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dustedmagazine · 2 years

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Dust: Volume 8, Number 9

Rachika Nayar

It’s pouring out for the third day in a row, and yet also somehow we are still in the middle of a drought. That’s a decent metaphor for the music world, which is in some ways in its death throes, in others extraordinarily prolific and vital. So, while musicians everywhere struggle against creativity killing challenges like higher gas prices, COVID-canceled tours, numbing indifference and the me-centered aesthetic around streaming, they continue, also, to make excellent music. This month we round up another batch of it, from death metal to indie pop to improvised guitar music to an album comprised entirely of cowbells. This month’s contributors include Jonathan Shaw, Tim Clarke, Jennifer Kelly, Bill Meyer, Ian Mathers, Bryon Hayes and Jim Marks.

Acausal Intrusion — Seeping Evocation (I, Voidhanger)

Seeping Evocation by ACAUSAL INTRUSION

The tech death weirdos in Acausal Intrusion are back with another record of forbiddingly complicated and completely bananas music. On Seeping Evocation, Nythroth and Cave Ritual (yep, those are the names we have to work with) have pushed their singular death metal further out into abstract territory. The music is knotty, angular and seemingly extruded through some set of anomalous conditions in our space-time continuum. The lyrics? Try this, from “Ostensible Implanted Inheritance”: “Precisely veridical justification deductive fallibilism reliablism affirming assassination components inductive internally consistent meet characteristic different suitably in simple theory…” It’s hard to say where to insert line-breaks, since Cave Ritual’s guttural growls operate at considerable distance from syntax and normative rhetorical inflections. The music is even more dizzying and disorienting. But if you’re looking for an acrobatically adventurous hour of highly idiosyncratic metal — somehow seriously spacy and nauseously damp at the same time — Acausal Intrusion have your ticket stamped. Bring your own vomit bag. The turbulence gets rough.

Jonathan Shaw

Air Waves — The Dance (Fire)

The Dance by Air Waves

The new album from Air Waves features a host of notable collaborators, including Cass McCombs and Luke Temple. Nicole Schneit’s music is simple and direct, the chord changes akin to The Pixies minus the distortion, which suggests the listener could pick up a guitar at home and easily strum along with the changes. The cadence of Schneit’s vocal melodies closely follows the contours of the chords, gently rising on occasion in husky, questioning phrases. The songs’ arrangements are fleshed out with beats, keys and a glowering low end that skews the music away from indie-pop towards an arch, mature sound. The best song is probably “Alien,” the one with Cass McCombs, which begins innocently enough, but subtly builds into a menacing, addictive little art-pop tune. Though The Dance is tightly written, vividly produced, and occasionally rather catchy, by the end of the album’s 25 minutes it feels curiously insubstantial.

Tim Clarke

Almond Joy — Oh Henry!

Oh Henry! by Almond Joy

Almond Joy, the candy bar, coated a sticky sweet coconut filling with bittersweet chocolate. Almond Joy, the Bay Area band, works a similar strategy, wrapping sugary melodies in just enough scratch and clatter to cut through. The band, comprised of SF underground regulars from Rays, Cool Ghouls and other outfits, trips and grooves on “Oh Henry!” which doubles down on the candy metaphor. The song floats dizzying pop tuneful-ness across rackety drums and twittering organ for a carnival ride aura, which breaks, a couple of times for dream pop drift and glide. A passing nod to “Wanna Be Your Dog,” establishes punk connections without making too much of them. “San Francisco” is even more fluid and lyrical, with its spun out, harmonized refrain of “I…wanna move to the city,” and its extended Frampton-Comes-Alive-ish guitar solo. A sugar high but tasty.

Jennifer Kelly

Eric Arn and Eyal Maoz — Kost Nix (Feeding Tube)

Kost Nix by eric arn & eyal maoz

Two seasoned veterans of the experimental guitar join together in free improvisation in a set recorded late last year at the experimental arts space VEKKS Vienna. Eric Arn got his start in the early Wayne Rogers band Crystalized Movements and later headed the sublimely heavy Primordial Undermind. Eyal Maoz is best known for his collaboration with John Zorn. Here, together, their work is alternately cerebral and torrid, abstract and antically physical. “Quiet Concessions” operates at a low volume, as its title suggests, but it is anything but reserved, containing lightning runs and tone-warped blasts of distorted sound. “Luminous Motion” sets up a dynamic of dueling flurries and tamped down dissonances. One player hazards a chaotic motion, the other mirrors it backward, distorted or at a funhouse angle. “Optimus Locus ad Finem,” runs slower and more lyrically, but still bristles with sharp conflicting ideas. Not an easy record, but a fascinating one.

Jennifer Kelly

Cyril Bondi & D’Incise—Le Secret (Insub)

Le secret by CYRIL BONDI & D'INCISE

The next time you hear someone holler, “more cowbell,” hand them a copy of this album. Le Secret is made up solely of the sounds of bells made for cows residing in Switzerland’s mountain pastures. The title derives from a research point; what choices go into the making of said bells? According to the notes, “It revealed to be pretty subjective, mixing parameters of sonic efficiency, financial and social reasons, and sometimes a slight touch of musicality, all of these clotted by the notion of “secret.”

Having conducted this research, these two Swiss experimentalists then set about recording a few sets of bells that met their own subjective and secret criteria. Their selections are more reverberant and deeper in tone that the standard rock cowbell, but function justifies nomenclature, so there you go. Not all cowbells were made to choogle. The album’s four pieces have a patient, meditative quality that is far more overtly musical than your average herd’s pasture-crossing cacophony.

Bill Meyer

Eric Chenaux — Say Laura (Constellation)

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Eric Chenaux’s music is not by most metrics very ‘difficult’ and yet there’s something subtly confronting about it. He sings in a gentle, clear voice, high above woozy tangles of guitar and not much else (here he sparingly adds harmonica and various electronics, with Ryan Driver on occasional Wurtlizer). Both his singing and playing are singular and fascinating enough that Chenaux would be worth listening to if either were all he did, but it’s in the way they play off each other that his new record really blossoms. Over the course of these five tracks (ranging from 7 to 13 minutes in length) Say Laura veers from understated, whimsical songcraft to a more abstract kind of soundworld. Whether it’s stretches of the title track luxuriating in the intoxicated, stumbling sound of Chenaux’s guitar or Chenaux-as-singer locking into a breathlessly repeating groove for a full 3/4s of the 10-minute “There They Were,” what at first presents as relatively quiet and unassuming music soon starts claiming more of your attention. It’s music to smoothly reconfigure your expectations to.

Ian Mathers

Ian William Craig — Music for Magnesium_173 (130701)

Music for Magnesium_173 by Ian William Craig

Ian William Craig has released some stunning records over the last ten years, including 2014’s A Turn of Breath, 2016’s Centres, and 2018’s Thresholder. Though his latest, Music for Magnesium_173, is an 80-minute soundtrack to a computer game, it’s distinctively the work of the same artist. There’s his unmistakable operatic singing voice, the warble and crackle of his reel-to-reel tape machines, plus some textural electronics, such as the thick surge of bit-crushed bass on “Sprite Percent World Record.” The facet of this music that feels different is the intention behind its creation. As music to accompany visual stimulus and gameplay, it’s impossible to say whether it works. As a standalone album it’s diverting enough, showcasing Craig’s enviable skill in balancing celestial beauty with ominous drone. However, compared to the majority of his formidable discography, this is probably among the least essential of his works.

Tim Clarke

Cruz — Confines de la Cordura (Nuclear Winter)

Confines de la Cordura by CRUZ

A thrilling collection of thrashy death metal from Barcelona-based Cruz, Confines de la Cordura roils and churns with inexhaustible energy. You’ll hear plenty of buzzsaw riffage, clearly referencing the canon of Swedish classics, but the record is equally engaged with a dirty variety of muscular thrash, verging on punky vigor. If you can imagine M.O.D., c. 1989, sharing a practice space with Dismember, you’ll have the right sounds in your head. But Cruz is very much its own monster, and the songs on this record are huger, faster and nastier than just about anything either of those legendary bands put out. The crusty grandeur of the first couple minutes of the title track of Confines de la Cordura might make you wish the band would slow down every now and then, but by the time “Eones de Sangre” shifts into top gear, you’ll be having way too much fun to want anything else. Really, the record is so good that it deserves more than a Dust. But there isn’t much more to say about it beyond a couple essentials: Great record. Rage on, band.

Jonathan Shaw

Gloria de Oliveira and Dean Hurley — Oceans of Time (Sacred Bones)

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Dean Hurley is best known for his 12-year collaboration with the film director David Lynch. His partner here is a multidisciplinary artist named Gloria Oliveira, a singer, songwriter, video director and actor. Together, over a dozen atmospheric cuts, they build slow-evolving, wide-panning landscapes with some of the wonder and dread of the Lynchian universe. Some of these cuts are rather song-like in a diffuse, soft-shoe-gazing sort of way. The best of these is, maybe, “All Flowers in Time,” a swooning swirl of dream pop, whose cloudy textures are pierced through with drum machine beats and reverberating bent guitar notes. But others, just as affecting, are pure timbre and tone-wash, building greyscale monoliths out of shivering synth notes. You don’t so much listen to “Seven Summits” as breathe in its intoxicating fumes. You can’t get swept into “Astral Bodies” without feeling your feel float free of the ground. You can get lost in Oceans of Time, and maybe that’s the point. Enter this trance state at your own risk.

Jennifer Kelly

Ernesto Diaz-Infante — Vacilando EPs (Ramble)

Vacilando EPs by Ernesto Diaz-Infante

Californian improviser Ernesto Diaz-Infante has pursued many angles of inquiry over the decades, but the immediacy and sonic richness of this album make it a stand-out. Despite its humble name, it is actually a plus-sized album spanning over two hours on a pair of CDrs. Diaz-Infante is credited playing banjo, traveler guitar, Turkish electric oud and resonator guitar, but what he really plays here are strings and space. Each of the album’s 28 tracks is a pool of vibrations that invites repeated deep dives. Sonically, the album is somewhat reminiscent of Steffen Bash-Junghans’ experimental albums from the early 2000s, but the focus here is not so much on rigorous methodology as pure luxurious sonority. One caveat; music this strong deserves a more reliable format than CDr. It’s possible to get glass-mastered CDs manufactured in runs of 100, folks, so please, when you do something good, do it right.

Bill Meyer

Bruno Duplant — Le Jour D’Après (Sublime Retreat)

Le Jour D'après by Bruno Duplant

Films can offer you world’s you’d rather live in, or worlds you really don’t want to see. This album, whose name corresponds to that of the 2004 climate disaster flick The Day After Tomorrow, so you might think that Bruno Duplant has the latter cinematic sensibility in mind. But this half-hour-long recording betrays the influence of long hours spent marveling at sights and sounds so moving that you can’t stop watching them. It is made from the sounds of foot-steps on pavement, distant church bells, squeaky seagulls, melancholy strings and meandering piano notes. Duplant’s artful layering of these elements is easily as immersive as any great movie, but instead of letting the listener stay lost, he inserts signifiers of intervention — foregrounded shuffling that might represent the composer’s presence, and flutters in the string and piano tracks like those that might result from applying your finger to a turntable. In those moments, escape is withheld, challenging the listener to reevaluate their relationship to all that they hear.

Bill Meyer

Vinny Golia / Bernard Santacruz / Cristiano Castagnile — To Live and Breathe… (Dark Tree)

To Live and Breathe... by Vinny Golia • Bernard Santacruz • Cristiano Calcagnile

The album’s title telegraphs the seriousness with which this ad hoc, international trio approaches improvisation. But heaviness never bogs them down. If anything, they make a virtue of being light on their feet, benefitting from the elevated pitch potential of Los Angeleno Vinny Golia’s two woodwinds (soprano saxophone, piccolo) and Milanese drummer Cristiano Calcagniele’s preference for sizzle over rumble. Golia puts more wind into the endeavor’s sails by favoring quick, stabbing forays and long, hurtling lines. Santacruz is a conversational bassist, able to dish apposite asides even when he’s holding down a pulse. His solemn, solitary introduction to “Thoughts Within The Vineyard” invests the whole affair with an affecting gravity.

Bill Meyer

Gordon Grdina / Mark Helias / Matthew Shipp—Pathways (Attaboygirl)

Pathways by Gordon Grdina Mark Helias Matthew Shipp

Both pianist Matthew Shipp and oud/guitar player Gordon Grdina make a lot of records. Probably the most remarkable thing about Pathways, their second recording with bassist Mark Helias, is how singular it sounds, even when the participants play like you’d expect them to play. Grdina is a melodist at heart, and while Shipp has refined his approach in more recent times, he still can be relied upon to invest the moment with cosmic weight. But in the company of a musician who finds ways to be equally apposite accompanying Dewey Redman and Gerry Hemingway, they’ve marked out a zone in which each gambit, no matter how classic it may be for the person playing it, advances a refreshingly unfamiliar game. Grdina and Shipp are both guys who can take up a lot of space, but they’ve found ways to make room for each other, often by arcing around each other with broad, separate gestures that are bound together by Helias’ elegant figures.

Bill Meyer

Gabriel Hassan — Two Oceans: Compositions for Six and Twelve String Guitar (Ramble Records)

Two Oceans: Compositions for six and twelve string guitar by Gabriel Hassan

This Bandcamp find is by a young guitarist with ties to Wyoming and, apparently, Australia. Hassan embraces wholeheartedly the style of Fahey and Rose and, especially, Basho. As advertised, Hassan delivers six sprawling (nine-minute-plus) epics on the instruments named in the title. The fingerpicking is intricate and assured, and the tunes build and resolve in the manner of classics such as “Voice of the Turtle” and “The Falconer’s Arm.” The effect is a little like listening to Isaiah Collier’s Cosmic Transitions: both Hassan and Collier are artists in their early 20s playing music that could pass for newly discovered outtakes recorded by their idols (in Collier’s case, Coltrane) in 1967. If the sounds are no longer revolutionary, they are delivered with no less passion, and the compositions are equal to the skill on display.

Jim Marks

IKZ — I Heard the Cryptic Problem of My Generation Destroyed (Amalgam)

I Saw the Cryptic Problem Of My Generation Destroyed by IKZ

IKZ gets in your face with music whose stylistic address is as difficult to pin down as its postal one. The quartet looks Chicago-ish enough; everyone’s lived there at some point. But the members’ current residences range from Virginia to Oregon. Likewise, double bassist Christopher Dammann (Restroy), Kevin Davis (Locksmith Isadore, Uncle Woody Sullender), John Niekrasz (John Wiese, Methods Body), and Toby Summerfield (Princess Princess, Ex Eye) have all contributed to records you could find in a jazz bin, but if you crank this platter up, you might get your jazz school DJ privileges revoked. “Cloud In The Serpent” opens the LP with some straight-up metallic shredding courtesy of Summerfield, who has been known to do the same thing in that band he shares with Greg Fox and Colin Stetson. But where you’d expect to beat to come down slow and steady, there’s instead a dust devil-stirring whirl of activity. Call it heavy improvisation. Davis’ amplified cello is more tectonic than melodic. Dammann, whose double bass is as voltage-independent as Summerfield’s guitar is plugged in, conspires with drummer Niekrasz to rumble like a couple guys who see no conflict between collecting E.S.P.-Disks and committing flagrant fouls on the basketball court.

Bill Meyer

KARK — The Tatooed Date of the Earthquake Across the Abdomen (Chocolate Monk)

KARK is the improvisation-oriented, guitar-free counterpart of Louisville-based Sapat. The music each combo makes is pretty different, but they share a purposeful insularity. The point is not externally generated outcomes; it is in the doing. Still, their compass points true. This hour and a third-long CDR, which compiles music recorded over 21 years, is heavy on conversational reeds, which counter assertive squiggle with confident squawk, with room for occasional saw-toothed strings, lunar synth and spasmodic percussion interventions. Periodically a passage of idiomatically faithful, swinging jazz wanders into the room, checks out the proceedings, and then moves on. It’s all filtered through a cheap-mic murk that makes the music feel a bit like what you might make if you simultaneously played records by Surface of the Earth and Slugs Saloon-era Sun Ra.

Bill Meyer

Loop — Sonancy (Reactor)

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Robert Hampson’s Loop were always a bit of an odd beast. Knocked at the time in the UK press (and sometimes by Sonic Boom) as the Spacemen 3 ripoffs they never were, at times seemingly too brutal and abstract for wide consumption, by the time of their swan song A Gilded Eternity they’d evolved to some truly stunning places (listen to “Shot With a Diamond” and wonder at what might have been). Thirty years later, after many productive years shedding the albatross of his guitar-slinging reputation in Main and with the Groupe de Recherches Musicales, Hampson’s not only made peace enough with the guitar to play some truly fierce shows as Loop, but there’s finally a fourth LP. But whereas the exploratory 2015 EP Array 1 felt like it was tentatively weaving something new, there’s nothing tentative about Sonancy, just 42 packed minutes of straight-down-the-middle Loop burners. If Hampson was just about the last guy you’d expect to make something that crowd pleasing (for a particular value of “crowd”), it’s hard to deny just how satisfying the result is for the converted.

Ian Mathers

Rachika Nayar — Heaven Come Crashing (NNA Tapes)

Heaven Come Crashing by Rachika Nayar

Brooklyn-based electronic producer Rachika Nayar exists in the atmospheric layer between ambient electronic music and bombastic post-shoegaze haze. Her music evokes the high drama of early M83, but she imbues her songs with a softness akin to that of chilly Norwegian producer Biosphere. This liminal existence allows Nayar’s bombast from becoming bluster. Her use of dynamics is not overbearing; there’s a poignancy present that calls to mind the early days of post-rock. Desiring a continuum, Nayar weaves a few threads that she sustains throughout Heaven Come Crashing, her sophomore album. One of these pervasive, dream-like images is a scything guitar, processed into a barely present phantasm that howls as it fights to be heard among the surrounding clouds of tone. This otherworldly presence becomes incredibly dramatic when Maria BC appears. Both tracks that feature the classically trained vocalist are also coincidentally the only songs that include prominent beats. These moments — when melody, rhythm, and vocals collide — are when Heaven Come Crashing really heads skyward. Yet as lofty as Nayar’s music gets, there’s always a guitar present, tethering it to Earth.

Bryon Hayes

Nohmi — Bird on the Edge (ZenneZ Records)

A Bird at the Edge by NOHMI

Nohmi is a Rotterdam-based international group led by Korean pianist Miran Noh that has achieved some recognition in European jazz circles in recent years. The lineup includes, on this recording, a full (and seemingly very well-rehearsed) band, with the core trio of piano, double bass and drums augmented by tenor sax and trumpet and, on several tracks, a string quartet. This contemporary take on third stream jazz touches all the right bases (MJQ, Ravel, etc.), with interesting arrangements (such as the shifting time signatures on the version of “We See” that closes the set) and effective use of the strings (especially the opening title track). Noh has the makings of a great jazz composer, and it will be interesting to watch her and the band develop.

Jim Marks

Various Artists — Lagniappe SuperSession :: Birthday Blues | 33 Artists Interpret The Music Of James Toth (Aquarium Drunkard)

James Jackson Toth is an extraordinarily prolific songwriter who records mostly, but not entirely, under various permutations of the name Wooden Wand. Too young, I suspect, to have been featured on the genre defining Golden Apples of the Sun compilation in 2004, he nonetheless has become a central figure in New Weird America circles. This birthday compilation of covers, organized by his wife Leah Toth (also of the very excellent Amelia Courthouse) and Ben Chasny, celebrates just under three dozen of his hundreds of songs—and, like Golden Apples in its day, does a good bit to document the ever-expanding universe of psychedelic folk. Toth has written in his Substack that he, personally, only really likes about a dozen of his own songs, and that none of these made the cut, but perhaps that all to the good. Pretty nearly every musician on this comp has found their own way in to the songs that they cover. Meg Baird sounds as shivery and folk pure singing “The Mountain” as she does performing her own work. Jerry DeCicca reaches deep into the pocket for “You Say that I Don’t Love Anything” sounding exactly as warm and relaxed and casually poetic in as he does on his solo albums. Powers Rollin Duo adds some worn-in vocals to its string blues satori, but sounds otherwise as shimmery and transcendant as ever. And what can you say about M. Geddes Gengras’ glitch-y, synthy, whispery electronic take on “Mexican Coke” or Mount’s epically ominous “What Has the Night To Do,” except that they pay tribute by taking a different tack? My two favorites among these songs bucked this trend a bit by being recognizable, but “Sun Drum Ladies” turns as delicately weightless as dandelion fluff in Woods’ hands, and “Hotel Bar” hits an unlikely equilibrium between world-weariness and revelation in Ethan Miller’s take. The songs are good, but they reverberate like a diving board as these artists bound off them in all directions. I didn’t mean to write about his comp, which is available as a free download at Aquarium Drunkard (a website that I sometimes contribute to). But while it’s an excellent birthday present and a really good covers album, it’s more than that. It’s a temperature reading on a whole loosely organized scene, and the good news is that the freak folk universe is in stupendous health.

Jennifer Kelly

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davidhudson · 1 month

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Mary Ellen Mark (March 20, 1940 – May 25, 2015), Craig Scarmardo and Cheyloh Mather at Boerne Rodeo. Texas, 1991.

#mary ellen mark #photography #texas

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cyarsk52-20 · 1 year

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Here Are All the Winners From the 2023 Oscars: Complete List

The 95th annual Academy Awards are hosted by Jimmy Kimmel.

The 95th Academy Awards take place on Sunday (March 12) at the Dolby Theatre at Ovation Hollywood and air live on ABC, with Jimmy Kimmel returning as Oscars host for the third time.

Jimmy Kimmel Jokes About Nick Cannon’s Kids, the Will Smith Slap in 2023 Oscars…

03/12/2023

Everything Everywhere All At Once, which earned 11 nods, is the most-nominated film this year. One of those 11 nominations is for best original song (David Byrne, Ryan Lott and Mitski’s “This Is A Life”). They’re competing against Lady Gaga and BloodPop for “Hold My Hand” (Top Gun: Maverick), Tems, Rihanna, Ryan Coogler and Ludwig Goransson for “Lift Me Up (Black Panther: Wakanda Forever), Diane Warren for “Applause” (Tell It Like a Woman) and M.M. Keeravaani and Chandrabose for “Naatu Naatu” (RRR). This is Warren’s 14th nomination, with no wins so far. Gaga previously won this category for co-writing “Shallow” from A Star Is Born.

Baz Luhrmann’s biopic on 20thcentury icon Elvis Presley, Elvis, was nominated for eight Oscars, including best picture; it also earned a best actor nomination for Austin Butler, who portrayed the King of Rock & Roll.

Check out the complete winners list below, updating live throughout the show.

Best Actress in a Supporting Role

Angela Bassett in “Black Panther: Wakanda Forever” Hong Chau in “The Whale” Kerry Condon in “The Banshees of Inisherin” Jamie Lee Curtis in “Everything Everywhere All at Once” — WINNER Stephanie Hsu in “Everything Everywhere All at Once”

Best Costume Design

“Babylon” Mary Zophres “Black Panther: Wakanda Forever” Ruth Carter — WINNER “Elvis” Catherine Martin “Everything Everywhere All at Once” Shirley Kurata “Mrs. Harris Goes to Paris” Jenny Beavan

Best Sound

“All Quiet on the Western Front” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte “Avatar: The Way of Water” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges “The Batman” Stuart Wilson, William Files, Douglas Murray and Andy Nelson “Elvis” David Lee, Wayne Pashley, Andy Nelson and Michael Keller “Top Gun: Maverick” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor — WINNER

Best Original Score

“All Quiet on the Western Front” Volker Bertelmann — WINNER “Babylon” Justin Hurwitz “The Banshees of Inisherin” Carter Burwell “Everything Everywhere All at Once” Son Lux “The Fabelmans” John Williams

Best Adapted Screenplay

“All Quiet on the Western Front” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell “Glass Onion: A Knives Out Mystery” Written by Rian Johnson “Living” Written by Kazuo Ishiguro “Top Gun: Maverick” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks “Women Talking” Screenplay by Sarah Polley — WINNER

Best Original Screenplay

“The Banshees of Inisherin” Written by Martin McDonagh “Everything Everywhere All at Once” Written by Daniel Kwan & Daniel Scheinert — WINNER “The Fabelmans” Written by Steven Spielberg & Tony Kushner “Tár” Written by Todd Field “Triangle of Sadness” Written by Ruben Östlund

Best Live-Action Short Film

“An Irish Goodbye” Tom Berkeley and Ross White — WINNER “Ivalu” Anders Walter and Rebecca Pruzan “Le Pupille” Alice Rohrwacher and Alfonso Cuarón “Night Ride” Eirik Tveiten and Gaute Lid Larssen “The Red Suitcase” Cyrus Neshvad

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse” Charlie Mackesy and Matthew Freud — WINNER “The Flying Sailor” Amanda Forbis and Wendy Tilby “Ice Merchants” João Gonzalez and Bruno Caetano “My Year of Dicks” Sara Gunnarsdóttir and Pamela Ribon “An Ostrich Told Me the World Is Fake and I Think I Believe It” Lachlan Pendragon

Best Actor in a Supporting Role

Brendan Gleeson in “The Banshees of Inisherin” Brian Tyree Henry in “Causeway” Judd Hirsch in “The Fabelmans” Barry Keoghan in “The Banshees of Inisherin” Ke Huy Quan in “Everything Everywhere All at Once” — WINNER

Best Animated Film

“Guillermo del Toro’s Pinocchio” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley — WINNER “Marcel the Shell with Shoes On” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey “Puss in Boots: The Last Wish” Joel Crawford and Mark Swift “The Sea Beast” Chris Williams and Jed Schlanger “Turning Red” Domee Shi and Lindsey Collins

Best Original Song

“Applause” from “Tell It like a Woman”; Music and Lyric by Diane Warren “Hold My Hand” from “Top Gun: Maverick”; Music and Lyric by Lady Gaga and BloodPop “Lift Me Up” from “Black Panther: Wakanda Forever”; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler “Naatu Naatu” from “RRR”; Music by M.M. Keeravaani; Lyric by Chandrabose — WINNER “This Is A Life” from “Everything Everywhere All at Once”; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best International Feature Film

“All Quiet on the Western Front” Germany — WINNER “Argentina, 1985” Argentina “Close” Belgium “EO” Poland “The Quiet Girl” Ireland

Best Makeup and Hairstyling

“All Quiet on the Western Front” Heike Merker and Linda Eisenhamerová “The Batman” Naomi Donne, Mike Marino and Mike Fontaine “Black Panther: Wakanda Forever” Camille Friend and Joel Harlow “Elvis” Mark Coulier, Jason Baird and Aldo Signoretti “The Whale” Adrien Morot, Judy Chin and Anne Marie Bradley — WINNER

Best Production Design

“All Quiet on the Western Front” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper — WINNER “Avatar: The Way of Water” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole “Babylon” Production Design: Florencia Martin; Set Decoration: Anthony Carlino “Elvis” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn “The Fabelmans” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Cinematography

“All Quiet on the Western Front” James Friend — WINNER “Bardo, False Chronicle of a Handful of Truths” Darius Khondji “Elvis” Mandy Walker “Empire of Light” Roger Deakins “Tár” Florian Hoffmeister

Best Visual Effects

“All Quiet on the Western Front” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar “Avatar: The Way of Water” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett — WINNER “The Batman” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy “Black Panther: Wakanda Forever” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick “Top Gun: Maverick” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Film Editing

“The Banshees of Inisherin” Mikkel E.G. Nielsen “Elvis” Matt Villa and Jonathan Redmond “Everything Everywhere All at Once” Paul Rogers — WINNER “Tár” Monika Willi “Top Gun: Maverick” Eddie Hamilton

Best Documentary Feature

“All That Breathes” Shaunak Sen, Aman Mann and Teddy Leifer “All the Beauty and the Bloodshed” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov “Fire of Love” Sara Dosa, Shane Boris and Ina Fichman “A House Made of Splinters” Simon Lereng Wilmont and Monica Hellström “Navalny” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris — WINNER

Best Documentary Short Subject

“The Elephant Whisperers” Kartiki Gonsalves and Guneet Monga — WINNER “Haulout” Evgenia Arbugaeva and Maxim Arbugaev “How Do You Measure a Year?” Jay Rosenblatt “The Martha Mitchell Effect” Anne Alvergue and Beth Levison “Stranger at the Gate” Joshua Seftel and Conall Jones

Best Actor in a Leading Role

Austin Butler in “Elvis” Colin Farrell in “The Banshees of Inisherin” Brendan Fraser in “The Whale” — WINNER Paul Mescal in “Aftersun” Bill Nighy in “Living”

Best Actress in a Leading Role

Cate Blanchett in “Tár” Ana de Armas in “Blonde” Andrea Riseborough in “To Leslie” Michelle Williams in “The Fabelmans” Michelle Yeoh in “Everything Everywhere All at Once” — WINNER

Best Directing

“The Banshees of Inisherin” Martin McDonagh “Everything Everywhere All at Once” Daniel Kwan and Daniel Scheinert — WINNER “The Fabelmans” Steven Spielberg “Tár” Todd Field “Triangle of Sadness” Ruben Östlund

Best Picture

“All Quiet on the Western Front” Malte Grunert, Producer “Avatar: The Way of Water” James Cameron and Jon Landau, Producers “The Banshees of Inisherin” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers “Elvis” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers “Everything Everywhere All at Once” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers — WINNER “The Fabelmans” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers “Tá”r Todd Field, Alexandra Milchan and Scott Lambert, Producers “Top Gun: Maverick” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers “Triangle of Sadness” Erik Hemmendorff and Philippe Bober, Producers “Women Talking” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Billboard

Daily newsletters straight to your inboxHere Are All the Winners From the 2023 Oscars: Complete List The 95th annual Academy Awards are hosted by Jimmy Kimmel.

Read in Billboard: https://apple.news/AHKFOmlU5QtqosjZ_09EbPg

Shared from Apple News

Sent from my iPhone

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theart2rock · 21 days

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Babylon A.D. kündigt das neue Album für Mai an

BABYLON A.D. kündigen ihr neues Studioalbum "Rome Wasn't Built In A Day" an, das am 17. Mai auf Perris Records erscheinen wird. Es ist 6 Jahre her, dass das letzte Studioalbum "Revelation Highway" erschienen ist und die Band hat sich seitdem stark weiterentwickelt. Das Live-Album "Live Lightning", das letztes Jahr veröffentlicht wurde, hat die Band wieder auf Touren gebracht und sie haben wirklich viel Zeit und Mühe in das Album gesteckt, was sich wirklich ausgezahlt hat. Die Band hatte über 20 Songs zur Auswahl und wählte die ihrer Meinung nach besten 11 Stücke aus, die den Sound und die Richtung der Band repräsentieren. Songs wie das adrenalingeladene, treibende Eröffnungsstück "Wrecking Machine", der langsame Metal-Rocker "Pain" und das atmosphärische "Crashed Into The Sun" spiegeln die Vielfalt des Musikgeschmacks der Band und den Beitrag der einzelnen Bandmitglieder wider. Songs wie "Face Of GOD", "I Will Never Break Again" und "Sometimes Love Is Hell" sind allesamt großartige Balladen-Arrangements mit interessanten lyrischen Inhalten und visuellen Geschichten, die Sänger/Songwriter Derek Davis für den Hörer geschrieben hat. Die großen Hook-Refrains, für die die Band bekannt ist, wie der Titeltrack "Rome Wasn't Built In A Day", "White Hot Bullet" und der sehr melodische Track "Looking For A Heartbeat", erinnern an ihr erstes Album. Derek Davis ist von der neuen Platte begeistert: "Die Fans werden das neue Babylon A.D. Album wirklich lieben. Ihr wisst ja, was man sagt: "Rom wurde nicht an einem Tag erbaut" und dieses Album hat einige Zeit gebraucht, aber "Mann, das Warten hat sich gelohnt! Wir hatten das große Glück, den Grammy-Gewinner David Donnelly 'DNA Mastering' für das Mastering des Albums zu gewinnen. Er hat schon viele Top-Platten gemastert, die wir alle kennen, wie z.B. 'Motley Crue', Chicago", Aerosmith", Slash" und viele andere Bands, die wir alle kennen. Dieser Typ hat ein großartiges Gehör und kennt sein Revier." Tom Mathers, Präsident von Perris Records, äußerte sich zum neuen Album: "Die neue Studio-CD "Rome Wasn't Built In A Day" ist das, worauf die Fans von Babylon A.D. gewartet haben. Es ist, als wäre die Band in der Zeit zurückgereist und hätte den Stil und den Einfluss ihres Debüts "Self titled" auf Arista Records eingefangen. Der Eröffnungstrack "Wrecking Machine" ist ein harter, treibender Rocker und "Rome Wasn't Built In A Day" hat einen riesigen Killer-Refrain, den man mitsingen wird. Diese Veröffentlichung garantiert, dass jeder Babylon A.D. Fan nicht enttäuscht sein wird." Track listing and songwriters: 1. Wrecking Machine 4:16 *D. Davis - J. Matthews* 2. Pain 4:09 *D. Davis - J. Matthews - R. Freschi* 3. Sometimes Love Is Hell 5:25 *D. Davis* 4. Rome Wasn't Built In A Day 4:27 *D. Davis* 5. Looking For A Heartbeat 4:21 *D. Davis - R. Freschi* 6. I Will Never Break Again 7:00 *D. Davis - J. Matthews* 7. White Hot Bullet 3:45 *D. Davis* 8. Crashed Into The Sun 4:52 *D. Davis - R. Freschi - D. Soto - C. Pepe* 9. Face Of GOD 6:30 *D. Davis* 10. Shut Up 4:31 *D. Davis - D. Soto - C. Pepe* 11. Super Beast 3:43 *R. Freschi - J. Matthews - D. Soto* Album details: Produced, Mixed, Engineered by Derek Davis @ The BADMOFO's Recording Studio, Pleasanton, CA. Drums recorded by Gabriel Shepard @ 25th Studios Oakland CA. Mastered By David Donnelly, DNA Mastering Los Angeles CA. Photos - Angela Probst - Studio A Vintage Artwork Concept Design - Derek Davis Band Members Derek Davis - Vocals, Keyboard, Guitar Ron Freschi - Lead Guitar, Background vocals John Mattews - Lead Guitar Craig Pepe - Bass, Background vocals Dylan Soto - Drums / Background vocals Background vocals *I Will Never Break Again* Lane Borchard Über Babylon A.D. Babylon A.D. wurde 1987 gegründet und stammt aus der San Francisco Bay Area, CA. Die Gründungsmitglieder Derek Davis (Sänger/Songwriter), die Gitarristen und Musikautoren John Mathews und Ron Freschi, Schlagzeuger James Pacheco und Bassist Rob Reid lernten sich in der High School kennen, bevor sie als "The Persuaders" zusammenspielten und sich mit ihren kraftvollen Live-Auftritten und ihrem eingängigen Songwriting einen Namen machten und zu einer der angesagtesten Hardrock-Bands in Nord-CA wurden. 1989 änderte die Band ihren Namen in "Babylon A.D." und erregte die Aufmerksamkeit des Präsidenten von Arista Records und des Musikmoguls "Clive Davis", der sie bei einem Live-Showcase in Los Angeles dank ihres beeindruckenden Demos mit drei Songs und einem selbstgedrehten Video unter Vertrag nahm. John Mattews verließ die Band und wurde durch einen anderen Highschool-Freund Dan De La Rosa ersetzt, kurz bevor ihr selbstbetiteltes Album "Babylon A.D." 1990 veröffentlicht wurde. Das Album enthielt die Hardrock-Klassiker "Bang Go The Bells", "Hammer Swings Down" und "The Kid Goes Wild", in dem der schreiende "Sam Kinison" mitwirkte und das als Trailersong und Werbevideo für Orion Pictures (ROBO COP 2) diente. Die Band erzielte drei Nummer-1-Songs bei Metal Radio und erreichte Goldstatus mit ihrer ersten Veröffentlichung, die 38 Wochen in den Billboard Top 200 verbrachte und auf Platz 46 landete. Ihr zweites Album (Nothing Sacred) wurde von dem legendären Tom Werman produziert und 1992 veröffentlicht; es brachte zwei weitere Top-Ten-Metal-Rocker hervor. "Bad Blood" und "So Savage the Heart". Ständige Tourneen in den frühen 1990er Jahren und mehrere MTV-Videos machten sie zu einer der Lieblingsbands der Hardrock-Fans. 1999 veröffentlichte die Band "Live In Your Face" auf Apocalypse Records, eine Zusammenstellung von Live-Tracks, die in verschiedenen Städten in Amerika aufgenommen wurden. Ihre nächste Veröffentlichung "American Blitzkrieg" folgte 2002 und beide Platten wurden von Kritikern und Fans gleichermaßen gut aufgenommen. Im Jahr 2008 veröffentlichte die Band Babylon A.D. "In The Beginning" auf Perris Records, eine Zusammenstellung von Songs von den Original-Demobändern, die ihnen den Plattenvertrag mit Arista Records einbrachte. Nach einer langen Pause begann die Band 2014 wieder zu spielen und aufzunehmen. Sie tourten durch die USA und Europa und veröffentlichten die Vier-Song-EP "Lost Sessions". 2018 schloss sich John Matthews der Gruppe wieder an und die Band unterschrieb bei Frontiers Records für ihre vierte Studioveröffentlichung "Revelation Highway" Vier Singles/Videos und weitere Tourneen folgten bis Anfang 2020. Im Jahr 2022 verließen die Gründungsmitglieder James Pacheco und Robb Reid die Band, um sich anderen Aufgaben zu widmen. Sie bleiben dem Vermächtnis der Band verbunden und sind Teil einer Freundschaft, die seit über 30 Jahren andauert! PRESENT DAY... Im Jahr 2023 kündigten BABYLON A.D. die neuen Mitglieder Craig Pepe (Bass) und Dylan Soto (Schlagzeug) und ein neues Live-Album "Live Lightning" von Perris Records an. Das neue Album enthält ihre Top-Ten-Rock-Radio-Klassiker-Hits vom Debütalbum sowie Songs von "Nothing Sacred", "American Blitzkrieg" und "Revelation Highway". Zu Beginn des Jahres 2024 wird die Band ihr 5. Studioalbum auf Perris Records veröffentlichen, das den Titel "Rome Wasn't Built In A Day" am 17. Mai veröffentlichen. Das 11-Track-Album ist ein klassisches Babylon A.D.-Album, das auf allen Zylindern feuert und großartiges Songwriting-Talent, Performances und den Hardrock-Sound zeigt, für den die Band bekannt ist. Neue Videos und Singles sind in Vorbereitung und die Band bucht und spielt derzeit ausgewählte Live-Shows in den Staaten, um das neue Album zu unterstützen. Lesen Sie den ganzen Artikel

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charlicpace · 3 months

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MY AUDIO FROM THE STADGED CONCERT OF LES MISERABLES FROM 2019 IS NOW AVAILABLE ON PAYHIP.

Cast: Alfie Boe (Jean Valjean) Michael Ball (Javert) Carrie Hope Fletcher (Fantine) Matt Lucas (Thernadier) Katy Secombe (Madame Thernadier) Shan Ako (Eponine) Rob Houchen (Marius) Lily Kerhoas (Cosette) Bradley Jaden (Enjolras) Earl Carpenter (The Bishop) Factory Foreman (Gavin James) Celia Graham (Factory girl) Craig Mather (Combeferre) Vinny Coyle (Feuilly) Niall Sheehy (Courfeyrac) Ciaran Joyce (Joly) *unknown Gavroche & Little Cosette* Notes: 01/10/2019. Great quality audio of the staged concert cast midway through their run, with a very excited and lively audience for a Tuesday evening! Alfonso Casado Trigo got well-deserved entrance applause at the top of both acts, as did Matt Lucas during first entrance. Matt also loses his wig during Beggars At The Feast, and the entire scene derails from there with Rob being the only person on stage (and in the whole building!) to keep it together, and the bows have been kept in and as Michael then snatched his wig, much to the delight of the audience. Showstopping performance from Alfie Boe, and wonderful performances from Rob Houchen, Bradley Jaden, Katy Secombe, Matt Lucas, Earl Carpenter and the ensemble.

Link is in the source. Price is listed as £4, but the coupon code POUNDS4PACE gives you 50% off for all of February 2024. Please do not message me about this audio.

#les mis audio #les miserables audio #audio gift #my audio #les miserables #staged concert #pace.txt

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eynnwwyjth · 7 months

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Chocolates and giggles for the sleepover asks? ~☆

Chocolates. A special sweet: I call this my comfort drink! It's the drink made from ponyo! Here is the link to make it https://pin.it/5Go1bw7

Giggles. Share something your followers might not know: My favorite books because I get to nervous to fangirl about them. First the top three then the rest in no specific order. 1. House of salt and sorrows by Erin A. Craig 2. Love and Gelato by Jenna Evens Welch 3. Letters to the lost by Briggid Kemmerer

The rest: Killing November by Adriana Mather, Tweet cute by Emma Lord, The beholder by Anna Bright, Instant Karma by Marrissa Meyer, BlueFish by Pat Schmatz, These Violent delights by Chloe Gong, An Enchantment of Ravens by Margaret Rogerson, The Wish Granter by C.J Redwine, Almond by Sohn Won-Pyung, For the Wolf by Hannah f. Whitten, (the entire caraval series by Stephanie Garber I'm counting that as one), The kingdom of back by Marie Lu, Five total strangers by Natalie d. Richard's, Six Crimson cranes by Elizabeth Lim, Tokyo ever after by Emiko Jean, Autumn tithe by Hannah Parker, After the snow by S.D Crockett.

Thank you for your ask 🫶🏼🫶🏼🫶🏼🫶🏼

#ravnfaye updates ✨️#ravnfaye moots #lovely moots 💕#my favorite books<3

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kd8bxp · 11 months

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Liked on YouTube: THE UNDYING MONSTER - Rare 1942 Classic Mystery Horror Movie

THE UNDYING MONSTER - Rare 1942 Classic Mystery Horror Movie The Hammond family has been cursed since the Crusades, with family members dying or committing suicide under mysterious circumstances. When two people, including Oliver Hammond, are attacked by an unknown creature,........... The Undying Monster, also known as The Hammond Mystery, is a 1942 American mystery horror film directed by John Brahm and written by Lillie Hayward and Michel Jacoby, based on Jessie Douglas Kerruish's 1922 novel of the same name. The film stars James Ellison, Heather Angel and John Howard, and focuses on a series of mysterious deaths within the wealthy Hammond family. Cast James Ellison as Robert Curtis Heather Angel as Helga Hammond John Howard as Oliver Hammond Bramwell Fletcher as Dr. Jeff Colbert Heather Thatcher as Christy Aubrey Mather as Inspector Craig Halliwell Hobbes as Walton the butler John Rogers as Tom Clagpool Matthew Boulton as Coroner Holmes Herbert as Chief Constable via YouTube https://www.youtube.com/watch?v=qoJTK_Vy_Xw

#IFTTT #YouTube

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thetalentedmrkashyap · 1 year

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B-5 : Oscars 2023 Predictions - A Film fan's perspective (Part - 3)

We are just a week away from the 95th Academy Awards, a.k.a. The Oscars®. It will happen on March 13 at 5:30 PM IST. The celebrations of the Oscar season are at their peak. Amid the fun and excitement, here's a look at the final segment of the technical award categories and our predictions of the winners:-

Best Sound

Nominees:

All Quiet on the Western Front – Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel, and Stefan Korte

Avatar: The Way of Water – Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers, and Michael Hedges

The Batman – Stuart Wilson, William Files, Douglas Murray, and Andy Nelson

Elvis – David Lee, Wayne Pashley, Andy Nelson, and Michael Keller

Top Gun: Maverick – Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon, and Mark Taylor

Prediction(s): All Quiet on the Western Front/Top Gun: Maverick

It's usually a war/military movie or a musical that wins the Sound award. Topgun: Maverick seems to be a strong competitor because of the Action-filled dogfighting scenes and final combat in the climax. Western Front is also a strong contender because of the battle scenes.

Best Production Design

Nominees:

All Quiet on the Western Front – Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper

Avatar: The Way of Water – Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole

Babylon – Production Design: Florencia Martin; Set Decoration: Anthony Carlino

Elvis – Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn

The Fabelmans – Production Design: Rick Carter; Set Decoration: Karen O'Hara

Prediction: Elvis

From the 1950s to the 1970s, the sets well-exhibit the story of the King of Rock n Roll - from his home to the carnivals to the stadiums to the TV and recording studios to the lavishing hotels of Las Vegas.

Best Cinematography

Nominees:

All Quiet on the Western Front – James Friend

Bardo, False Chronicle of a Handful of Truths – Darius Khondji

Elvis – Mandy Walker

Empire of Light – Roger Deakins

Tár – Florian Hoffmeister

Prediction: All Quiet on The Western Front

It's because the camera work of James Friend captures the horrors of the First World War. The fighting in broad daylight is realistic and gives chills every time you see it.

Best Makeup & Hairstyling

Nominees:

All Quiet on the Western Front – Heike Merker and Linda Eisenhamerová

The Batman – Naomi Donne, Mike Marino, and Mike Fontaine

Black Panther: Wakanda Forever – Camille Friend and Joel Harlow

Elvis – Mark Coulier, Jason Baird, and Aldo Signoretti

The Whale – Adrien Morot, Judy Chin, and Anne Marie Bradley

Prediction: Elvis

Is it possible to make a movie on Elvis Presley without his puffed hair and sideburns? Hairstyles play a crucial role in his era of the 1950s-70s.

Best Costume Designing

Nominees:

Babylon – Mary Zophres

Black Panther: Wakanda Forever – Ruth E. Carter

Elvis – Catherine Martin

Everything Everywhere All at Once – Shirley Kurata

Mrs. Harris Goes to Paris – Jenny Beavan

Prediction: Elvis

The film is all about colors, nostalgia, and costumes of the Presley years.

Best Film Editing

Nominees:

The Banshees of Inisherin – Mikkel E. G. Nielsen

Elvis – Matt Villa and Jonathan Redmond

Everything Everywhere All at Once – Paul Rogers

Tár – Monika Willi

Top Gun: Maverick – Eddie Hamilton

Prediction: Top Gun: Maverick

The editing of the sortie scenes and the final aerial battle is what makes the Top Gun sequel the ultimate winner of the editing award.

Best Visual Effects

Nominees:

All Quiet on the Western Front – Frank Petzold, Viktor Müller, Markus Frank, and Kamil Jafar

Avatar: The Way of Water – Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett

The Batman – Dan Lemmon, Russell Earl, Anders Langlands, and Dominic Tuohy

Black Panther: Wakanda Forever – Geoffrey Baumann, Craig Hammack, R. Christopher White, and Dan Sudick

Top Gun: Maverick – Ryan Tudhope, Seth Hill, Bryan Litson, and Scott R. Fisher

Prediction: Avatar: The Way of Water

Cameron's film can become the first sequel to win the same award in this category. The beautiful visuals of the world of Pandora would surely take the trophy home.

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bradyoil · 2 years

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How To Direct Comedy Commercials With Director JJ Adler.

Commercial director JJ Adler, of Rukus Films, is an award winning director and writer who helped create comedy spots for all kinds of companies including GEICO, P&G, SC Johnson, Virgin Mobile, Nestle, Coke, Verizon, McDonalds, Pepperidge Farms, etc., and with The Martin Agency, McCann, R/GA, Mother, Droga5, Ogilvy & Mather, Grey, DDB, VMLY&R, PKT, JWT, BBDO, and many more. She talks comedy, running her own shoppe, and the secret to good spots. Check out my favorite - her Gain-iac commercial with Craig Robinson.

EVENTS & COURSES

My next Commercial Directing Bootcamp is January 7th, 2023 in Los Angeles. Save $100 once you've completed either Masterclass or Commercial Directing Shadow online courses.

Voodoo Lounge is open 24/7. Are you longing for a community for us Commercial Directors? Join me in the Voodoo Lounge. It's free for filmmakers to ask questions, post cuts, share successes, comment and even gripe. Just stay positive and we'll help one another. I'll be doing a monthly AMA there over zoom. Again, it's free.

Online Commercial Directing Masterclass as well as my Commercial Directing Shadow course have received 100% 5 star reviews. Plus you and me do a free filmmaker consultation call with either course. Win a chance to shadow me on a real shoot! DM for details. How To Pitch Ad Agencies and Director’s Treatments Unmasked are now bundled together with a free filmmaker consultation call, just like my other courses.

Serious about making spots? The Commercial Director Mega Bundle for serious one-on-one mentoring and career growth.

Amazon Prime!! Jeannette Godoy’s hilarious romcom “Diamond In The Rough” streams on the Amazon Prime! Please support my wife filmmaker Jeannette Godoy’s romcom debut. It’s “Mean Girls” meets “Happy Gilmore” and crowds love it. Here’s the trailer.

Thanks,

Jordan

This episode is 85 minutes.

My cult classic mockumentary, “Dill Scallion” is online so I’m giving 100% of the money to St. Jude Children’s Hospital. I’ve decided to donate the LIFETIME earnings every December, so the the donation will grow and grow. Thank you.

Check out this episode!

#filmmaking #Jordan Brady #director #advertising #respect the process #indie

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horsegirlneigh · 2 years

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this icon is such a throwback to my blog in 2013. only veterans remember the craig mather close up icons...

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twiglycra97 · 2 years

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Odwołanie Od Deycjiz, Zatem Jak Zaskarżyć Decyzję Administracyjną

Postanowienie regulaminu dot. wypłaty kredytu: „w sukcesu kredytów indeksowanych do waluty obcej, wypłata kredytu zachodzi w dobrych według kursu nie mniejszego niż koszt kupna razem z Tabelą obecną w okresie wypłaty materiałów z kredytu. Umowa kupna sprzedaży pojazdu jest taka taż dla pojazdów bez powodu na okres techniczny, liczbę lat, przeznaczenie czy pochodzenie. Warto tu zaznaczyć, że umowa o działanie że zostać zwarta pomiędzy osobami fizycznymi nieprowadzącymi działalności gospodarczej, pomiędzy taką osobą, a przedsiębiorcą, a i między przedsiębiorcami. Kradzież najczęściej należy zgłosić do firmy, pod którą zakładaliśmy się złodzieje, a zarówno na policję. Konieczne jest umieszczenie po przeciwnej stronie danych personalnych wierzyciela czy danych instytucji, u jakiej stanowimy dług i danych zadłużonego. Na wakacje i warto zabrać ją na kajak, który jeżdżąc po warmińskich wodach będzie świetnym transportem do dalekich miejsc gdzie czas upłynie na chwilach spędzonych sam na sam ze znajomymi (jakże bogatymi) myślami. Natomiast ta sztuka jest niczym nektar, którym należy się rozkoszować spożywając małe łyczki i pić wodą (w przypadku książki jest więc chwila spędzony w świecie rzeczywistym).

Lub na zimowy rodzinny wieczór spędzony przy kominku, gdzie starsza pani przeczyta samą z historii swoim wnukom. 9.18 za jakąś akcję Trakcji odpowiadano na GPW 15,18 zł. 2 (2017) Strażnicy Galaktyki Vol. James Gunn Guardians of the Galaxy Vol. James Mather, Stephen St. Stephen Sommers G.I. Joe: The Rise of Cobra (2009) G.I. dokumenty do pobrania : Port of Call - New Orleans, The (2009) Zły porucznik. David Yates Harry Potter and the Deathly Hallows: Part 2 (2011) Harry Potter i Insygnia Śmierci, cz. David Yates Harry Potter and the Deathly Hallows: Part 1 (2010) Harry Potter i Insygnia Śmierci, cz. Francis Lawrence Hunger Games: Mockingjay - Part 1, The (2014) Igrzyska śmierci: Kosogłos, cz. Francis Lawrence Hunger Games: Mockingjay - Part 2, The (2015) Igrzyska śmierci: Kosogłos, cz. Joe Wright Pan (2015) Piotruś. Guy Ritchie Man from U.N.C.L.E., The (2015) Kryptonim U.N.C.L.E. Louis Bank Robbery, The (1959) Wielki atak na bank w St.

So, if you’ve got some cool feature that you’d like to implement into the plugin or a bug you’ve been able to fix, consider forking the project and sending me a pull request. J.J. Abrams Star Trek Into Darkness (2013) W noc. Spike Lee Oldboy (2013) Oldboy. Steve McQueen 12 Years a Slave (2013) Zniewolony. Wysłano do niego pismo zapraszające do zaakceptowania w powiatowym urzędzie pracy chęci do podjęcia zatrudnienia. Biblia, Pismo Święte nazwa pochodzi z greckiego ? Książka Łukasza Staniszewskiego pt. Charles Guggenheim, John Stix Great St. John Lee Hancock Saving Mr. Spike Lee BlacKkKlansman (2018) Czarne bractwo. Ari Aster Hereditary (2018) Dziedzictwo. Michael Noer Papillon (2017) Papillon. Janus Metz Borg McEnroe (2017) Borg/McEnroe. Craig Gillespie I, Tonya (2017) Jestem najspokojniejsza. Michael Haneke Funny Games U.S. Michael Winterbottom Genova (2008) Genua. Jean-François Richet Ennemi public n°1, L' (2008) Wróg publiczny numer jeden, część. Danny Boyle Slumdog Millionaire (2008) Slumdog. Zabrałam się do tej pozycji, jak żeby stara zatem popularnonaukowa broszura, gdzie w punktach wypisane są powszechnie już znane prawidła praktyczne i właściwie nie wiadomo kto zdecydował się wydrukować kolejny zbiór kartek, który już zostanie przeceniony i sprzedawany za grosze w wysokich koszach w namiocie przy plaży (gdzie styrany życiem wczasowicz będzie szukał prostej słownej pożywki niewymagającej ogromnej roli neuronów w mózgu).

No i oczywiście silny związek pracowniczy, który służył korzystne programy w dziedzinie opieki. “Małe Grozy “ to wspaniały trening dla własnej myśli, i jak oczywiście w występowaniu nie wystarczy mieć jej mały- ciasno związany pasami zasób. Mieszkańcy wsi Małe Grozy toż rzeczywiście naprawdę mieszkańcy alegoryczni, każdy z nas może utożsamiać się z którymś spośród nich a czytać swoje imię zamiast imienia bohatera. Mieszkańcy wsi potrafią oswoić to, co pozornie powtarza się być niewytłumaczalne. Choć początkowo obawiałam się o to, że nie rozumiem czytanych treści (po przeczytaniu pod ciąg kilku sprawie nie zapamiętałam nic) to propozycja wyglądała całkowicie inaczej. Zarówno to, że sędzią być przestanę - kwituje sędzia Juszczyszyn. Popędy, zainteresowania i chęci są to także również w swej codzienności, dlatego tak droga jest praca, gdzie w pomieszczeniu bohaterów możemy postawić się my sami. Czy dziwił się kiedyś kiedy zatem by było tkwić w świecie, w którym nauka nie rozwinęła także swoich skrzydeł? Odkłada na nich ponad 111 miejsc po gimnazjum i 211 miejsc po podstawówce. Dodaje to także odrobinę blasku, do szybko i tak olśniewającej lektury.

Ja chciałabym zapomnieć przynajmniej na chwilę o rozumowym postrzeganiu świata oraz w wszelkim zaobserwowanym zjawisku umieć ujrzeć choć odrobinę magii, nadprzyrodzoności, lub też Absolutu. I chociaż wiedzą, że nie wszystkie opowieści Józwy są prawdziwe, że perły niekoniecznie powstają z ziaren piasku złożonych pod powieki Starego Jerycha, zaś drewniany strach na wróble niezupełnie ma ludzkie serce, które przyspiesza swoje bicie na wygląd Karoliny, toż także właśnie polecają się wierzyć, ba! Jak dotychczas zebrane kontrargumenty nie spowodowały zanegowania tamtych poglądów. Maciej Kawulski Jak zostałem gangsterem. Jak wyjaśniałbyś sobie także prywatnemu otoczeniu zjawiska zachodzące wokoło- powstawanie pereł, jezior, czy praca tak męczącą jak powstawanie relacji międzyludzkich? Co więcej, powództwo o sądowne nakazanie eksmisji można wnieść również przeciwko małżonkowi (obecnemu, kiedy i staremu), gdy ten w świadomy i rażący sposób uniemożliwia wspólne mienie z lokalu. Zarówno we wczesnej wiośnie, gdy wszystko budzi się do mieszkania pomoże nam ona rozbudzić swój mózg z sennego letargu. Świat Warmii, ukazany jako świat duchów, strachów, kusicielek, demonów i antropomorfizacji wszystkiego wokoło, to także jest świat wielkiego miasta.

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