of a gay cruising ground that becomes a crime scene. Franck (Pierre Deladonchamps) is a regular at a lakeside pickup spot, where he finds companionship both platonic and carnal. But his new paramour Michel (Christophe Paou) turns out to be a love-’em-and-leave-’em type, in the deadliest sense… Guiraudie has long been a singular voice in French cinema: anti-bourgeois, at ease in nature, a true regionalist and outsider. Here he and DP Claire Mathon capture naked bodies and hardcore sex with the same matter-of-fact sensuousness they bring to ripples on the water and the fading light of dusk. An NYFF51 selection. Monday, July 30, 9:15pm Thursday, August 9, 2:00pm
Reed Morano Sneak Preview! I Think We’re Alone Now Reed Morano, USA, 2018, 93m Pulling double duty as director and cinematographer, Reed Morano finds the melancholic beauty in the end of the world with this gorgeous and strange drama starring Peter Dinklage and Elle Fanning as the last people on Earth. When the film opens in a desolate upstate New York, the misanthropic Del (Dinklage) is performing rote, custodial tasks to clean up the chaos left around his hometown—and relishing his newfound solitude—until another, sprightly survivor (Fanning) arrives. Winner of the Special Jury Prize for Excellence in Filmmaking at the 2018 Sundance Film Festival, I Think We’re Alone Now is a visually audacious entry in the postapocalyptic genre and an idiosyncratic take on loneliness and grief.   Thursday, August 2, 6:30pm
Rachel Morrison Fruitvale Station Ryan Coogler, USA, 2013, 85m Coogler’s remarkable debut feature explores the life and harrowing death of Oscar Grant (played by Michael B. Jordan), a 22-year-old African-American man killed by police in the early hours of January 1, 2009. Six months after sweeping both the Grand Jury Prize and the Audience Award at the Sundance Film Festival, Fruitvale Station opened on the same weekend that jurors in Florida acquitted George Zimmerman in the death of Trayvon Martin. Rachel Morrison’s gripping, exploratory Super 16 on-location camerawork dramatizes the unseen complexities and personal relationships of Grant’s inner circle with a startling sense of urgency, emotion, and the unflagging awareness of a preventable tragedy too often seen in the news cycle. Sunday, August 5, 7:00pm
Free Talk: The Female Gaze Join us for an hour-long conversation with cinematographers Natasha Braier, Ashley Connor, Agnès Godard, and Joan Churchill as they discuss the series and reflect on their careers and influences, and how they approach their craft. Sponsored by HBO®. Saturday, July 28, 6:30pm* Elinor Bunin Munroe Film Center, Amphitheater, 144 W 65th Street
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mianavs · 3 years ago
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I'VE HAD MY LOCKSCREEN FOR 5 YEARS AND IF YOU KNOW WHO THIS I AM ASKING FOR YOUR HAND IN MARRIAGE
Also, The Pierces are amazinggg and inspire so many of my dark angsty fics
Tagging: @kura-p1ka @haikyooot @tetsunormous @brivetaroundtown @rumb-le @rindearest @mujinazaka anyone else who wants to participate
Ask Game Time!!
Show your "Home screen" and last song played! Tag your moots and have fun
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My home screen is my little fur baby and this is the last song I listened to, it’s such a good song. And my Home Screen is my semi commission
Tagging: @bokuroskitten @mianavs @https-inarizaki @anxoha @toyomitsus @betheydocrimewrites @lucynnamonroll @izanaphoric @izuukii @eijiphoric + anyone else who sees this
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Black Ferns ready for Rugby World Cup rematch
Four new caps and two returning players from the 2017 Rugby World Cup winning side have been named in the Black Ferns to play Canada on Friday afternoon Saturday morning New Zealand Rugby as part of the Women’s Rugby Super Series 2019. Fans can buy Rugby World Cup Final Tickets online.
Tapsell 20 has been a standout for her province where she has established herself as the most prolific try-scorer in North Harbor women’s Rugby history.
The Bay of Plenty pair of hooker Luka Connor, loose forward Karli Faneva and Counties Manukau halfback Arihiana Marino Tauhinu have also all been named to make their Test debuts from the reserves. Olivia Ward Duin is bracketed with Leilani Perese at this stage.
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Black Ferns Head Coach Glenn Moore said the coaching team had been watching Tapsell closely for the past two years.
“She’s a very physical player and a good ball carrier and she came through strongly in the match against the Barbarians. Pia thoroughly deserves her start.”
Moore special declaration of Marino Tauhinu who spent time with the Black Ferns without taking the field in the past saying she had earned her recall through hard work for her province.
Prop Toka Natua and Centre Carla Hohepa will wear the black jersey for the first time since the 2017 Women’s Rugby World Cup final in Belfast.
  “Carla is a very experienced player and we’ve always believed she is world class. She’s worked hard to get back in great physical shape and shown some good signs in all the lead up games. She’s also part of our leadership group and is influential on and off the field.”
Moore said Natua also from Waikato had got her selection in a very competitive position.
“We’ve decided to go with Toka in this instance. She was the player of the World Cup Final she’s had a year off she’s back and we want to see what she brings.”
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The Black Ferns play Canada in their first match of the Women’s Rugby Super Series 2019 a series which also includes USA, France and England. Moore said his team last played Canada in 2017 at the World Cup and he expected them to be big, strong and fast.
“We know Canada has one of the best scrums if not the best scrum in the world and we know they like to be physical. They’ve certainly got pace, so we expect them to bring a lot to the game. We’ve recovered well from our travel and have been preparing for this for months now. Everyone can’t wait to get out there and play.”
When the two sides last clashed in 2017, the Black Ferns ran out 48-5 winners. The match will kick off at 11AM Saturday morning NZT.
Black Ferns: 15 Selica Winiata, 14 Renee Wickliffe, 13 Carla Hohepa, 12 Chelsea Alley, 11 Ayesha Leti-I’iga, 10 Ruahei Demant, 9 Kendra Cocksedge, 8 Pia Tapsell, 7 Les Elder (C), 6 Charmaine McMenamin, 5 Charmaine Smith, 4 Eloise Blackwell, 3 Aleisha-Pearl Nelson, 2 Te Kura Ngata Aerengamate, 1 Toka Natua. Reserves 16 Luka Connor, 17 Phillipa Love, 18 Leilani Perese Olivia Ward Duin, 19 Karli Faneva, 20 Marcelle Parkes, 21 Arihiana Marion Tauhinu, 22 Krysten Cottrell, 23 Alena Saili.
Get latest updates of the Rugby World Cup Tickets from our trusted online ticketing platform. Rugby fanatics can book tickets on reliable rates from our online ticketing market place.
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bedlamfoundry · 5 years ago
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Hardwell, Deorro & MAKJ - Left Right
Hardwell, Deorro & MAKJ - Left Right Listen here ▶️http://revr.ec/LEFT-RIGHT It’s been both a Summer of colossal future hits and long-awaited, old-skool style IDs from the Dutch maverick that is Hardwell – including anthem of the season ‘Summer Air’ - and now, following the release of ‘Retrograde’, he’s back with yet another epic release on his own Revealed Recordings imprint, playing production pied piper to a handful of collaborators with the crowd-busting ‘Left Right’. Bouncing back with Deorro and MAKJ since their respective releases on the imprint ‘Rambo’ and ‘Beast’ both standing as huge as their titles imply. The legendary, multi-million streamed Fatman Scoop also boomerangs back to Revealed to inject some hypeman mania into ‘Left Right’, creating the musical equivalent of pure dynamite. Deorro’s an artist who needs no introduction. Famed for the 2015 megahit ‘Five More Hours’ featuring Chris Brown, which was clocked up close to half a billion Spotify streams, Deorro’s profile hit global status and so too has his impressive stream of releases that includes the likes of ‘Bailar’ and ‘Perdoname’. Deorro and MAKJ are no strangers to studio time together, having collaborated on multiple tracks with their last one being the popular ‘Retumba’. MAKJ has also previously paired up with Hardwell on the club banger ‘Countdown’. So, take those two electronic stars, mix in the Dutch titan that is Hardwell and blend it with the Grammy Award winning rapper and undisputed voice of the club Fatman Scoop, and the outcome is pure fireworks! With the unity of these four huge artists coming together for this masterpiece of thrilling EDM, different styles collide for a release that is as frenzied as it is meteoric as injections of synths permeate like an electric current through Fatman Scoop’s countdown commands, for hypnotising melody stabs follow. It’s a true face melter of the highest order, with a slick of finessed bass to bring another deeper, grooving dimension around the halfway mark; it’s a cherry-picked amalgamation that marries the worlds of EDM, big-room, high-intensity MC’ing and more. As Revealed Recordings continues to issue defining tracks, praised by many across the industry, ‘Left Right’ has been keeping fans eagle-eyed ever since Hardwell premiered an earlier version of the track during his Creamfields 2018 mainstage – and thankfully, the wait is now no more. Setting alight sets since then that have captivated the hordes of fans across the mainstages of Tomorrowland and Ultra Music Festival Miami, as well as support from big-hitters in the scene including Fedde Le Grand and label favourites W&W and Kura; make sure you’re ready to jump ‘Left Right’ with the Revealed Recordings crew when the track is released Oct 18th! For more info: http://www.djhardwell.com http://www.instagram.com/hardwell http://www.facebook.com/djhardwell http://www.twitter.com/hardwell http://www.soundcloud.com/hardwell http://www.revealedrecordings.com http://www.facebook.com/revealedrecor... http://www.twitter.com/revealedrec http://instagram.com/revealedrec http://soundcloud.com/revealed-record... http://open.spotify.com/user/revealedrec http://www.youtube.com/revealedrec #BeFree #BeBeautiful #BeYOU #BeLOVE #BedlamFoundry #IAmBedlam #EDM #hardwell #EDM #Bigroom #Revealed #RevealedRecordings #djhardwell #deorro #makj #leftright
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thepeterssite · 7 years ago
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Tyo Timro Ghar Ko By Yash Kumar (Audio)
Tyo Timro Ghar Ko is a new Aadhunik Nepali and sentimental song by Yash Kumar. This song is taken from his “Reason”. This song is totally about love and tragedy of human life. The song wants to say that if some one you love don’t like you, then don’t disturb them.
The lyrics and music for this song is composed by Yash Kumar. The song has wonderful lyrics and music. Writer chooses the word which have the deep and ironic meaning in love life. The vocal for this song was given by Yash Kumar who is known as a versatile Playback singer. He is singer as well as Actor of Nepali Cinema. Yash Kumar has given his voice to lots of songs, most of them are emotional and against racism. He is not only a singer but also a Actor, music composer and lyrics writer. When you once listen this song, I am sure you will keep repeating it.
The music video is released officially online by Dhaulagiri Cassette Center via Youtube. Hope that you will enjoy this melodious lok pop song Tyo Timro Ghar Ko.
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Here is the lyrics for the song:
Timro tyo aankhako gahiraima dubnadeu Timro tyo mutuko dhukdhukima basnadeu Timilai nai sandhai khojiranchhan e aankha Timi bina mero jiban bitne bhayo bhai tadha Timro tyo aankhako gahiraima dubnadeu
Mero yo man le pani timilai nai Khojiraheko chha yaha Timi chhau kaha ma chhu yaha Jindagi bharka khusi saachi Mera e aankha le timilai nai Khojiraheko chha yaha Baseko chhu timrai yaadma Sandhai timrai nai samjhanamaa
Timro tyo aankhako gahiraima dubnadeu Timro tyo mutuko dhukdhukima basnadeu Timilai nai sandhai khojiranchhan e aankha Timi bina mero jiban bitne bhayo bhai tadha Timro tyo aankhako gahiraima dubnadeu
Aaideu na mero saamu sunideuna mankaa kura Haasi haasi baachau haami dukhaharu sabai birsi Timilai nai sandhai khojiranchhan e aankha Timi bina mero jiban bitne bhayo bhai tadha Timro tyo aankhako gahiraima dubnadeu
Timilai sandhai raakhe maile mera e aankha ko naani ma Timilai nai sajaaye maile mero yo eklo jeevanma Sansarko yo khusi maile kahile bhulna pani sakdina Timi bina ekpal pani ma jiuna ta kahi sakdina
Timi mero chahana ho timi mero bhawana Jeevan bhari sangai bachne dui mutuko chahana Timilai nai sandhai khojiranchhan e aankha Timilai nai sandhai khojiranchhan e aankha Timro tyo aankhako gahiraima dubnadeu Timro tyo mutuko dhukdhukima basnadeu
The post Tyo Timro Ghar Ko By Yash Kumar (Audio) appeared first on etcNepal.com.
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nexusradiodance · 7 years ago
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DJ Mag Announces Top 100 Winners
DJ Mag has announced the results of the Top 100 DJs Poll 2017, with Martin Garrix crowned as the world’s No.1 DJ for a second consecutive year. Garrix received the award at the Top 100 DJs Awards ceremony at AMF 2017 at Amsterdam ArenA; and was joined onstage by the Highest Duo, Dimitri Vegas & Like Mike (No.2), and Armin van Buuren (No.3), the Highest Trance DJ.
AMF 2017 also featured an exclusive back-to-back performance by Armin van Buuren and Hardwell during the #TwoIsOne showcase, with further sets from David Guetta, Dimitri Vegas & Like Mike, Marshmello, Don Diablo, and many more.
The Top 100 DJs Poll 2017 had over a million votes again this year, a marginal increase on 2016’s record-breaking 1 million figures. The most votes came from the USA, followed by Brazil, Mexico, Netherlands, India, UK, Spain, Italy, France, Belgium, China, Germany, and Japan. There were 15 new entries, 7 re-entries, and 5 non-movers.
With Martin Garrix voted the world’s No.1 DJ for a second year, Dimitri Vegas & Like Mike have hung onto the No.2 spot, while Armin van Buuren is back up to No.3 — a spot he held for several years in the mid-Noughties before rising to No.1 for a record-breaking five times. Armin leapfrogs his sometime #TwoIsOne partner Hardwell — another former winner — while Tiesto, David Guetta, Afrojack and Steve Aoki all hold steady in the Top 10. The Chainsmokers jump 12 places into the Top 10 at No.6, while Marshmello is up 18 to No.10.
Just outside the Top 10, Don Diablo is the Highest Future House DJ, and Skrillex is still the Highest Bass DJ despite moving down seven places. Alan Walker — the UK-born, Norway-raised DJ/producer is the Highest Climber, up 38 places to No.17.
The Top 100 DJs Poll 2017 further opened up the voting process to Chinese dance music fans via a fully updated and translated validation mechanism. China’s electronic music scene continues to grow at a rapid pace, and Chinese DJs, DJ L and Carta, both from Shanghai, have made their Top 100 debuts this year, alongside 15 new entries in the Top 100, with Lost Frequencies from Belgium the Highest New Entry. Other new names to the Poll include Mike Williams, Julian Jordan and Lucas & Steve, but the big story for this year’s Poll is the rise of ‘non-EDM’ DJs.
In his forthcoming annual Top 100 DJs Poll analysis (DJ Mag November issue released 26 October), DJ Mag UK’s editor, Carl Loben, describes how the upper echelons of the Poll have remained largely the same, but further down the Poll this year’s results have an influx of wider names from differing scenes, reflecting how “as EDM has waned somewhat, the void is being filled — at festivals and larger clubs — by big names from more discerning scenes”.
Solomun has a debut chart placing at No.81, while Maceo Plex charts ten places lower, and South African hero Black Coffee debuts at No.85. Also bridging the gap between the underground and the mainstream, Eric Prydz has had a good year, he’s up 32 places to No.34. Claptone is also a new entry at No.69, as is Australian DJ, Alison Wonderland (No.89).
Richie Hawtin returns in the Poll at No.80 after slipping out in 2016, but Carl Cox is once again the Highest Techno DJ — up 12 places to No.62. Paul Kalkbrenner is back in the Top 100 for the first time since 2012, while in the next 50 places (101-150), Loco Dice, Marco Carola, Adam Beyer, Jamie Jones, Green Velvet, Seth Troxler, Nina Kraviz and Kolsch all make an appearance.
Disclosure have returned to the Top 100, and Andy C — once again the Highest Drum & Bass DJ in the Poll — has reaped the rewards of a hectic year by double-dropping himself back in at No.77.
Nervo are once again the Highest Female DJs, while Mexico’s Mariana BO, in at No.84, joins the aforementioned Alison Wonderland and Nina Kraviz, and hard techno spinner Miss K8 from Ukraine, who is up 30 places.
The Top 100 DJs Poll used to be dominated by trance DJs until the rise of EDM a few years back, but it seems like the sound is having a resurgence. Not only is trance figurehead Armin van Buuren up, but former winner Paul van Dyk is up nine places and the Above & Beyond trio are up twenty places off the back of their huge arena shows. ATB is also up to No.54, while Ferry Corsten jumps up nine places in the wake of his ‘Blueprint’ album.
There’s still a smattering of hardstyle DJs in the hallowed hundred, and Angerfist has had to surrender his Highest Hard DJ hat to Headhunterz, who’s returned to the hardstyle scene after a spell exploring more mainstream music.
Unicef, the global children’s organization, is the Top 100 DJs charity beneficiary for 2017. Unicef works in over 190 countries around the world to keep all children healthy, happy and safe. They ensure more of the world’s children are vaccinated, educated and protected than any other organization.
TOP 100 DJS POLL 2017 RESULTS World’s No.1 DJ – Martin Garrix Highest Duo – Dimitri Vegas & Like Mike Highest Trance DJ – Armin van Buuren Highest Techno DJ – Carl Cox Highest Drum & Bass DJ – Andy C Highest Hard DJ – Headhunterz Highest Climber – Alan Walker (Up 38) Highest New Entry – Lost Frequencies 15 New Entries 07 Re-entries 05 Non-movers Over 1,000,000 votes cast GEOGRAPHIC LIST Europe’s No.1 DJ – Martin Garrix North America’s No.1 DJs – The Chainsmokers South & Central America’s No.1 DJ – Alok Asia’s No.1 DJ – Carta Africa’s No.1 DJs – Aly & Fila Australasia’s No.1 DJs – Nervo
TOP 100 DJS POLL 2017 – THE FULL LIST 1  Martin Garrix Non-Mover 2 Dimitri Vegas & Like Mike Non-Mover 3 Armin van Buuren Up 1 4 Hardwell Down 1 5 Tiesto Non-Mover 6 The Chainsmokers Up 12 7 David Guetta Down 1 8 Afrojack Up 2 9 Steve Aoki Down 2 10 Marshmello Up 18 11 Don Diablo Up 4 12 KSHMR Non-Mover 13 Oliver Heldens Down 5 14 W&W Down 1 15 Calvin Harris Down 1 16 Skrillex Down 7 17 Alan Walker Up 38 18 R3hab Up 3 19 Alok Up 6 20 Dash Berlin Down 3 21 Axwell ^ Ingrosso Down 5 22 DVBBS Up 2 23 DJ Snake Down 1 24 Kygo Up 2 25 Diplo Down 2 26 Lost Frequencies New Entry 27 Above & Beyond Up 20 28 Avicii Down 17 29 Zedd Up 6 30 Quintino Up 2 31 Vintage Culture Up 23 32 Vinai Up 5 33 Headhunterz Up 3 34 Eric Prydz Up 32 35 Bassjackers Down 1 36 Blasterjaxx Up 7 37 Alesso Down 17 38 Ummet Ozcan Down 19 39 Fedde Le Grand Up 11 40 Angerfist Up 6 41 Wolfpack Up 22 42 Nervo Up 3 43 Timmy Trumpet  Up 37 44 Radical Redemption Up 24 45 Major Lazer Down 1 46 Tujamo Up 32 47 Tom Swoon Up 9 48 DJ Kura Up 3 49 Deadmau5 Down 18 50 Nicky Romero Down 21 51 Paul van Dyk Up 9 52 Danny Avila Re-entry 53 Aly & Fila Down 12 54 ATB Up 7 55 Yves V Up 7 56 Diego Miranda Up 2 57 Yellow Claw Down 9 58 Miss K8 Up 30 59 Brennan Heart Non-Mover 60 Mike Williams New Entry 61 Dannic Up 9 62 Carl Cox Up 12 63 Carl Nunes Up 23 64 Lucas & Steve New Entry 65 Warface New Entry 66 Galantis Down 27 67 Da Tweekaz Up 4 68 Jay Hardway Up 21 69 Claptone New Entry 70 Martin Jensen Up 12 71 Florian Picasso Down 33 72 Vini Vici New Entry 73 Jauz Up 10 74 Cat Dealers New Entry 75 Sam Feldt Up 12 76 Robin Schulz Down 7 77 Andy C Re-entry 78 Carnage Up 6 79 Andrew Rayel Down 14 80 Richie Hawtin Re-entry 81 Solomun New Entry 82 Steve Angello Down 52 83 Will Sparks Down 10 84 Mariana BO New Entry 85 Black Coffee New Entry 86 Dillon Francis Down 22 87 Flume Up 7 88 Shogun Down 46 89 Alison Wonderland New Entry 90 Ferry Corsten Up 9 91 Maceo Plex New Entry 92 Carta New Entry 93 Mosimann Re-entry 94 Julian Jordan New Entry 95 Tchami Re-entry 96 Porter Robinson Down 6 97 Paul Kalkbrenner Re-entry 98 DJ L New Entry 99 Swanky Tunes Down 72 100 Disclosure Re-entry
from Dance – Nexus Radio http://ift.tt/2xeEw7Z
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gramilano · 6 years ago
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Crystal Costa, Alison McWhinney and Isabelle Brouwers in Le Corsaire © Laurent Liotardo
70th Anniversary celebrations
2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners.
The 70th Anniversary will be celebrated with three special Gala performances at the London Coliseum featuring extracts from a diverse range of repertoire spanning English National Ballet’s history.
ENB’s Artistic Director, Tamara Rojo, said,
Our 70th Anniversary Gala performances are a rare opportunity to showcase in one place a huge variety of brilliant work from our extraordinarily rich history. This will be a Gala that celebrates the sheer love of dance, both on and off the stage, that has been part of our vision from the beginning.
Throughout the three performances, we will be bringing together as many people as possible from the English National Ballet family, on stage and in the audience, to celebrate and give thanks for the generosity of all who make this the very special Company it is. Alongside the Gala, we want to make sure we thank our audiences and partners throughout the season and will do so in a variety of creative ways.
ENB will give away 70 tickets during each run in every city it tours to thank its touring communities. Working with its partner venues, these tickets will be distributed to individuals who are making a positive impact in their community.
To thank its audiences and fans, the company will also give a ‘Golden Ticket’ for an “English National Ballet experience” to one audience member per performance throughout the season. Opportunities will include behind-the-scenes tours, complimentary tickets, and meet and greets.
The biggest event that coincides with its 70th Anniversary is the move to its new home at London City Island, Canning Town. The building, designed for ENB and its school features a theatre size production studio fitted with a fly tower to allow for the 2019-2020 Season to be shaped with “a renewed commitment to, and freedom for, creativity and ambition”.
Alina Cojocaru, Stina Quagebeur and Isaac Hernandez in Akram Khan’s Giselle © Laurent Liotardo
Alina Cojocaru and Isaac Hernandez in Akram Khan’s Giselle © Laurent Liotardo
Akram Khan’s new work – Creature
Akram Khan returns to create a second full-length production for English National Ballet following the success of Giselle. In an ‘anything you can do, I can do better’ approach, he takes inspiration from Mary Shelley’s Frankenstein — a ballet version by Liam Scarlett is currently onstage at The Royal Ballet. Khan’s new ballet, called Creature, is influenced by essential questions on ambition, human endeavour and morality. Creature is co-produced by Sadler’s Wells, London, where it will premiere in April 2020.
Khan said,
Since I was a child, I have been obsessed and fascinated with the story of Frankenstein, by Mary Shelley. The outcast, the monster, or the stranger has always been a common theme in my works. But in this new creation, I am looking further into the areas related to the sense of abandonment, rage and loss. Having made Giselle on English National Ballet in 2016, I am extremely excited to create a new full-length work with them.
Rojo said that Khan is an extraordinary artist, with an exceptional vision and inquisitive, inspiring mind:
His masterful choreography is like no other and he has the skill to use his unique language to craft a narrative that asks some of the most challenging questions faced by the human race right now. I am looking forward to working with Akram and his team again and excited to see where this exploration takes him and the company in what will be our third project together.
Rina Kanehara and Fernando Carratala Coloma in ENB’s Nutcracker © Laurent Liotardo
Rina Kanehara and Jeffrey Cirio in English National Ballet’s Nutcracker © LaurentLiotardo
Return of Giselle, Cinderella, Le Corsaire, and Nutcracker
The 2019-2020 Season will also see the return of Khan’s first full-length collaboration with English National Ballet, Giselle, with performances at Sadler’s Wells in September. It received its world premiere in 2016 and has since been seen live by over 80,000 people through tours to nine cities, both in the UK and internationally together with a cinema relay and a DVD and Blu-ray release.
Another first is that there will be an audio described performance of Giselle at Sadler’s Wells this autumn, making the ballet accessible to visually impaired people, as well as an on-stage ‘touch tour’ ahead of the performance, in which participants are given the opportunity to familiarise themselves with costumes and props through touch.
Autumn 2019 sees ENB tour Cinderella, Le Corsaire, and Nutcracker.
Following Christopher Wheeldon’s restaging of Cinderella for in-the-round performances at the Royal Albert Hall in June 2019, English National Ballet will bring the proscenium arch version of this sparkling ballet to audiences outside of London in Manchester and Southampton. This inventive production combines magnificent sets and costumes, beautiful choreography, and Prokofiev’s sublime score performed live by English National Ballet Philharmonic.
Having toured successfully to Japan, Paris, and Spain, Autumn 2019 sees Le Corsaire return to Milton Keynes six years after its 2013 premiere in that same city, before performances at the London Coliseum in January 2020.
Tamara Rojo © Karolina Kuras
Rojo commented that,
Le Corsaire is a spectacular ballet that gives us another opportunity to showcase the extraordinary talent that is present throughout the entire Company right now. There is a physical power and brilliant dramatic presence in this generation of dancers, and I am looking forward to seeing them take on these roles which I think they will relish and have such fun with, and I think audiences will too.
Continuing its Christmas tradition of presenting a Nutcracker production each year since 1950, English National Ballet’s Nutcracker will tour to Liverpool ahead of performances at the London Coliseum. 70% of 2018’s audience members were coming to the London Coliseum for the first time.
Brooklyn Mack will perform with English National Ballet as a Guest Artist during the Autumn-Winter 2019-2020 Season. Mack last performed with English National Ballet in 2016, in Le Corsaire.
Other plans include more international touring, following the upcoming tours to Les Théâtres de la Ville de Luxembourg in June 2019 and at the Chekov International Festival on the Bolshoi Theatre stage in July 2019. In April 2020 the company will take Khan’s Giselle to the Gran Teatre del Liceu, Barcelona, and then the Théâtre du Châtelet, Paris in July 2020 as part of the festival Les Étés de la Danse.
ENB appoints a Medical Director
To augment its commitment to its dancers’ health the company has appointed Andy Reynolds as Medical Director, a new role. He will work to maximise the benefits of the new premises’ fitness and rehabilitation facilities which include a gym, Pilates studio, hydrotherapy pool and treatment rooms, implementing processes and strategies to allow English National Ballet’s dancers to prepare, perform, and recover to the best of their abilities.
The appointment of a Medical Director is integral to our ambition to establish English National Ballet as a renowned centre for medical, fitness, and injury rehabilitation provision in the dance world — said Rojo — I look forward to welcoming Andy to the team as we strive to further invest in the health and well-being of our dancers in a way that supports their artistic development so they can reach their full potential as artists.
English National Ballet moves to London City Island in Spring 2019 with English National Ballet School joining ahead of their new academic year starting in September 2019.
English National Ballet’s 2019-2020 Season Listings:
Akram Khan’s Giselle Sadler’s Wells, London Wednesday 18 – Saturday 28 September 2019 Box Office: 020 7863 8000 or www.ballet.org.uk/giselle
Cinderella Palace Theatre, Manchester Thursday 17 – Saturday 19 October 2019 Box Office: 0844 871 3019 or www.ballet.org.uk/cinderella
Cinderella Mayflower Theatre, Southampton Wednesday 23 – Saturday 26 October 2019 Box Office: 02380 711811 or www.ballet.org.uk/cinderella
Le Corsaire Milton Keynes Theatre Wednesday 20 – Saturday 23 November 2019 Box Office: 0844 871 7652 or www.ballet.org.uk/lecorsaire
Nutcracker Liverpool Empire Wednesday 27 – Saturday 30 November 2019 Box Office: 0844 871 3017 or www.ballet.org.uk/nutcracker
Nutcracker London Coliseum Wednesday 11 December 2019 – Sunday 5 January 2020 Box Office: 020 7845 9300 or ballet.org.uk/nutcracker
Le Corsaire London Coliseum Wednesday 8 – Tuesday 14 January 2020 Box Office: 020 7845 9300 or www.ballet.org.uk/lecorsaire
English National Ballet’s 70th Anniversary Gala London Coliseum Friday 17 – Saturday 18 January 2020 Further details to be announced
Creature by Akram Khan Sadler’s Wells, London Wednesday 01 – Wednesday 08 April 2020 On sale details to be announced / www.ballet.org.uk/creature
Emerging Dancer Spring 2020 Further details to be announced
My First Ballet: Cinderella Spring 2020 Further details to be announced
Akram Khan’s Giselle Gran Teatre del Liceu, Barcelona Wednesday 22 – Saturday 25 April 2020 www.liceubarcelona.cat
Akram Khan’s Giselle Théâtre du Châtelet, Paris July 2020
Akram Khan © Max Barnett
English National Ballet announces 2019-2020 70th Anniversary Season 70th Anniversary celebrations 2020 marks English National Ballet’s 70th Anniversary with celebrations taking place throughout the 2019-2020 Season that give opportunities for the Company to say, ‘Thank You’ to its audiences, fans, friends and partners.
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thepeterssite · 7 years ago
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Mero Bani By Sabin Rai
Mero Bani is a New Nepali romantic pop song. Jaba Timi Ayou is a Nepali song by Sabin Rai. This song is just a about the love and love life relationship.
This song is about the hardship in relationship and compromises we must have to do in the relationship for the sake of our love. The voice in this song is one of the famous and well known singer Sabin Rai. He is a Nepali Singer and lyricist who is often called as the Bryan Adams of Nepal, because of the voice match. His first successful single was “Komal Tyo Timro” from the album Sataha 2. Although his song “Eakai Aakash Muni” was released before Saatha 2. He has performed concerts in Australia, Hongkong, United Kingdom, United States and India. Mr. Rai known for his stage performances and the interest he brings in his old songs by singing in different style. This song is also melodious and heart touching. I assure that once you listen to this song you will keep repeating it.
The music video is released officially online by channelnicky via Youtube. Hope that you will enjoy this Melodious pop Song Mero Bani.
Here is the lyrics for the song Mero Bani:
Mero bani kasto naramro Bina sitti dosh dine Mero sochai kasto sanguro Sanka le nai man jalaune Aparadh garina bhool maatraia ho Jahan chhau timi aau Jahan chhau timi aau
Kahile kahi estai bhai haalcha Nachahanda chahandai pani Tara papi man mero chaina Timilai dukha lage pani Sano tino kura ma Timi na aljhiuna Jahan chhau timi aau Jahan chau timi aau
Sohrai aana ko chhu ma bhandina Nalayak pani kahile hoina Batai pichchhe ma kasam khaadina Pachutauna ma timlai dinna Yehi ho yesari nai jeevan chalchha Yehi ho yesari nai maya badchha
Mero herai kasto dhamilo Aafnai maanchhe lai nachinne Mero bani kasto naramro Bina sitti dosh dine Aparadh garina bhool maatrai ho Jahan chhau timi aau Jahan chhau timi aau Jahan chhau timi aau Jahan chhau timi aau Jahan chhau timi aau Jahan chhau timi aau
The post Mero Bani By Sabin Rai appeared first on etcNepal.com.
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thepeterssite · 7 years ago
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K Saro Ramri Bhako by Swoopna Suman
K Saro Ramri Bhako is a Nepali romantic song by talented singer Swoopna Suman. The song is recorded at Karma Records. The song is mixed and mastered by Binod Lama. He is also the producer of the song. This is an audio song of K Saro Ramri Bhako animated by Subash Gurung.
K Saro Ramri Bhako is a romantic song that describes how beautiful ‘she’ has become by and by. Actually Swoopna Suman wrote this song for his friends who lives in abroad. He is a versatile singer and a great artist who has been becoming trending and popular with every new song he drops. Swoopna Suman has a unique voice and unique genre in music. Usually he prefers to write and compose his songs by himself. This is what makes him stand out of the crowd in music field. Although Suman Thapa is his real name, he goes by the alias Swoopna Suman in the Nepali Music Industry.
The video is officially released online by Karma Records via YouTube. Do watch the video from here:
youtube
Here is the lyrics for K Saro Ramri Bhako:
Saat samundra pari ko tyo saharma K chha sunau na timro khabara Seattle sahar ko tyo bagarma Timi sanga hidna lagyo malai rahara Dui char barsa pani biti sakyo Masanga vetna kahile auchau vana? Ooth mathi ko tyo kalo kothi timro Najik aai kahile dekhauchhau? Lajalu aankha dherai pachhi dekheko Aawaj timro maile kuri baseko Kura sunera timro maan ramayeko Bolima timro kina ma harayeko Ae sunana! k saro ramri bhako? Ae sunana! k saro ramri bhako?….
New York ma mero guitar gunjida Tyo bhidma timi pani aaunu hai? Udasipan le kahile kahi satauda Sunera geet yo ramaunu hai? Sapana bunne manchhe ma thahai chha timilai Sapana dekhna kahile nadaraunu hai Yaad haru ko ghar timile sajauda Mero lagi pani thorai thau banaunu hai? Ho timro lagi maile geet koreko Musukka muskurauda maan ramayeko Aankhai ko gajalu le kya suhayeko Kura adhuro chhodi kaha harayeko? Eh sunana k saro ramri bhako? Eh sunana k saro ramri bhako? Timi ra maile hidne bato arkai chha Samaya thorai, sapana thulo chha Sansar samu mero geet puryaunuchha Thakeko chaina ma yo bato lamo chha Aasha namara hami chadai bhetaula Aasha namara hami chadai bhetaula Aayera samu timro pheri bhanaula ma Eh sunana k saro ramri bhako? Eh sunana k saro ramri bhako?….
Lala, lala, lala, lala, lalala Lala, lala, lala, lala, lalala Lala, lala, lala, lala, lalala Lala, lala, lala, lala, lala…..
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