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Youtube & Vimeo videos

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Nihil quaeque moderatius quo ut, eu vix noster fierent postulant. Est ut magna tation, nec timeam tractatos dissentiunt id, ne integre albucius eam.

The post Youtube & Vimeo videos appeared first on GLQuality Cleaning Services.


          

How to work with stress

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See article "How to work with stress to be healthier and more creative" thecreativemind.net/4648/

How does stress impact our health and creativity? What is stress and how can we deal with it in healthy ways?

The American Institute of Stress notes “winning a race or election can be just as stressful as losing, or more so. A passionate kiss and contemplating what might follow is stressful, but hardly the same as having a root canal procedure.”

Heidi Hanna, PhD, Executive Director of the Institute, notes “one of the important things too for people to keep in mind is that there’s two different types of stress.

“A lot of people think about stress as being the extreme things that happen to us – you know, emergencies and losing a spouse or a loved one.

“And what’s interesting is that those really difficult, acute stressors… we’re pretty good at bouncing back from those situations.

“But what we see most of the issues coming from is actually everyday, nagging chronic stress like waking up in the morning and feeling like there’s not enough time to get it all done, or feeling like you don’t have the financial resources or the social support…”

Cast: Douglas Eby


          

Sammy teaser

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Sammy Montano professional debut is coming.

Cast: Habitat Skateboards


          

Dom Juan - Archives

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Avant ma demande de diffusion sur les radios FM de l'EP Dom Juan, je sors avec mes archives une vidéographie du morceau Dom Juan. Ce morceau avait été retenu sur les compilations @diffuser volume 7, la Cuvée grenobloise volume 10, et le réseau des médiathèques ziklibrenbib. Mot de passe : Archives

Vidéo privée : Archive photos de Chris Scalisi. Réalisation vidéo par François Aglalaz. MOT DE PASSE : Archives
Album: 
Dom Juan
Auteur: 
Jérémy Casseron

          

week307 - Deep Space Podcast

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E ae!
Welcome to Deep Space Podcast! Thanks for listening.

You can also listen to Deep Space Podcast every Fridays 9pm BRT (5pm Los Angeles / 2am South Africa) at Dublab Brasil. But I usually do something different there... Join me and check it out ;)
https://dublab.com.br

Today, you gonna listen an exclusive guestmix by Patrick BATeMAN (South Africa) in the 2nd hour.
Please check more detailed information about Patrick BATeMAN in the links below:
https://soundcloud.com/eclectic_criminals
https://www.youtube.com/channel/UCts6ti10I3ftT1oB4c3FjtQ
https://vimeo.com/eclecticcriminals

Enjoy the week307!

--

Playlist:
Artist - Track Name - [Label]

1st hour mixed by Marcelo Tavares
1) Jullian Gomes Feat. Samantha Thornhill - Darkness - [World Without End]
2) Lavoura - Ayizan
3) Deep Sentiments - Looming Spirits (Original Mix) - [AfroMove]
4) Chris Davis - Travelling Light - [Electronic Emergencies]
5) Latch - Frida - [Colour and Pitch]
6) Soul Central - Un Amore Supremo (West Loop Chicago Remix) - [Electric Mode]
7) John Gorbera - Ensemble (Original Mix) - [Merecumbe]
8) RNDT Feat. Kleophazz - Check One Two - [RNDT]
9) Chymamusique - Bass & Synth (Original Mix) - [Chymamusiq]
10) Basic Need - Song For Leti - [Culprit]
11) Panóptica - Ojala - [Fat!]

2nd hour mixed by Patrick BATeMAN (South Africa)
Playlist loading…


          

Dropbox, nuove estensioni per Microsoft Teams, Outlook, WhatsApp

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Dropbox

Con i recenti aggiornamenti del workspace e con l’introduzione delle estensioni e di altre funzionalità finalizzate a rendere più produttivo il flusso di lavoro, Dropbox si sta proponendo sempre più come strumento di produttività a 360 gradi, per i knowledge worker che sono soliti potenziare l’attività propria e della propria azienda con i più avanzati strumenti digitali che possano velocizzare il workflow.

Non più, dunque, solo un mero spazio storage su cloud, ma una piattaforma che aiuta ad accrescere la produttività mediante tool e integrazioni con altre app.

Con i più recenti update al suo ecosistema, Dropbox sta lavorando per connettere e integrare tutti gli strumenti di produttività più diffusi in un unico posto. L’ultimo aggiornamento fa un altro passo in questa direzione, attraverso un ulteriore miglioramento delle Dropbox Extensions.

Dropbox ha infatti annunciato di aver raddoppiato il numero di estensioni disponibili, con 12 app nuove e aggiornate da parte di partner terzi.

DropboxLe nuove possibilità coprono diversi ambiti e attività. A partire dall’aggiunta di file a messaggi: non solo in Gmail (opzione lanciata qualche mese fa), ma anche in Workplace di Facebook, Microsoft Teams, Outlook, WhatsApp e Line Works.

Aumentano anche le opzioni di lavoro sui video. È ora più facile usare Vimeo per semplificare il flusso di lavoro di raccolta dei feedback e di distribuzione dei video su questa piattaforma, ed è possibile utilizzare Clipchamp o WeVideo per modificare, creare e pubblicare video.

Anche chi si occupa di creare design per vari tipi di documenti, può ora velocizzare il flusso di lavoro basato su Dropbox. È infatti ora possibile aggiungere i file multimediali in Canva per progettare e creare qualsiasi tipo di design, per poi salvare il lavoro finito nuovamente su Dropbox.

FreshBooks è un software di contabilità: Drobpox semplifica il tracciamento delle spese attraverso l’invio delle ricevute digitalizzate direttamente a FreshBooks. È ora anche possibile tenere traccia delle interazioni sui file con DocSend e firmare e autenticare i documenti con Notarize.

Queste nuove estensioni, come le altre già disponibili, permettono di completare rapidamente le attività con i propri strumenti preferiti, direttamente dalla nuova app desktop di Dropbox o da dropbox.com.

Sulla pagina delle Extension del sito Dropbox è possibile consultare la lista delle estensioni disponibili.

L'articolo Dropbox, nuove estensioni per Microsoft Teams, Outlook, WhatsApp è un contenuto originale di 01net.


          

Space/Time retreat Oct 2016

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Space Time is a paid 5 day creative retreat for experienced artists from all disciplines that asks the question “How does an artist keep developing?”

It aims to refresh participants through a stimulating and provocative examination of creativity.

The residency combines facilitated dialogue - built around a series of provocations and questions - with time for individual reflection and work.  It is led by Nicholas Bone and Alice McGrath.

The next Space/Time retreat will run from 11 - 16 October 2016, presented in partnership with Cove Park.

We are delighted to announce that the artists taking part are:


          

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YouTube By Click 2.2.118

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YouTube, Dailymotion, Vimeo, Facebook and +40 sites

The post YouTube By Click 2.2.118 appeared first on FileCR.


          

برنامج تنزيل الفيديو من مواقع YouTube و Dailymotion و Vimeo وغيرها تحميل مباشر

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Registered Nurse

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Overview
Are you seeking a career that will challenge you to never stop short of remarkable? Do you have a passion for providing outstanding patient care in an acute care setting? Come join a remarkable team where quality care meets quality service, in every dimension, every time. #JoinTeamAubergine

Novant Health Presbyterian Medical Center is seeking a Nurse Manager for our Stroke & Neuro unit to provide clinical and administrative leadership at the unit level. Let Novant Health be the destination for your professional growth.

Novant Health is an integrated system of physician practices, hospitals, outpatient centers, and more - each element committed to delivering a remarkable healthcare experience for patients and their families. With world-class technology, personal connections, and care that's easier to access and understand, Novant Health is with patients every step of the way on their journey to health and wellness.

About Novant Health Presbyterian Medical Center:
  • 592 bed, non-profit regional medical center located in Charlotte, NC
  • Offers a full range of medical, surgical, rehabilitative, and behavioral health sciences
  • Magnet Recognized
  • The first Charlotte hospital to be designated an Advanced Comprehensive Stroke Center
  • Novant Health's first facility to receive a trauma designationNursing at Novant Health Presbyterian Medical Center
    • Shared governance
    • Clinical ladder program
    • Competitive compensation and benefits
    • Salaries commensurate upon experience
    • Relocation assistance available for qualifying applicants
    • On-site pharmacy
    • Recognized as a leader in improving the quality of healthcare by many national independent organizationsBenefits of work at Novant Health:
      • Competitive compensation and benefits
      • 403b and matching program
      • Leadership development programs, tuition reimbursements, & financial assistance with certifications
      • Recognized as one of the 50 best places for women and managers of diverse backgrounds to workTo learn more about Novant Health as an organization, its culture, Team Members and the communities we serve, visit www.novanthealth.org. #JoinTeamAubergine #NovantHealthNursing

        Hear what our nurses have to say about our culture!
        https://vimeo.com/227074552/68d301d2fc

        Qualifications
        • Education: Bachelor's degree preferred. Graduate of an accredited school of nursing required. If your RN nursing license has been inactive, retired or lapsed for five years or more and you have not been licensed in another state during the last five years, successful completion of a Board approved refresher course is required prior to reactivating or reinstating your license. In order to be considered for current licensure status, you must apply for reinstatement within one year of completing the refresher course.
        • Experience: One year of relevant experience preferred.
        • Licensure/certification/registration: Appropriate state RN licensure required. BLS Healthcare Provider required. ACLS, PALS preferred.

          Responsibilities
          It is the responsibility of every Novant Health team member to deliver the most remarkable patient experience in every dimension, every time.
          • Our team members are part of an environment that fosters team work, team member engagement and community involvement.
          • The successful team member has a commitment to leveraging diversity and inclusion in support of quality care.
          • All Novant Health team members are responsible for fostering a safe patient environment driven by the principles of ""First Do No Harm"".

            Company Description:

            Welcome to Novant HealthWe are an integrated system of physician practices, hospitals, outpatient centers, and more --- each element committed to delivering a remarkable healthcare experience for you and your family. With world-class technology, personal connections, and care that---s easier to access and understand, Novant Health is with you every step of the way on your journey to health and wellness.---- --Remarkable care - We are welcoming a new era in healthcare where achieving good health is just the beginning. We believe in caring for the whole person by getting to know you, having conversations and making connections with our patients. Combining the talent and expertise of our people, the breadth of capabilities across our system, and a commitment to helping you get better and stay healthy is how we are making healthcare remarkable. You can read about some of our remarkable moments here.Ease and convenience - Novant Health is there when and where you need us. We are working to make healthcare easy to access, easy to schedule and easy to understand. We are bringing the ease and convenience that you enjoy in other aspects of your lives to the healthcare experience because we believe that healthcare doesn---t have to be confusing, difficult or disconnected. Start taking control of your health by visiting MyChart.--Community wellness - Our promise is to deliver remarkable healthcare. Part of that promi
          

Emmanuelle FAVIER, Prix jeune mousquetaire 2018

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Emmanuelle FAVIER est la lauréate du Prix jeune mousquetaire 2018 pour son roman "Le Courage qu'il faut aux rivières" (Albin Michel).
Vendredi 1er juin 2018, lors des Rencontres Littéraires de Nogaro, après la présentation des 5 romans en lice, la présidente de cette édition Valentine Goby a nommé la lauréate 2018 du Prix jeune mousquetaire pour un premier roman :
Emmanuelle FAVIER pour son roman Le Courage qu'il faut aux rivières (Albin Michel).



Christian Peyret, maire de Nogaro, et ses adjointes lui ont remis un chèque de 1000€.

- Edition 2018
          

Feminist autonomous infrastructures

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Authored by: 

Organization: 

Media@McGill and Tactical Tech Collective
AttachmentSize
PDF icon gw2015-hache.pdf931.55 KB

Feminist autonomous infrastructures

Introduction

Women, feminists, and gay, lesbian, bisexual, trans*, queer and intersex (GLBTQI) individuals share common experiences online: they can easily become targets of online harassment, discrimination or censorship, be it by government, private actors or corporations. When trying to understand the relationship between gender, violence and technology, one should keep in mind that online violence is intrinsically linked with real-life situations. When bigotry, sexism and homophobic attitudes exist in societies, they will almost inevitably be amplified in the online world.

”Real” name policies, data mining, tracking and surveillance technologies have become so intertwined that the days when no one knew if you were a dog or a cyborg on the internet are largely over. In fact, the creation of an industry around the profiling of users, coupled with the centralisation and contraction of the internet, have led to a situation where it is not a safe space (if it ever was). In 1996 the Declaration of the Independence of Cyberspace announced the creation of “a world where anyone, anywhere may express his or her beliefs, no matter how singular, without fear of being coerced into silence or conformity.” 1 But nowadays it is too common to see the work and voices of women, feminists and GLBTQI being deleted, censored and/or prevented from being seen, heard or read. Much of this gender-based online violence happens on corporate social media platforms such as Facebook, Twitter, Reddit and the blogosphere, in addition to other non-profit online spaces such as Wikipedia. All of them involve large communities, which are led by a set of practices and policies. Despite the existence of certain rules that govern these spaces and because of certain practices, silencing, intimidation and/or discrimination continues. So far, responses from GLBTQI to violence have involved organised public shaming, doxxing of harassers, 2 feminist counter-speech, active research and documentation, awareness raising around privacy and security, advocacy for amendments to corporate terms of service, and lobbying of institutions contributing to the governance of the internet, among others. While these tactics are paramount to the embodiment of everyday forms of online resistance,3 there is also a need to think about adopting strategies that are not only reactive, but also project us into the future we want. In other words, it is about dreaming and pre-figuring our technologies actively. Proactive practices involve understanding what it means to take back the command and control of technologies by using, creating and maintaining our own ones and shaping our communication and technological infrastructures. Using corporate services such as Facebook or Twitter may be very convenient, and at times strategic because they are generally provided for free and because this is where the so-called critical masses are. But using them also means accepting their terms of service, which are primarily shaped by profit, and in which human rights and gender social justice still remain of negligible importance. When using these online services, we and our networks are at their mercy, which means we can not fully control our data, social networks and historical memories (or traces) on the internet. While the future of the internet often looks bleak, it is paramount to not only continue to investigate into the processes and governance structure of the internet, but to continue to build a communication and technological ecology that puts human well-being front and centre, rather than profit. What will happen when big data has its proper algorithms? What will be the combined relationships between these algorithms and the Facebook project internet.org or the “Internet of Things”, to name only two of the upcoming situations that will again redefine people's rights to privacy and free expression? When our data remains under corporate control, they can be sold or given to third parties to exploit, or they can be deleted or shut down. Ultimately, they become our digital shadows, 4 enabling others to track, profile and control our voices, opinions and expressions. Part of the answer lies in developing, supporting and using not-for-profit, independent, privacy-aware and secure alternatives to corporate online services. Collectives such as Riseup, Nadir and Autistici/Inventati have been powered by hacktivist collectives for almost two decades now.5 They have provided – through volunteer work and community contributions – valuable and basic online services such as email, mailing list servers, wikis, pads,6 blogs and virtual private networks (VPN)7 to activists all around the world. But where are the feminist tech collectives that design and maintain feminist autonomous infrastructures for feminists, queer and trans* people and activists at large? We also need to ask ourselves, why are those feminist tech collectives still so embryonic? And what does this tell us about the discrimination and violence happening when women and feminists do not control, own and manage the technological infrastructure they need to express themselves and act online?

Shaping autonomy within our technologies

One of the main constitutive elements of feminist autonomous infrastructures lies in the concept of self-organisation already practised by many social movements that understand the question of autonomy as a desire for freedom, self-valorisation and mutual aid. In addition, we understand the term technological infrastructure in an expansive way, encompassing hardware, software and applications, but also participatory design, safe spaces and social solidarities. Concrete examples of feminist autonomous infrastructures include the Geek Feminism Wiki, 8 developing specific technologies that tackle gender-based online violence, such as bots against trolls, and building feminist online libraries and feminist servers, but also enabling offline safe spaces such as feminist hackerspaces which allow feminist, queer and trans* hackers, makers and geeks to gather and learn with others.

When talking about these examples of feminist autonomous infrastructures, we recognise that none of them can be fully autonomous, but rather relative in their autonomy, as they still depend, for instance, on already existing communication networks and technologies designed by mainstream companies (such as computers, servers and access devices). Having said that, their autonomy is based on different governance models, the values they embrace and the principles they promote. If feminist autonomous infrastructures are diverse in scope and in shape, they do share in common a desire to proactively create the conditions for their autonomy while following an ethic of care9 which is embedded into the active practice of social solidarities. Caring and recognising the importance of such infrastructures are two aspects that are central to attempt to address the cycle of technology that is rife with inequality from the production of technology, to its access, uptake, development and governance, until its end cycle. This intersectional and integrated approach to technology goes hand in hand with a feminist posture that does not shy away from addressing all forms of violence, whether it be online violence or the violence that is intrinsic in resource extraction or the factory and assembly line work that is gendered and raced. 10

Recently, momentum has gathered around the building of feminist autonomous infrastructures. These initiatives are still in their embryonic stage, mainly representing a set of scattered and fragmented initiatives. Below we highlight two different examples – one addressing the need for physical safe spaces enabling women and feminists to gather and uplift their skills, and another addressing the slow-politics around the creation of feminist servers.

Breaking the circle of isolation by learning together

The Gender and Technology Institute11 was organised by the Tactical Technology Collective and the Association for Progressive Communications (APC) at the end of 2014. The event brought together almost 80 participants and facilitators, mostly from the global South, to focus on some of the issues faced daily by women and trans* persons on the internet, to share strategies and tools for better protecting our privacy and security online, and to discuss how to spread knowledge and skills in our communities and organisations. Since then, the network has expanded, with different outcomes ranging from the creation of a collaborative online space enabling the documentation of the activities around privacy and digital security delivered by its members on the ground, to the production of a manual specifically addressing gender-related issues which also offers various strategies and tools for taking control of our online identities and learning how to shape safe spaces.

All these outcomes are informed by the stories and creative practices of women and feminist grassroots activists, located in 22 different countries, who are actively and creatively using and making technology to tackle gender-based online violence. Meanwhile they become digital security trainers, and privacy advocates, and they are helping others to understand how they can adopt safer and more joyful practices when engaging online and offline.

Eight months after its realisation, the Gender and Technology Institute has become an international informal network of support, a friendly resource space based on social solidarities that helps to break the circle of isolation.12 This contributes to strengthening the technological autonomy of its participants and, by extension, women, feminists and GLBTQI individuals and organisations, in order to face the challenges and threats derivative of their use of the internet.

Feminist servers

A server can be defined as a computer connected to a network that provides services such as hosting files, websites and online services. Because all online resources are hosted on servers, they constitute a base for the internet as we know it. All servers are ruled by different terms of service, governance models and national legislation in relation to privacy and access to data by third actor parties (or "trackers") and are dependent on a variety of business models. This somewhat technical definition can obscure the possibilities for understanding the political aspect behind the setting up and management of a server. In that sense, what would be the purposes13 and principles 14 of a feminist server? Can feminist servers support women, feminists and GLBTQI in their fight for having their rights such as freedom of expression and opinion respected? Can we create trust among us to develop cooperative approaches to the management of those spaces of resistance and transformation? These were more or less the questions that a group of people interested in gender asked themselves during the first Feminist Server Summit 15 in December 2013 and at the first TransHackFeminist (THF!) Convergence 16 held in August 2014. The discussions that emerged out of those meetings recognised that we do not yet have feminist tech collectives that design feminist autonomous infrastructures for the feminist, queer and trans* movement(s) and that this should become a priority. 17

For example, two feminist servers that were dormant re-emerged during the THF! Convergence:

  • The Systerserver project, which was originally launched in early 2000 by the Genderchangers 18 and the Eclectic Tech Carnival (/etc), and focuses on hosting online services such as etherpads and a voice over internet protocol (VoIP) application.

  • The Anarcha server,19 started by the TransHackFeminists from Calafou, an eco-industrial post-capitalist colony located in Catalonia. It hosts a mediawiki, a WordPress farm and a media publishing platform.

These feminist servers are composed by a loose coalition of women, queer and trans* from around the world, with some explicitly interested in hacking heteronormativity and patriarchy. They are also about demonstrating that it is possible to create safe spaces where the harassment of women, feminists and GLBTQI is not allowed and where all can learn about technology in a non-hierarchal and non-meritocratic way. However, even if these server initiatives are inspiring to many, they still remain at the embryonic stage. Moreover, they do not consider themselves service providers; neither have they clearly decided to become stable and sustainable tech collectives providing hosting and online services to women, feminists and GLBTQI groups. In any case, they show that feminist servers are possible and that they should become a political aim for any organisations working in the field of gender social justice and GLBTQI rights – which should be concerned about achieving autonomy in communication and technological infrastructures, in addition to securing their data, social networks and historical memories on the web.

Conclusion

The targeting, silencing and censorship of women, feminists and GLBTQI people online has been and is being challenged in multiple ways. Women, feminists and GLBTQI people have been particularly creative in their everyday forms of resistance and their solidarities and care towards one another. While the initiatives outlined above are exciting, they do remain at an embryonic stage where only a few are able to participate. The reasons why so few initiatives exist ought to be at the core of a feminist analysis to understand how gendered technology actually is. Who is encouraged at a young age to tinker with technology? What kind of division of labour exists when it comes to technology? Why is the level of attrition so high for women in the tech industry?

While seriously considering the above, it remains that if we want to see the Feminist Principles of the Internet as formulated by APC become a reality, we need our own feminist autonomous infrastructures. To do so, we need to have feminist tech collectives that focus on providing these services. We need to be active in developing our expertise and that of the younger generation. But for that to happen we need the feminist and GLBTQI movement(s) to pay more attention to these issues, create more safe spaces to learn collectively, stop fearing technologies and decide collectively that we need to change gears to reshape our own communication and technological infrastructure. After all, freedom of expression is part of the feminist struggle and women, feminists and GLBTQI people can contribute by providing collectively the knowledge and means to ensure that their right to speak up remains accessible online, offline, and wherever and in any format where expression emerges.

References:

1 Barlow, J. P. (1996). A Declaration of the Independence of Cyberspace. https://projects.eff.org/~barlow/Declaration-Final.html

2 Doxxing of harassers means searching for and publishing private information about a harasser on the internet with the aim of shaming the individual.

3 An example of the embodiment of everyday forms of resistance is that of feminist social media practices that resist rape culture by hijacking Twitter feeds and hashtags that blame victims and perpetuate myths and stereotypes.

4 See “My shadow” by theTactical Technology Collective: https://myshadow.org/

5 For a more extensive list of autonomous servers visit: https://help.riseup.net/en/radical-servers and http://backbone409.calafou.org/participants/index.en.html

6 The following is a great activists etherpads that can be used: https://pad.riseup.net/

7 Riseup.net offers VPN to know more visit: https://help.riseup.net/en/vpn

8 To go to the Geek Feminism Wiki visit: http://geekfeminism.wikia.com/wiki/Geek_Feminism_Wiki

9 Adam, A. (2003). Hacking into Hacking: Gender and the Hacker Phenomenon. ACM SIGCAS Computers and Society, 33(4).

10 Nakamura, L. (2014). Indigenous Circuits: Navajo Women and the Racialization of Early Electronic Manufacture. American Quarterly, 66(4), 919-941.

11 To know more visit: https://tacticaltech.org/gender-tech-institute

12 One example is the International Feminist Hackathon Day (a.k.a. FemHack) held on 23 May 2015. To know more about this initiative see: www.f3mhack.org

13 For a history of where the desire for feminist servers arose read: Alarcon, S. et al. (2015, 30 April). Exquisite Corpse. New Criticals. www.newcriticals.com/exquisite-corpse/page-8

14 Following discussions at the Feminist Server Summit, Femke Snelting came up with a list that defines what a feminist server is, available here: http://esc.mur.at/en/werk/feminist-server

15 vj14.constantvzw.org

16 transhackfeminist.noblogs.org/post/2015/01/25/a-transhackfeminist-thf-convergence-report and anarchaserver.org/mediawiki/index.php/Main_Page

17 The theme of the second edition of the TransHackFeminist (THF!) Convergence is aptly titled “Error 404. Dissent Technologies Not Found”: transhackfeminist.noblogs.org

18 A video about the GenderChangers is available at: https://vimeo.com/4090016

19 anarchaserver.org

Themes: 


          

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Pushing Canon to the Limit - Aurora with the 5D Mark IV and 6D Mark II

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After the solar eclipse in Idaho, I couldn't resist continuing my 'long-service leave' and returning to Canada's Yukon Territory for some early season aurora hunting in September 2017. I had just two and half weeks (one New Moon cycle), based with my friends and supporters Andrea and Florian Lemphers at Shallow Bay, north of the capital Whitehorse.

I had with me a Canon 5D Mark IV and a pair of Canon 6D Mark II cameras (one on loan from Canon Australia). Clear skies were always going to be the biggest challenge, especially during the fall, but I hit four clear nights in a row from the start so luck seemed to be on my side. I also managed to peg some beautiful cold clear nights and sweet aurora activity at clutch locations I explored along the way; my favourites being North Canol Road and Tombstone Park on the Dempster Highway.

With the 5D Mark IV, I captured 1080p video at the camera's maximum 32000 ISO setting. Super-fast Canon and Sigma ART wide lenses didn't hurt either. The video files as generated are pretty noisy (applying noise reduction in-camera on the fly is presumably too taxing for the processor?) but a simple application of Neat Video temporal noise reduction in After Effects made a big difference to the viewing quality of the footage above. Most of these clips were captured on my first night when the aurora went nuts for just a few minutes, which goes to show you have to be prepared and ready to roll from the start! There's no doubt that pushing ISO to the max and applying heavy noise reduction softens the image crispness, but being able to show the aurora in real-time (how crazy is that!?) is still pretty cool.

I did also capture some live 4K video but the combination of the 1.7x crop factor and significant reduction in maximum allowable ISO speed meant the results weren't as impressive. However, with the extra pixel detail noise reduction performed very well on these files. If I had another two weeks and some more brilliant aurora displays I'd definitely play with the 4K feature again with a super-wide lens to compensate for the 4K crop-factor.

One of the selling points of the Canon 6D Mark II has been the 4K timelapse video feature and I was very keen to experiment with this under the Yukon's Northern Lights. I'm used to capturing RAW file sequences and rendering them, but there is a lot to be said for the fun and efficiency of capturing direct to 4K timelapse in-camera. (The 4K file is available to download and view via Vimeo - highly recommended for best quality).

When I wasn't shooting 4K, with my four cameras I captured 2.5 TB of RAW timelapse in just over two weeks. That creates such a headache in terms of data storage and processing power that I haven't even started editing that footage yet. In contrast, editing this 4K video from the 6D Mark II required nothing more than throwing the clips together in Premiere Pro with just a slight brightness/contrast tweak for some punch. No noise reduction has been applied to the files out of the camera. It was *a lot* of fun capturing these clips in and being able to see the timelapse video result on camera immediately. Motivation in the field like that really helps keep you going while your fingers freeze at 2am in the morning!

The bright and fast sequences in this video were captured at 1 frame per second, the fastest the camera allows in 4K timelapse (resulting in footage 25 times real speed). Some of the quieter moments I was capturing at 1 frame every 2-3 seconds as longer exposures per frame were required. Again super-fast Canon and Sigma ART lenses were critical to the outcome.

There is also an auto-exposure feature in the 6D Mark II timelapse settings intended for day-night transitions which I thought may be helpful for adjusting to the rapidly varying brightness of aurora displays. In practice I found it easier and more reliable to use fixed exposure but I'd experiment further with this feature if I had more time - it is surprisingly hard to concentrate on details like this when the aurora keeps fading and then pulsing back into action around you without warning.

Thanks to my talented friend, cellist and composer Kristin Rule for the music and my hosts Andrea and Florian Lemphers whose support made all of this possible.


          

Another Year at Mount Glasgow

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This will make more sense if you have previously read about our first year at Mount Glasgow. 2015 was more settled and sensible for Kaz and I but we still kept pretty busy!

Having missed out on a more convenient option a couple of months earlier (while focussed on Cooinda Leader’s Weekend), I found and won a second-hand Sirius Observatory Dome on eBay at the end of 2014. The only challenge being that it was in Sydney. Steve 'Turtle' Thomas generously loaned me his ute and dad (now semi-retired) was up for the road trip with a hefty tandem trailer to collect said observatory. The trip up was uneventful but it was a late night by the time we had the dome carefully packed in pieces in the trailer. A quick sleep then a long drive home saw the dome safely parked in the shed – a project for later in the year. Thanks Dad and Steve!

In a long overdue move, I upgraded the Drupal content management system that runs this website and with help from the folks at "More Than Themes" installed the Photo Folio theme to bring it into the 21st century, supporting mobile viewing and making it a little more photo friendly. As a friend or two had said, the previous design was "so 2004" so I hope the current version is an improvement.

I also published a revision to my Shooting Stars eBook. Released in early 2012, this update reflected a few extra things I’d learnt running my workshops, updated the image processing sections and added field notes for all the DSLR camera models released in the last three years. You can point your friends to the eBook here: philhart.com/shooting-stars. Thanks Naomi again for the graphic design.

On the back of my Yukon Aurora Adventures in 2012, I had one particular video project in mind that was inspired by Harald Moltke’s paintings we had seen in Copenhagen. I made a deal with myself that I wouldn’t start work on the observatory until that video was finished. (Quote of the year goes to Marty for suggesting that attempting such focus is “no way to live” :-). I hope you can find seven minutes to enjoy the result with the lights down and the music up:

You can read plenty more about the video and Moltke’s paintings here: What the Aurora Really Looks Like. The soundtrack “The Fire” is by The Dirt Floor and our talented friends Dean and Dayna Roberts at Lithostylis. Three years after enjoying their generous hospitality, my hosts in the Yukon, Andrea and Florian made a visit to our side of the world and had a short stay in the studio after Easter – a far cry from the frozen shores of Lake Laberge!

Before those I.T. projects were completed, Tom Rogers returned for the Anzac Day Weekend and put a hard weekend into building a mezzanine room in the studio, at the top of the stairs we built together over Cup Weekend six months earlier. With a few more weekends of work after that, we now have a small but air-conditioned bedroom which makes summer a much more viable option for visitors.

The theme for the David Malin Astrophotography Awards this year was the “Southern Cross”. I had a few ideas but left my run very late. A couple of weeks before the deadline, I scouted out some local roads and on the second night’s attempt got the perfect combination of clouds and stars to make this image work:

South Along Bucklands Lane

South along Bucklands Lane

In July I made the road trip up to Parkes, NSW for the Central West Astronomical Society Astrofest, including the presentation of the Malin Awards. My “South along Bucklands Lane” image above won the themed category which was a nice bonus (but might irk my colleagues now that they know how last minute it was :-). Even more fun was a few days adventure with renowned night sky photographer Babak Tafreshi after the Astrofest. We got permission to visit Siding Springs near Coonabarabran. Skies were clear but it was a wild and windy and very challenging night - despite our collective experience we both had tripods blown over by the wind. Breaking up the drive home, we camped out the next night in farmland near a dry lake bed which turned into a safari adventure the following morning, with a few thousand sheep being 'driven' around us in the morning, which then blocked our primary route out. We headed across progressively more sketchy farm tracks, past kangaroos, emus and a close encounter with a wedge tailed eagle. Thanks Babak for the adventure! There’s a blog post to write about that, but a few pics have made it to SmugMug.

Skymapper Telescope at Siding Spring Observatory

SkyMapper Telescope at Siding Spring Observatory

Despite living under dark skies, I did surprisingly little astronomy or photography from home during 2015 but in mid-August there was an aurora alert with clear skies so I setup the camera and promptly retired to bed. If I’d waited ten minutes, I would have seen this with my own eyes (minus the colour):

Aurora at Home, 15th August 2015

In August, I went on another NSW Main Range back country ski tour with Tim and Eric and we picked probably the best few days of the season just before a wild and wet (rain) storm put a big dent in it. Unfortunately the blog post for that also hasn’t been written yet, but you can see the photos on SmugMug. A highlight was this snow shelter Eric constructed on our second night to give us impressive shelter from the cold air flowing down the slopes around us.

Snow Camping with Tim and Eric

In the middle of the year I moved out of my part-time accommodation with Greg in Port Melbourne, initially house-sitting for mum and dad who were enjoying the benefits of (semi) retirement and travel. After that I made a bigger commitment to home at Mount Glasgow, staying just a night or two in Box Hill but otherwise doing the commute more regularly. Not long afterwards, an opportunity came up with Central Highlands Water in Ballarat that I guess you could say ‘had my name on it’. With very mixed feelings, I said farewell to my Melbourne Water colleagues and started full-time with Central Highlands Water in October. It's going to take some more time to adapt to the change from three days per week to a nine day fortnight.

A holiday with my sister Judy and her husband Stuart at Tathra Beach on the south coast of NSW fitted nicely into the gap between jobs. Whale watching turns out to be a lot like meteor spotting. We had balmy hot weather for early October which was enough to convince Kaz to give kayaking a go. We also caught up with the previous owners of our Mount Glasgow property, nicely but somewhat unintentionally settled in Mallacoota which suits them very nicely. Mallacoota is a remote and hidden gem for sure.

Whale Watching, Photo by Karen Goodwin

At the same time as managing the transition between jobs, I was working somewhat frantically with my good friend Geoff Adams to implement online applications for leaders and campers at Camp Cooinda. This was an overdue step into the future. Plenty of challenges and aspects that can be improved, but a significant step forward for the organisation which has been very rewarding to finally make happen.

When I announced my departure to my Melbourne Water colleagues, I offered them both a night sky photography workshop at Toorourrong Reservoir and the opportunity to “raise the dome roof” onto my observatory at a birthday bash in late November. This was somewhat ambitious given that aside from the fibreglass kit in the shed, not even the exact position of the observatory had been finalised. So with a frantic six weeks of planning, design and construction I managed to get the deck ready for the “dome raising” with 12 Melbourne Water colleagues/partners on the 21st November. Special thanks (again) to Tom Rogers for two weekends of construction and mixing a lot of concrete that made that deadline possible, with some hard labour also from Marty. Here’s a two minute video that shows the project coming together:

There has been no further progress on the observatory since then, which is still just a shell. Next steps are to get power and internet hooked up, install the motorisation for the dome and shutter and then get some gear inside and start taking images. It could be the best part of year three before I can say it’s fully functioning. Hopefully I enjoy taking images as much I enjoy building stuff these days!

Photo by Ben Johnston

Observatory Construction, Photo by Ben Johnston

In the lead-up to Christmas, Cooinda preparations accounted for most of my spare time, along with some fire season works and preparation around the property. There’s always more to do but with a few key changes based on Tony’s advice from the Melbourne Water weekend we feel reasonably well setup. While summer is horribly dry around here, the vegetation is consequently relatively sparse so the fuel loads around the house do not keep me awake at night. We’ve also joined the local CFA but it could also be another year before we can say anything about what that actually involves! To keep the garden alive, we’ve installed an additional water pump and reconfigured a lot of the irrigation systems around the garden and so far that seems to be doing a decent job of keeping things alive in the heat.

Kaz and I made a quick visit to Camp One to see our Cooinda friends, then settled in as Program Director and Cook for all the ten days of Camp Two. Our friends there understand just how much hard work it is, but also how rewarding it is and why we’ll keep coming back. We’ve slept solidly for a week since, as well as relaxing in front of the tennis. In another week or two we’ll be ready to start thinking about plans for the year ahead. Those plans now include looking after two ageing but enthusiastic Labradors - enthusiastic about anything they can eat at least.

Photo by Karen Goodwin

Living more remotely now, we love having friends come and stay – if you’re up for a visit let’s book it in soon :-).

 


          

LUmination News 10-31-2019

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Cast: Lumination Network


          

דרושים פרילנסרים לעריכת שיעורים מצולמים

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היי.למכללה בתחום הביטוח והפיננסיים דרוש עורך לשיעורים מצולמים.השיעורים מצולמים באחריותנו ומועלים לשרת FTP משם יש להוריד את החומר הגולמי ולערוך אותו מבחינת זוויות, ובעיקר חיתוך התחלה/סוף והפסקות באמצע. ידע בעריכה בסיסית של הסאונד (להחלשת רעשי רקע כמו רוח מזגן) גם יהיה מעולה. המטרה היא ליצור קטעים של 1-1.5 שעות (השיעור כולו לרוב 4 שעות מלאות) שאותם יש להעלות לאחר מכן לחשבון ב- Vimeo.אנחנו מחוייבים להעלות את השיעורים תוך שני ימי עסקים, כך שאם השיעור התקיים בערך, נדרש שביום למחרת או לכל היותר בבו...
          

My Baby Left Me (5/4 R&B)

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Soulful Funky 5/4 Rhythm and Blues in C Verses: 12 bar 1-4-5 progression Bridge: One 10 bar and one 12 bar 1-4-5 progression Wanting to create a 1-4-5 R&B progression in 5/4 that featured vocals, searched ccMixter for 5/4 samples close to 96 bpm. Found Javolenus' 5/4 beat. To create a bass pattern, started by reading an old Carol Kaye book that contained one exampled of a 5/4 bass pattern. Changed the key and modified the pattern to fit the drums. Then further modified the pattern to fit the rhythm guitar. Then further modified the pattern to fit the vocals. The results do not resemble the Carol Kaye bass line but inspiration is surely the idea of publishing instructional examples. Patricia Edwards vocal tracks was largely used as is. The vocal track fit well over the 5/4 R&B rhythm. Except for repeating some the words and phrases, Robert Warrington's vocal track is used as is. To answer Patricia's vocals, searched ccMixter for a pell talking or singing about "I left my baby." After skimming through half the titles in the ccmixter pell catalog for a hint about a match, Robert's words seemed to like the 5/4 rhythm and addressed the theme of not getting along with another person. Bass: trying a new midi driven IK Multimedia Modo Bass modeling plugin through Amplitube 4. Organ: trying a new MIDI driven IK MultiMedia Hammond B-X3 modeling plugin. Noodled a bit on the intro using a Korg keyboard as a MIDI controller. Don't have a keyboard that the plugin recognizes. Need to manually configure a MIDI controller ... someday. Inspiring interview with the iconic Carol Kaye (now 84 years old) on Vimeo. The part about playing with a metronome is spot on. After playing, recording and performing live with a DAW (aka a metronome), the many sins related to unsteady timing were remedied. Attribution: "That's Why My Baby Left Me" written and recorded by Patricia Edwards and courtesy of Looperman.com. Royalty free, non-commercial use only.
          

IBM Design Language - Icon

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With the launch of a new visual language, typeface and robust set of tools, IBM has taken the ambitious step of not only refreshing their brand but reinventing their entire approach to design. Its foundation is a philosophy that informs all of their decisions - a way of thinking about design, and the responsibility it holds.

A team of our own self-identified design nerds partnered with the IBM Design team to develop this series of animations that live within the Design Language repository. Written, designed and animated with rigorous adherence to their system, each short illustrates and embodies the IBM Design Language, functioning as a bridge between principle and practice.

For full credits visit buck.tv

Cast: Buck


          

IBM Design Language - Color

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With the launch of a new visual language, typeface and robust set of tools, IBM has taken the ambitious step of not only refreshing their brand but reinventing their entire approach to design. Its foundation is a philosophy that informs all of their decisions - a way of thinking about design, and the responsibility it holds.

A team of our own self-identified design nerds partnered with the IBM Design team to develop this series of animations that live within the Design Language repository. Written, designed and animated with rigorous adherence to their system, each short illustrates and embodies the IBM Design Language, functioning as a bridge between principle and practice.

For full credits visit buck.tv

Cast: Buck


          

IBM Design Language-Plex

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With the launch of a new visual language, typeface and robust set of tools, IBM has taken the ambitious step of not only refreshing their brand but reinventing their entire approach to design. Its foundation is a philosophy that informs all of their decisions - a way of thinking about design, and the responsibility it holds.

A team of our own self-identified design nerds partnered with the IBM Design team to develop this series of animations that live within the Design Language repository. Written, designed and animated with rigorous adherence to their system, each short illustrates and embodies the IBM Design Language, functioning as a bridge between principle and practice.

For full credits visit buck.tv

Cast: Buck


          

IBM Design Language - Philosophy

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With the launch of a new visual language, typeface and robust set of tools, IBM has taken the ambitious step of not only refreshing their brand but reinventing their entire approach to design. Its foundation is a philosophy that informs all of their decisions - a way of thinking about design, and the responsibility it holds.

A team of our own self-identified design nerds partnered with the IBM Design team to develop this series of animations that live within the Design Language repository. Written, designed and animated with rigorous adherence to their system, each short illustrates and embodies the IBM Design Language, functioning as a bridge between principle and practice.

For full credits visit buck.tv

Cast: Buck


          

Interview with Seriah Azkath on The Gralien Report - December 17, 2013

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GRBannerSeriah's first interview on another podcast...

 

As host of Where Did the Road Go?, some of you may have heard me talk a bit about my own work and experiences. For the first time, I did an interview touching on a just a very little bit of it. My thanks to Micah Hanks for having me on his rather cool show, The Gralien Report. You can find the full show here.You can download just my segment here, or click below. 

I'm on in the second hour if you download the full show, and I discuss Kundalini, Aleister Crowley, Magick, and some other stuff in between. I am working on a book, that will hopefully be done sometime in 2016. Meanwhile, we did make a movie roughly based off some stuff that happened to me over the years, but very fictionalized. If you want to watch that, check it out below...


          

Frame.io with FCPX integration is a great platform for video editing collaboration

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Frame.io has now been around for a few months and already had over 30,000 users. They now have a desktop app that integrates into FCPX and makes it really easy to share the timeline or part of it with collaborators and team members. Frame.io is kind of a better hybrid of Dropbox and Vimeo. It […]
          

Speed Flying Video: Compilation Best moments in Flights 2019 - 4K

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https://vimeo.com/channels/295754/370350701 *Compilation Best moments in Flights 2019 - 4K* Quelques-uns de mes meilleurs moments de vol 2019, un peu dur de choisir cette année. ;-) *Cast:* Denis (https://vimeo.com/user1314207) *Tags:* 4K (https://vimeo.com/tag:4K), paragliding...
          

Speed Flying Video: Road Trip Dolomites 2019

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https://vimeo.com/channels/295754/368540375 *Road Trip Dolomites 2019* Voyage en Fourgon jusqu'au Dolomites (Italie) pour voler en parapente et retour par les plus fameux sites de vols français. Merci chérie pour ces moments partagés. Zic : It's Wonderful - Paolo Conté ; La Casa de Papel -...
          

Eps 208: Solo Show - keeping things real while navigating a tough season of parenting

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Joyful Courage: Calming the drama and taking control of your parenting journey AUDIOBOOK will be available so soon!! I am confident that the Joyful Courage audiobook will be a supportive companion as you ride it out with your kids – full of stories and tools that will connect you with self and others, the audiobook will be something you can listen to over and over and over again.  Keep staying tuned in for details as we get closer to launch day!! Follow Joyful Courage on FB and IG, and sign up for my weekly newsletter at www.joyfulcourage.com/join

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Join the Joyful Courage Tribe in our community Facebook groups:
Live and Love with Joyful Courage
Joyful Courage for Parents of Teens

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This week is a solo show and I am totally going free style. There aren’t much for show notes, I hope you listen and that what is shared resonates with you. We are all in this together!

 

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Parenting Teens with Positive Discipline Audio Summit FOREVER PACKAGE

 

15 interviews that highlight all the things that show up during the teen years. !5 experts in Positive Discipline who KNOW the world of parenting teens joined me in powerful, useful conversations that I know you will love.

 

Click here to buy the Forever Package.

 

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GET THE BOOK!

 

Joyful Courage: Calming the drama and taking control of your parenting journey

 

This book is all about how to show up as a Joyful Courage parent so that you have better access to the tools you need in hot parenting moments – tools that are helpful and maintain connection with your child.

 

THE BOOK IS READY FOR YOU TO BUY– Go to www.joyfulcourage.com/book

 

The best way to stay up to date on the book news is to join my newsletter list, if you haven’t already.  Sign up at www.joyfulcourage.com/join

 

Thank you to everyone that has been so encouraging on this journey!!!  I appreciate you!!!!

 

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Be a Subscriber

Make sure to SUBSCRIBE to the Joyful Courage Podcast on Apple Podcast to get the latest shows STRAIGHT to your device!!  AND PLEASE rate and review the Joyful Courage Parenting Podcast to help me spread the show to an ever-larger audience!!

CLICK HERE to watch a video that shows up how to subscribe with your iPhone!

 


          

Sounds of the Spirit, Session 4

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this is the fourth session of the Bible study titled "Sounds of the Spirit."

Cast: New Creation

Tags: session, Sounds of the Spirit and 10-31-2019


          

OIST Proof of Concept Promotional Video

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FINALES CD64 SENIORS 08/09

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2 journées de Finales à Oloron résumées en 3 minutes : Une journée à Oloron from basket64 on Vimeo. 7 matchs, 14 arbitres, 150 joueurs, 20...
          

UNCENSORED hi-res pics & full-lenght videos at:

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Glamofoto posted a photo:

UNCENSORED hi-res pics & full-lenght videos at:

www.patreon.com/glamofoto

VIDEO trailers here:
vimeo.com/user31696398


          

Челлендж Croquis Cafe

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Aquarius Gem:
Задание №67

          

Spirit Radio - the Paranormal Experience 10-24-19 The hat Man

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Tonight on Spirit Radio our guest is Kyle Jay Macias. Kyle is an independent Video producer, his latest project is The Hat Man: Documented Cases of Pure Evil.
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Built to Spill – Vídeo promo concierto Barcelona

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Spot concierto Built to Spill – 06/09/13 Sala Apolo – Cloudy Dog Producciones & Houston Party from Sudd Studio on Vimeo.
          

The Tallest Man on Hearth – Vídeo promo concierto Barcelona

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Concierto- The Tallest Man On Earth – Cloudy Dog Producciones from Sudd Studio on Vimeo.
          

Iman Sheikhansari posted a video

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Iman Sheikhansari posted a video

Conversion Disorder-Series 1-IWP02-Iman SheikhAnsar

Human beings form an idea about their reality. We perceive it not through our body but our mind; therefore, we must agree on what is real. Because of this, we are probably the only species on earth that goes insane. But what if the object goes…

          

Replace your Facebook Cover Image with Video or Slideshows

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See: https://vimeo.com/350345469 WORLDWIDE SERVICES. Let us replace your existing Facebook cover image with a customized Video or Slideshow. Make your Facebook page engaging when new visitors visit your page. Just send us your existing images and video (don't worry about file size) and we'll make a beautiful video or slideshow (up to 1 minute) to put at the top of your Facebook Business Page. Use Craigslist email and request samples. You only have a few moments to make a favorable impression. Take full advantage of those precious few seconds. Trade-in that boring, tired cover image (that everybody else has) and set your self apart. Informative. Flattering. A great reflection on you and your business. Reference https://www.facebook.com/CoverVideosSlideshows/ or https://vimeo.com/350345469 or send us an email for samples. Give us a call/txt and let’s get started. It’s a great investment in your business. Scaled and re-sized precisely to Facebook dimensions.
          

La simplicidad y sutileza del surfing de Josie Prendergrast

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The Dew of Little Things
Dice el autor de este vídeo que surfing de Josie Prendergrast es simplicidad y sutileza a partes iguales, un surfing limpio y sin complicaciones, donde los momentos entre cada maniobra son igual de hermosos.
          

Nueve años sin Andy Irons

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andy irons bio 05
Un 2 de noviembre de 2010 un empleado de un hotel en Dallas, Texas, encontró en de sus habitaciones el cuerpo sin vida de Andy Irons.

En estos nueve años hemos pasado por la sorpresa por su muerte, las críticas a su estilo de vida, el alzar el dedo acusador a la industria del surf por permitir que sucediera, y, finalmente por olvidarle algunos, y mitificarlo otros.

Al final, lo único que quedará de él para los aficionados será su surfing.


Volvía a casa. Andy Irons, uno de los mejores surfistas de todos los tiempos, falleció el 2 de noviembre de 2010 mientras viajaba de regreso a su amada isla de Kauai. Con solo 32 años, había dejado su marca en el mundo del surf para siempre. Cuando Andy Irons ganó su tercer Campeonato Mundial de Surf Profesional, se unió a un raro grupo de leyendas cuyo impacto ha dominado el surf competitivo durante las últimas 3 décadas. Solo Mark Richards, Tom Curren, Mick Fanning, y Kelly Slater comparten ese logro, y posiblemente hayan sido los surfistas más influyentes en la historia moderna. Es un legado inolvidable.

Nacido en 1978, y criado toda su vida en Kauai, fue la segunda generación de una orgullosa familia de surfistas cuyas raíces en el deporte son tan profundas como la propia isla.

andy irons bio 02


Andy y su hermano Bruce perfeccionaron en silencio sus habilidades en Hanalei Bay, su patio trasero de pinos, y en otros poderosas olas de reef cercanas a casa. Su talento pasó desapercibido durante algún tiempo, a pesar de que en 1995 Irons (como sus 3 predecesores antes que él) había ganado el título de aficionados. A pesar de que una gran cantidad de otros novatos de ASP se convirtieron en grandes contendientes, el anonimato de Andy continuó. En un mundo lejos del centro de atención, en la que las cámaras de vídeo no eran bien recibidas, y las olas eran fuertemente protegidas por los lugareños, Irons pasó casi desapercibido.

Hasta el Pipeline Pro de 1996: con solo 17 años, Andy consiguió un tubo de 12 y cuando la espuma de la ola había desaparecido, había eliminado tanto al maestro en Derek Ho como a un grupo de nuevos surfistas promocionados que buscaban la corona. Seis años después, Irons reclamaría su primer título mundial.

Sin embargo, el camino que condujo a ese resultado no fue un viaje suave y vidrioso. Durante un par de años muy complicados, la carrera profesional de Irons fue tan dura como el fondo de Teahupoo.

Irons había crecido en un entorno discreto, muy hogareño, pero después de ganar el Pipe, de repente se encontró en el resplandor de los medios de comunicación y la presión de la competición profesional. Era joven e inexperto, un chico de campo fuera de su elemento.


Al final de su año de novato, la fama, las noches de juerga, la presión en la competición, y los interminables viajes comenzaron a pasarle factura. “Se rumoreaba que viajaba en el tren de la fiesta a demasiada velocidad”, comentó Matt Warshaw, autor de The History of Surfing después de su muerte.

Pero Irons volvió a sus raíces estabilizado por un entorno mucho más profundo que el torbellino del estrellato. Sus amigos le dieron el apoyo para tener una perspectiva positiva, aconsejándolo y construyendo la confianza que necesitaba. Sus padres, siempre grandes partidarios de su pasión por el surf, lo ayudaron a recordar su objetivo, basado en los poderosos tubos de Kauai. Iron se reenfocó, volvió a comprometerse y refinó su juego para incluir 2 ingredientes principales que habían estado ausentes: consistencia competitiva y responsabilidad personal. Juntos, unieron el eslabón perdido.

Mientras luchaba por regresar al Campeonato, Andy comenzó a ganar eventos en todo tipo de condiciones y convirtió su enfoque instintivo en una bola de nieve de victorias, que culminó en 3 títulos mundiales consecutivos (2002, 2003, 2004). En el camino ganó una mujer, una carrera y millones de fans.

andy irons bio 04

En 2009, Andy se tomó un año sabático para recuperar la perspectiva. Sin embargo, durante su año libre; El interés en su carrera realmente aumentó. Cuatro portadas de revistas y una película sobre su rivalidad con Slater, lo mantuvieron más en el centro de atención que casi cualquier otro surfista.

Y al reenfocar su energía después de reincorporarse al circuito ASP en 2010, demostró una vez más su valía, ganando la prueba de Teahupoo.

Pero también había un lado oscuro, un perfil de Andy nunca revelado. La adicción de Andy al alcohol, la cocaína y las drogas, así como su lucha contra un trastorno mental debilitante, condicionaron su vida y decidieron el día de su muerte.

Andy nunca olvidó sus amigos de la isla; nunca dejó de agradecer el apoyo a su familia y amigos. Lo más importante es que rara vez pronunció un discurso público sin mencionar a su leal y encantadora esposa Lyndie, casi siempre terminaba sus palabras con "Lyndie, te quiero mucho".

andy irons bio 01






          

WE COSMOS

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by Bobo Choses

The magical universe of Bobo Choses is born out of original stories and poems. 
Eventually, the characters come to life in the form of prints, shapes, and products. 
With each collection, they also publish a book with the story that inspired it.


Enjoy the We Cosmos animated Book by Bobo Choses !




The book looks at the story of Benny Benson, the 13-year-old Chignik boy who entered a contest for designing the flag for the Territory of Alaska in 1927. He looked to the sky for inspiration, choosing the familiar constellation he looked for every night before going to sleep at the orphanage. Benny’s design was chosen over 700 other submissions to represent the future of the Alaska Territory to the present days.

Like Benny did once, Bobo Choses also looked up to the sky 
to discover that there’s a flag that links to all of us, 
the Universe.

Discover the We Cosmos printed book HERE in our shop.
Check out the rest of the Bobo Choses collection HERE .

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Shop Bobo Choses here ! at Orange Mayonnaise

          

Like Hitchcock? MAYHEM PARK ~ The Modern day Hitchcock movie!

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MAYHEM PARK ~ CRITICS: IF YOU LIKED HITCHCOCK FILMS THIS A MUST SEE! ONE OF THE 10 MOST SOUGHT OUT CULT FILMS TO WATCH THIS YEAR! "MAYHEM PARK" ~ Now being referred to by critics and reviewers as a TRUE MODERN DAY HITCHCOCK style film and one of the 10 most intriguing, MUST SEE, CULT-Suspense/Thriller movies to watch this year! Due to its mysterious and eerie nature, they claim people are watching this film to become mesmerized. Quite a claim, for a micro-budgeted “indie” film! However, it begs the question, as to how and why does a simple horror-suspense-thriller movie attract an audience who allows themselves to be mind-altered? Furthermore, psychologists are beginning to pop up out of the woodwork studying this phenomenon as to why this film is so becoming in a mind-altering fashion. Thus far their best educated guess is the manner in which the actors present, and deliver their lines. For instance, their facial expressions and line deliverance, combined with, what most will agree, is the MUSIC makes for a massive subliminal and eeriness that surrounds the total environment and makes the experience a DARK, earthly, confronting, and moreover, a psychological mind bending phenomenon which could safely be compared to the experience you would similarly get from self-induced barbiturates. More commonly described in the medical profession as a psychoactive drug, psycho pharmaceutical, or psychotropic is a chemical substance that changes brain function and results in alterations in perception, mood, consciousness or behavior. About the director - Joey Harlow ~ As history will have it similar to the Alfred Hitchcock story. In June of 1939 Life magazine called him the "greatest master of melodrama in screen history. There can be no question Joey Harlow, the director of MAYHEM PARK has yet to gain his due, for a screenplay so Hitchcock in nature and substance in terms of melodramatic cinema. In April of this year his latest film MAYHEM PARK was released on Amazon Prime. It went viral in a matter of only a few short days. Had today's virtual theater been a physical theaters, it was equivalent to movie goers wrapped around the building to see his latest work. AGAIN the Mayhem Park is now VIRAL and continuing its popularity among movie watchers who can appreciated the Hitchcock style of the 21st century. In conclusion, this film is gaining traction quickly among its Hitchcock fans and Joey Harlow fan movie watchers popularity. There can be no question, that it truly is the modern day Hitchcock melodrama cinematic experience of modern day. All-in-all quite a claim! Our estimation is you will just have to watch it yourself and we mean BY YOURSELF with NO INTERRUPTIONS throughout the entirety of the two hour and twenty two minutes, in order to get the full effect. MAYHEM PARK ~ CRITICS CHOICE! ~ Rumored to be the Murder / Mystery ~ Suspense/Thriller film of 2018! .., and quite possibly for years to come. Trailer: https://www.youtube.com/watch?v=9A66zLQe8Mc On AMAZON PRIME: https://www.amazon.com/dp/B07G5PHX51 On Vimeo: https://vimeo.com/ondemand/mayhempark Order Blu-ray: http://joey0008.wixsite.com/mayhempark IMDB: https://www.imdb.com/title/tt9066770/reference Laguna Films Email: LagunaFilms@aol.com
          

Interview with Barry Guy and Maya Homburger

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By Colin Green

Barry Guy and Maya Homburger need little introduction though a proper consideration of their work, together and alone, would probably span several volumes. Barry is one of the foremost double bass players of his generation whose versatile performances range from the baroque to contemporary, composed to improvised, and many stages between. His interests and inspirations are vast. He writes and performs across a variety of media and has led and been part of some of the most significant ensembles in improvised music. It’s difficult to think of another musician who has covered as much ground in such an original, compelling and influential way.

Maya is a baroque violinist who was born and educated in Zurich and moved to England in 1986, playing with a variety of period instrument groups including the English Baroque Soloists and the English Concert. She met Barry in 1988 during an extended tour with the Academy of Ancient Music. During 2000 she took part in the Bach Cantata Pilgrimage, John Eliot Gardiner’s epic traversal of almost 200 works that started in Weimar and ended in New York. For many years, she and Barry’s innovative duo recitals with their wide-ranging repertoire have held audiences spellbound. She also runs the Maya label, whose website had a wealth of information concerning Maya, Barry and their myriad ensembles. The label’s most recent release is J. S. Bach Soprano Arias and Swedish Folk Chorales , featuring Maria Keohane and Maya’s period instrument group Camerata Kilkenny which alternates arias from Bach’s cantatas with chorales from the Dalarna region of central Sweden.

They’ve had a hectic schedule of late including concerts by the duo and the Blue Shroud Band, a visit by Barry to the RMC (Rhythmic Music Conservatory) in Copenhagen where he’s visiting professor for the premiere of a new work, recitals of the Bach Arias and Swedish Folk Chorales programme in Ireland and at the end of October several concerts and a workshop in Vilnius. They’re playing with the Blue Shroud Band at the Purcell Room on the Southbank on 16 November as part of the London Jazz Festival, a performance of Barry’s The Blue Shroud which draws inspiration from Picasso’s Guernica. This review from August gives an idea of what to expect, with further articles here. NoBusiness has also just released Concert in Vilnius , a 2017 performance by the legendary Evan Parker, Barry Guy, Paul Lytton trio. An abundance of riches.

My sometimes lengthy questions addressed diverse matters all of which they considered in a thoughtful, illuminating fashion. The interview proceeds with Barry first, then Maya and I’ve provided some links for those who want to follow through.

Barry, to state the obvious, the double bass is a big instrument requiring a very physical engagement. In an interview with Barra Ó Seaghdha a few years ago, you spoke of how your early work with dancers affected your relationship with the instrument:

“The more I rid myself of this idea of a large unwieldy resonating box, the clearer the ideas would become. The holding and articulation of the bow, the ends of the fingertips, creativity, the sound concept – all these things came down to a tiny contact point, a little grain of sand. It’s like black holes, which contain huge amounts of energy to be harnessed.”

I’m intrigued by those grains of sand that are also energy sources.

BG: There are two metaphors here - grain of sand, black holes, and additionally, working with dancers. It reads like a rather rag bag of ideas, but in truth it all really boils down to the moment that energy is released into the creation of sound. All of the foregoing have at different times informed my approach to playing the bass. These days I am mindful of sonority, so any articulation has to be there for a reason rather than a loose conjecture.

The “grain of sand” idea acted as a focus, an energy point where the sound source could be concentrated. It was a way of feeling a sharp feedback from the fingerboard to the fingertip. Actually, this came from some kind of dream sequence where all around me, in an open space, everything coalesced to a fine grain of sand being held between my thumb and first finger of my left hand with a very clear crystalline structure which seemed so logical and clean. Thus, was where the sound started. Following that epiphany, I looked at my left hand in a very different way!

Black holes came next on the agenda - again a concentration of energy, but around an event horizon where information is consumed by such a phenomenon, as if diving into a void with all faculties running hoping for the best outcome. Sometimes when improvising there is a kind of euphoria where the sounds represent a kaleidoscope of possibilities where reality sets in to nudge one to make a decision - all in split seconds of course. Exciting moments.

What about the dancers? Working on stage with the London Contemporary Dance Theatre gave me the chance to observe closely the way the dancers directed their energies to perform spectacularly beautiful movements, and for me the implementation of these moves became totally fascinating - for instance, the lifting of a body where the transference of energy from potential dead weight to soaring, combined the timing of two (or more) people to perfectly coordinate the move as if everything was in a state of lightness and elevation. To find a similar situation when playing the bass seemed to me a worthwhile objective. Energy sources come from whatever seems appropriate for the creation of sound – it’s a matter of direction.

You trained in an architectural practice when you were younger and have retained an interest in the subject – the score for Amphi is in the shape of an amphitheatre and you’ve written about the graphic element in other scores. When it comes to music do you have a visual imagination?

BG: I guess I do have a visual imagination when structuring a composition. Quite often the first shorthand gestures are density marks on paper which remind me of a possible musical gesture long before real pitches are put on manuscript paper. In the case of Amphi which you mention, my first idea was to create an “embrace” of Maya’s baroque violin by the Barry Guy New Orchestra players – this delicate instrument surrounded by some seriously heavyweight improvisers. This “embrace” channelled my thoughts to create textures that were inclusive and mindful of the fragility of the violin, but also a robustness of spirit that could travel outside of the structure. As it happened, whilst thinking about the practicalities of the musical setting, I was immersing myself in the architecture of Alvar Aalto and came across a building of his (the Technical University in Helsinki), that somehow summed up what I wanted to present musically. Aalto’s contemporary take on an amphitheatre (which was inspired by an ancient amphitheatre in Delphi, Greece - a meeting place), gave me a visual image of the score’s layout, which articulated my hopes for the music. Whilst the score might seem somewhat busy with architectural graphics and various scratchy cross hatching, the idea was to present an atmosphere, an ambience, within which the music could flourish. Aalto’s architecture seemed to offer sensitivity to the needs of the students whilst presenting a powerful gesture to the realities of organisation supporting university life.

In Un Coup de Dés a graphic score written for the Hilliard Ensemble (available on A Hilliard Songbook - New Music for Voices (ECM, 1996)) the architecture of Peter Eisenman and Richard Rogers informed the layout of the score in a kind of Möbius loop where Mallarmé's poetry contorts itself as it progresses from the start twisting until the final resolution. The rolling dice faces expose pitch aggregates for the singers to use in an improvisational way, so here is an expression of movement as well as information. What I try to do in my graphic scores is to present the “feel” of the piece as well as the required pitch and articulation areas, so the first decision is to ask myself if a graphic score is appropriate for the project.

In many of your larger works for the LJCO, the New Orchestra and Blue Shroud Band, there’s a combination of freedom and structure, improvised and written passages. Do you consider that larger forces and longer pieces require this and how has your writing for such ensembles changed since your first big piece, Ode back in the early 1970s?

BG: For my way of visualising music for large forces, I prefer to harness the creative spirits of the musicians within a robust architecture that I hope will satisfy all parties. Naturally there have been tensions since improvisation and through-composed music are not easy bedfellows. However, I like to think that each piece releases and refines new ways of dealing with the problems. Also, I wish to seek refinement as an ongoing drive towards simplicity, but in reality, forces of expression and musical realisation often push me into more complex writing – not to make things difficult, more to direct the sound worlds envisaged towards a clear articulation of intent.

For instance, Ode was complex from the point of view of notation. The often rapid changes of written and improvised passages in a space-time notation proved difficult to negotiate for many players. Conceptually, the need to respond to a conductor’s gestures was anathema for many, although the final result was really quite spectacular and indicates what can be achieved when a performance has to be realised. The road to that performance was often treacherous. Now my writing tries to be inclusive in the sense that musical tasks are often given to the players as well as me directing. This frees up the structure and crucially allows me to play the bass!

Are the rewards of composing and improvising complimentary; does one give you a perspective the other doesn’t, or do you think of them as points in a continuum?

BG: Since I enjoy the singular discipline of constructing a piece of music and improvising alone or with colleagues, I view this as a giant work in progress. There is the magic of working together towards an elevated state of communication within the improvised format, but I find the solitary moments at the drawing board offer a kind of peace as well as anticipation. I always have the images of the individual musicians for company when composing.

Poetry and literature have obviously provided you with much inspiration, and the work of Samuel Beckett in particular. You’ve spoken about your Five Fizzles for double bass being a development of Beckett’s simple ideas. On the face of it, his spare prose with its own internal metrical patterns is far removed from your rich elaborations. Guy’s Fizzles are not really a musical equivalent of Beckett’s texts; you appear to see (or hear) the words as a jumping off point. Can you explain how that works?

BG: I agree with your observation concerning Beckett’s spare text and my own elaborations which are often fiery and complex. It’s paradoxical, but there’s the less obvious or even opposite view to music following or paraphrasing the text. Whilst I started with the notion of almost a regime of exercises or disciplines of a minimalist nature, it became more interesting for me to observe the singular intentions and character of each text. This in turn suggested treating each Fizzle as a discreet sound world with specific articulations or colours that would characterise the music. So, you see I have entered the Fizzles world with one approach and emerged with another interpretation. Happily, no one has taken me to task concerning this. The Beckett texts act as a focus, a reason for exploring sound. Incidentally, there is a very fine piece of writing by Brian Lynch, Lighting Out for the Territory: Barry Guy’s Fizzles, in Music & Literature No. 4 discussing this very subject.

You wrote She! in 2014 for cello and tape which I think was inspired by Lisa Dwan’s mesmeric performance of Beckett’s Not I at the Royal Court Theatre in London. I saw her perform it later along with two other Beckett shorts, Footfalls and Rockaby, just before she took the trilogy to New York. What were you trying to do in that piece, and why the cello?

BG: Cellist Kate Ellis’s request for a solo piece with multi-tracking arrived just before I attended a performance of Not I at the Royal Court. I was struck by the musicality and rhythmic impetus of the monologue which quickly suggested an approach to this new composition; but this virtuoso performance by Lisa Dawn was perhaps too fast for an instrumental solution. Returning to my studio I did some homework and found a classic BBC TV. presentation with Billie Whitelaw as Mouth (directed by Tristram Powell) which suggested a way forward. Here was vitality, surprise drama but important for me, rhythm, intensity and a perfect speed of articulation which could be translated into music. Decisions were then made concerning register and articulations that remind us of Mouth’s predisposition for repetition. The narrative ghosts Billie Whitelaw’s exposition with my own take on the music’s contour. The Auditor - who has caused much discussed and somewhat troublesome theatrical problems concerning lighting and movement (and is even omitted from some productions) fulfils in my composition She! an elongated presence to contrast the flow of Mouth’s articulations, with each appearance getting shorter in duration (Beckett’s suggestion for the play).

The pre-recorded material represents the Auditor and diverts the listeners focus, but before the gesture of compassion from the djellaba-clad figure (in the stage play) I requested Kate Ellis to exclaim the words “what?..who?..no!..she!..” as a dramatic grounding and surprise interruption of the musical/linguistic tirade.

I understand you’ve written something for the Kronos quartet based on Beckett’s What is the Word and are also planning to use that poem in a new Blue Shroud Band composition with Savina Yannatou voicing the text.

BG: Yes, What is the Word is a new string quartet that utilises my analysis of the structure of Beckett’s last poem. The text as such does not appear within the quartet, but the words silently hover in the background. However, I plan a version for the Blue Shroud Band referencing this structure, and of course having Savina Yannatou voicing the words, and I may use some additional texts from Irish poet, Kerry Hardie. The quartet was commissioned by the Kronos Quartet as part of their Fifty for the Future project which offers a library of contemporary string quartet music for young ensembles interested in honing their knowledge of new music from around the world. I’m honoured to be one of the fifty chosen composers.

Time Passing… (Maya, 2015) for soprano, baritone, string ensemble and improvising double bass and soprano is one of your most multi-layered works to date. Part of the inspiration came from hearing the cantata Meine Freundin, du bist schön by Johann Christoph Bach at a concert in London by the English Baroque Soloists under John Eliot Gardiner, subsequently released as Welt, Gute Nacht (SDG, 2011). The cantata contains a lengthy and beautiful chaconne – possibly the baroque form capable of the greatest profundity -- in which an intoxicating violin accompaniment (played by Maya) intertwines with the soprano voice. In Time Passing… the penultimate, and longest section is the apex of the work where you set excerpts from Beckett’s prose-poem Ping in English and French, sung, muttered and spoken, but also merge at varying removes the ostinato theme from the J.C. Bach chaconne. There are some ravishing string textures and an obligato nervosa energy in the bass and cellos whose relationship to the words sound, at least to me, like a contemporary equivalent of the cantata’s violin part. This was a bold move by you, but it seems to work incredibly well with the two musical worlds illuminating one another in a totally unexpected and very moving way, transcending both.  

There are similar passages of such unity in diversity inThe Blue Shroud, which includes your setting of the sublime Angus Dei from J. S. Bach’s B Minor Mass, that seem to go beyond a mere collage of past and present. How hard has it been to achieve such meaningful correspondences?

BG: The referencing of old music in my compositions I guess reflects my life as a performer. I’ve had the utmost good fortune to play in the ensembles conducted by John Eliot Gardiner (The Monteverdi Orchestra, as it was in the seventies, subsequently the English Baroque Soloists), Christopher Hogwood (Academy of Ancient Music), Roger Norrington (Kent Opera, London Classical Players), Richard Hickox (City of London Sinfonia) and John Lubbock (Orchestra of St Johns) and many others. The music grew on me as each ensemble developed, so it is no surprise that the sounds I’ve encountered have lodged themselves in my musical brain.

Within Time Passing…, a fragment of the chaconne you mention allowed me to express my infatuation with the piece, and in particular the soprano and bass baritone pairing, which was so engaging when I first heard the piece with Maya playing the violin obligato. The “obligato nervosa energy” you observed (starting in the bass) is in fact a small conceit - a hidden reference to Beckett’s Play that runs counter to the Ping narrative. It was never my conscious decision to have it represent a contemporary equivalent of Maya’s violin obligato. The rhythms are based upon the dialogue between the three protagonists, and Beckett’s theatrical note of “Rapid tempo throughout”, so we have Ping and Play counterpointing each other.

In The Blue Shroud, I’ve used fragments from the Mystery Sonatas of H.I.F.Biber as well as J.S. Bach’s Agnus Dei as a way to elevate the listener to a particular aural sensitivity. My task as a composer was to prepare and place these passages in a context that would avoid gratuitous quotations to make the work easier to accept. The three baroque moments are delivered precisely at the point where our feelings need a different focus. It’s no coincidence that in the Homburger/Guy duo, we play several of Biber’s pieces, so I had a clear idea of how well they could exist in The Blue Shroud. Belief and love for the music was important in this setting, but nevertheless I was aware of the risks – particularly in the placing of the Agnus Dei and what could come afterwards. A simple chorale using the words of Kerry Hardie led the way.

One thing that strikes me about your writing for strings in Time Passing…, and other works such as After the Rain (NMC, 1993), is how you open out the sonorities of the instruments. Texture and shape seem to be interdependent, if that makes sense.

BG: Working with the finest string players throughout my career has paid off. I love the sound of a string ensemble perfectly tuned and balanced, so somehow textures and the musical architecture visit my creative writing as friends, allowing me a flexible and colourful palette to travel with.

Would it be fair to say that memory and the passage of time have been a preoccupation in your music of the last decade or so?

BG: Not a preoccupation. It just happens that my love for early music nudges me to certain musical resolutions. In the Kronos string quartet piece, I use fragments from Pelham Humfrey’s verse anthem O Lord My God where my rather busy music is arrested at the boundary/threshold between thoughts. The Humfrey was deeply ingrained in my memory way back when John Eliot Gardiner recorded the piece ( Music of the “Chapels Royal” (Erato, 1980) and I was mesmerised by the beauty of the music, which, what can I say - guided me when looking for a particular sonority and moment of repose in the quartet music. Needless to say, the fragments are treated with special articulations that elevate the music to ethereal regions, which in some ways takes me back to my first encounter.

You’ve written many pieces for Maya on the baroque violin. Are there any specific challenges writing for that instrument, which has gut strings and a lighter bow, a softer, grainier sound, with its own distinctive overtones and articulations when compared to a modern violin?

BG: Well, you have answered your own question really. What I am very aware of when writing for Maya and her baroque violin is the necessity of respecting the instrument. This does not mean avoiding contemporary articulations, more using them with care, and researching what really works for the instrument and bow. The fingerboard is shorter than the modern equivalent and the strings do not respond well to heavy pizzicato. The rewards are an open natural sound, unstressed and clear with quite spectacular colours. Her way of playing has huge expression but avoids the bloated moments of ego playing that we often experience.

You’ve played in piano trios from the outset; in Howard Riley’s trio, then with Marilyn Crispell, Agustí Fernández, Paul Plimley, Jacques Demierre, Katherine Weber, and more recently Simon Nabatov on Luminous (NoBusiness, 2018) and Izumi Kimura on Illuminated Silence (Fundacja Słuchaj!, 2019). What’s the appeal with that formation?

BG: Another fortunate manifestation in my life. The Howard Riley Trio started my love for the piano/ bass/drums format. In those early days I was well aware of the Bill Evans Trio, which seemed to me the most perfect ensemble music. With Howard we were looking for an interplay that had a similar feel but using open improvisation and our own compositions. Here was a ‘classical’ formation with the potential for moving outside of the conventions, although the music of Evans, La Faro and Motian continued to light the way.

My writing for Marilyn and Paul Lytton has always been based on the premise that Marilyn can play melodies beautifully, she always has the ability to take the piano apart when appropriate. A similar situation exists with Agustí Fernández and Ramón López. Agustí has written some amazingly beautiful pieces which haunt me, and of course are thrilling to play.

Speaking of pianists, the recently released Odes and Meditations for Cecil Taylor (Not Two, 2019) draws inspiration from Cecil, Augusti and Marilyn, whose Three Poems for Cecil Taylor are set during the piece. You played in a quartet with Cecil, Evan Parker and Tony Oxley in 1990 ( Nailed (FMP, 2000) with his quintet in Stockholm in 1991 and tentet in Saalfelden in 1992. Cecil said that if he played bass, he’d play like you – what was it like to work with him?

BG: What can I say? – playing with Cecil was a dream come true. Other than the playing aspect, we conversed over many subjects - for instance we talked a lot about dance and the creative arts in general. His knowledge of architecture was also wide ranging. The larger ensemble pieces were somewhat difficult to put together since his method of delivering musical information was a mixture of picking up by ear certain passages, quickly committing them to manuscript paper, often in a cryptic form, remembering structural elements and ensemble registration. Often all of this would be different at the next rehearsal, so frustration was the order of the day. If the methodology was difficult, the final concerts were always a revelation.

That’s a common observation from those who worked in his larger groups, Cecil’s way of mixing things up. Over the last decade or so it’s been common for you to have musicians in the ensembles improvise in rotating formations. I’m thinking of the collections on the Not Two label: the two Mad Dogs sets, Tensegrity (Small Formations) and Intensegrity (the Small Formations). It’s a practice that goes back to the early free jazz festivals and Derek Bailey’s Company weeks. What are the attractions for you?

BG: I suppose my liking for breaking up the large group into small formations (when we are given the opportunity to do so) resides in the fact that all of the players respond to new settings with a corresponding brilliance in the results .It is really astonishing and refreshing to hear so many ways of making music together. After days of rehearsing and refining one of my compositions, the small formations represent a kind of release valve.

You’ve been playing freely improvised music since the earliest days in London – you appear on the Spontaneous Music Ensemble’s Withdrawal (1966-7) (Emanem, 1997). What have been the most significant changes in playing this kind of music since you began?

BG: I guess the word is refinement. Through the years we have developed instrumentally to the point where our chosen instrument is merely the means to communicate with fellow musicians at a very advanced level. I don’t want this to sound pompous, but by the accumulation of experiences we can almost consistently offer a musical narrative that is as convincing as any other sound world. Not that every listener likes it, but that’s another subject. We have learnt to understand when the going gets tricky, and negotiate our way out of a difficult situation. The expansion of our collective awareness to fine musical nuances represents a constant expansion of our abilities to decode musical intentions. The mystery and magic of all this is what drives us.

I think that the whole language of improvisation has become quite flexible, so some of the disciplines that we set ourselves in the SME days are much looser but paradoxically tighter. Perhaps one of the significant changes is the use of electronics in real time performance. Obviously, the hardware and programmes have been refined to a point where a digital based sound world can interact seamlessly with traditional instruments. My parting comment on this manifestation is that often it is too damn loud!! Perhaps this shows my age…

On that subject, you turned 70 in 2017 and Fundacja Słuchaj! ‎ released an album of your 
birthday celebration performances in Warsaw which I reviewed last year: Blue Horizon. Barry Guy@70 There have been quite a few albums recently. Are you busier now than before, or is it that we’re just hearing more of you?

BG: Yes, there have been quite a few albums released – I guess it’s been the result of live recordings with different ensembles. The diary always seems full with lots of interesting and fulfilling projects, which generally are one- off affairs. The days of being on the road for long periods of time seem to have evaporated, which is no bad thing, and travelling with musical instruments is tiring and frustrating most of the time. I think most musicians are experiencing the same these days. It is perhaps the psychological stress of not really knowing if the instrument will arrive at the destination or in one piece. And there is always the problem with the lack of money to find an efficient route to the concert venue. Now of course, we have to be aware of trying to do less in terms of flying, and this invites speculation about retiring. This is a subject that Maya and I talk about quite a lot, especially as she’s at the coal face working at ways for instance of getting the musicians of the Blue Shroud Band from ten different countries to the same place at near enough the same time. That is stressful. One delay can scupper the whole project which often takes years to arrange. For now - onwards.

I see that next March there’s a three-day celebratory residency in Krakow marking the 50th anniversary of the London Jazz Composers Orchestra, with two days of small ensemble concerts followed by a big band concert. Can you say what your plans are for that?

BG: For the final concert in Manghha Hall we plan a first set with the so-called Flow 1 and Flow 2 (first performed in that way in Vienna last year) The second will be Harmos. As for the small ensembles in the Alchemia Club on 6 and 7 March, I’m still working on a musical proposal to involve as many musicians as possible.

Turning to you Maya, in respect of the duo’s performances you’ve spoken about aiming to destabilise the audience by musical stretching. What do you mean by that?

MH: Perhaps “destabilise” is too negative a word. The process which we love and call “musical stretching” is the seamless flow from ancient to new music and vice versa, which sometimes happens in such a subtle way that it takes a moment for the listener to realise that he or she is in another world/century. What’s important is that the content, passion, emotions etc. etc. within the music are not put in boxes labelled “old music”, “new music” or “improvised music”, but come across as an expression of being human and of giving to the audience, regardless of the so-called style. The best compliment I received once for a performance of one of Biber’s Mystery Sonatas is, that it sounded like a modern composition. This means, that we can do the “musical stretching” even within the actual piece and within the particular style and period in history.

What we also love about this way of combining and linking compositions is the actual moment of “destabilising” so to speak and of being in between styles, when the seamless link happens, it enhances each composition in a very special way. For example: when we start Biber’s Carrying of the Cross out of the pianissimo end note of Barry’s improvisation Peace Piece , the mournful beginning of the Mystery Sonata is stronger than ever.

You and Barry have performed as a pair for some years now. Have the concerts evolved?

MH: Yes, we are getting more and more intense in our expression and togetherness which the audiences appreciate very much, and reactions have certainly been extremely positive in recent years.

One of my favourites of your Duo recordings is Star (Ergodos, 2016) featuring three works written for the pair of you by Irish composers. How varied is the music written for the duo by others?

MH: We have to admit, that we don’t play many duos from other composers written for us within our concerts. The project Star for example was more for the actual recording, and the pieces do not fit as well into our programmes as for example do those of György Kurtág. However, we would love to perform them again, possibly in the context of new works by these composers. As for Irish composers: Ben Dwyer has written several pieces which we have performed on special occasions with great joy. His piece “Umbilical” was one of the major challenges for our duo in the last years, but again – only one of the parts fits into our duo programme and is so challenging, that we can’t often manage to find enough time to prepare for it. Right now, we’re preparing for the recording of his quartet What is the Word for actor, guitar, violin and bass and I am also working intensely on his six solo violin pieces, Residua - both works inspired by Beckett. The Buxton Orr composition, one of the first ever written for our duo, has also been silent for many years, for similar reasons. And other pieces by various composers have not been played so often, since they aren’t quite as idiomatic for the baroque violin as we’d hoped.

During the small formations’ improvisations on Intensegrity, recorded at the Alchemia in Krakow, you play pieces such as the closing passacaglia from Biber’s Mystery Sonatas and Bach’s great chaconne from the second Partita. How do you feel they work in that context?

MH: I personally feel that Bach and Biber work extremely well in the context of improvised music concerts. The performances you refer to basically place these baroque pieces into a similar context to what we do within our duo concerts. As in the those performances, we have tried to create meaningful links for these baroque moments, for example: with a piano solo leading into the Bach Chaconne and even more specific: Julius Gabriel who plays right after the Biber Passacaglia, created his saxophone solo based on the four descending notes which form Biber’s Passacaglia theme. We all thought that the link was magical. The audience in the Alchemia, who otherwise listens mainly to improvised music and Jazz, is always very receptive and appreciative of the baroque moments within the programme. Last year, we performed six Biber Mystery Sonatas there interspersed with saxophone solos from Mette Rasmussen, Mats Gustafsson and Torben Snekkestad. It was extremely moving.

How much improvisatory freedom do you get in Barry’s pieces?

MH: Barry is a master of giving me just the right amount of freedom within his compositions. Too much would intimidate me, since I don’t consider myself as an improviser. But, what he manages to do is magical, since he gives me certain material to work with allowing me to grow into improvising moments and extended areas of graphic notation and freedom which are totally inspiring and liberating. He also encourages me to play certain fully notated passages in an improvisational way and to make them work even better by taking certain liberties. All this has of course to be done with great care and respect for the composition.

As you know, we perform three of his solo violin pieces – Celebration , Inachis and Aglais – often as a duo with me reading the fully composed score and Barry improvising. This has led me to a new and wonderfully liberated way of playing these very demanding and technically difficult pieces. I’ve also played with many improvisers, amongst others: Evan Parker, Zlatko Kaučič, Lucas Niggli and Paul Lytton.

To what extent has your approach to the standard repertoire been influenced by your exposure to improvisation? For example, the Mystery Sonatas are written in a very fluid, improvisatory style, full of odd modulations with swift changes in direction. There’s room for ornamentation, but presumably also a lot more while remaining “faithful” to the score.

MH: This can be answered in a very concise way: my playing of all music, including Bach, Biber and also new music by Kurtág, etc. is hugely influenced by the freedom experienced in listening to free improvisation and also being involved in improvising ensembles myself. Two main aspects are very important, playing the music as if it was invented/created on the spot, and to always be as free as possible within the given rhythmic structure. In other words, no phrase is ever played in a totally regular or “normal” way, but always with the ultimate search for rhetoric and agogic expression.

Many thanks, I’m grateful to you both for taking time out from your busy schedule. It’s been fascinating.

‘Breathing Earth’, recorded on the album Ceremony (ECM, 1999):


          

Jaimie Branch - Fly Or Die II: Bird Dogs Of Paradise (International Anthem, 2019) *****

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By Martin Schray
 

Two years ago almost the entire modern jazz community agreed on the fact that trumpter Jaimie Branch's debut album was one of the best albums of the year . Released by the hip International Anthem label (which is also responsible for highly acclaimed albums by Makaya McCraven , Irreversible Entanglements , Damon Locks’ Black Monument Ensemble , Angel Bat Dawid , and Ben LaMar Gay), Fly or Die seemed to come out of nowhere, hardly anybody had it on their screen.

Fly Or Die II: Bird Dogs Of Paradise pulls all stops from the very beginning. After the opening title track the album’s central piece, “Prayer for Amerikkka Parts 1 & 2,“ begins as a sleepy, sloppy, classic 12-bar blues. Branch mumbles the title line several times (the vocals are the new element on the album). At the same time the theme of the album is set: it is explicitly political, and Branch is obviously mad about what’s happening in the USA. “We got a bunch of wide-eyed racists!“, she cries out, accompanied by the voices of Marvin Tate and Ben LaMar Gay. Her trumpet wails, moans and laments before a twelve-string guitar crawls out of nowhere, the groove begins to soar and the narrative takes us to the Mexican-American border. Branch tells the story of a teenage Central American girl who wants to immigrate to the United States. In the liner notes Branch tells the real story: the girl was separated from her family at the border and deported to El Salvador, where she was attacked and raped. Three years later, she seeked asylum in the U.S. once again, only to be incarcerated in Texas. “She was only 19, they crossed over at dawn,” Branch sings. “Now her mother and brothers are safe in Chicago and she’s all alone. (…) This is a warning, honey, they’re coming for you”, she yells. Simultaneously, the band plays a Latin groove, while Branch puts a Mariachi trumpet on top.

In the new line-up Lester St. Louis has replaced Tomeka Reid on cello, but Chad Taylor (drums, xylophone, mbira) and Jason Ajemian (bass percussion, vocals) are still part of the band. In addition to the first album Branch not only plays the trumpet but also sings and whistles, and she plays electronics and bells. Although her music can be clearly pigeonholed as jazz, she integrates a lot of other genres in her music as well: country, folk, blues, African grooves etc. Maybe her polystylistic approach was one of the reasons why some mainly conservative critics were looking for a fly in the ointment and criticized her technique. What they missed is the fact that we hear a trumpeter who has mastered her instrument and who is able to disregard sheer musical ability. Branch wants us to forget technique, it's only about the sound - and she says it at the height of her skill. Here she presents a real approach, which makes her music attractive for an alternative rock audience as well.

The album concludes with “Love Song“, again an ironic and angry statement about the situation of the US. “This one goes out to all the assholes and clowns / you know who you are” Branch repeats constantly aiming at selfish and ruthless politicians. She never mentions the name of the current President of the USA, but it’s obvious that he and his collaborators are meant.

Fly or Die II is completely influenced by the political climate and it displays everything that one might associate with it - desperation, anger, sarcasm, consternation, the call to resistance. It’s an outcry that rubs salt into the wounds of society, but also focuses on the grooving moments: Free your mind and your ass will follow (as Funkadelic put it).

“A Prayer for Amerikkka Parts 1 & 2“ is possibly the best jazz track in 2019 and Fly Or Die II: Bird Dogs Of Paradise would easily qualify as the best album - if there wasn’t Matana Roberts’s Coin Coin Chapter Four: Memphis (at least in my humble opinion). Nevertheless, you have to give kudos to Branch's musical achievement, because her new album is in no way inferior to its outstanding predecessor.

Fly Or Die II: Bird Dogs Of Paradise is available on vinyl, CD and as a download.




 
          

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MIKE BLABAC - FAMILY PORTRAITS, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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Bunny, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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SAFETY, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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Hoan Alone: Personal Stories From The Bridge, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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Affurmative Action, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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Strange Beauty: The Art Of Shyama Golden, - Vimeo Search - Vimeo Video, Page 1 | Camideo

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High IOPS RAID 10 SSD Plans, Better CPU performance, with free automated daily backups, from $2.50↑

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Hi LET'ers,

Don't let this opportunity slip away, grab yourself a premium VPS at an unbeatable price. Upto 37% off on these limited time VPS deals! The following offers are available until stocks last.

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スマートウォッチじゃないよ。80年代のデジタル時計「Timex T80」が復活!

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Image:Timex(Vimeo)スマートウォッチ?なにそれ美味しいの?最近ではGoogleによるFitbit買収のニュースが記憶に新しいところですが、Timex(タイメックス)が注目したのは社外ではなく社内リソースだったようです。まるでスマートウォッチの時流を気に留めないかのようにアーカイブを掘り出し、80年代の象徴的なデジタル時計であるT80の復刻版を登場させました!Image:Timex液
          

FÖRSVARA ROJAVA!

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Globalt upprop till försvar för Revolutionen i Rojava! https://vimeo.com/370846160 Global call to defend the Rojava Revolution! from Internationalist Commune on Vimeo. Globala protester: Den obevekliga kapitalistiska krisen kräver att systemet … Läs mer
          

VIDEO - I.R.C.C.S. '’De Bellis'' - Convegno sulle ultime terapie contro il cancro del fegato e la cirrosi

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7 novembre 2019 - immagini di Domenico Ladogana - servizio di Daniela Lovece
{vimeo}371609062{/vimeo}


          

VIDEO - Stella al merito CONI a Michele Miccolis

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6 novembre 2019 - immagini di Domenico Ladogana - servizio di Pino Dalena
{vimeo}371459650{/vimeo}


          

Jersey City, NJ Indian Wedding by Memories Photo Studio

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Thursday is here, ladies, and with it a brand new feature film for your beautiful selves! This time around, we head down to Jersey City to have a glimpse of everything that went on for Prutha & Amit's gorgeous Indian wedding jubilee. Our friends from Memories Photo Studio were there at the Hyatt Regency Jersey City on the Hudson to store with their lenses, all the fashion and decor sensibilities that made this gala, a truly unique and grand Indian wedding experience. We know that such grand celebrations can get a little hectic. Our lovebirds knew that very well and recruited the team from Elegant Celebrations to assist with the planning and design of the bash. As we will see, the celebrations ran as smoothly as ever so kudos to them for such great work! The couple also wanted the best of the best for the guests, and when the crew from D&S Event Solutions is involved, of course, the best is to be expected. They assisted with the baraat sounds, lighting decor, and the always present music that made everyone jump off their feet and start with all the dancing that we love so much. So, ladies, so much to look at for this celebration! Don't miss any detail and get those ideas going!


          

Dallas, TX Indian Wedding by Epique Cinema

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Wasn't it a gorgeous gallery? In case you missed the beautiful pictures that our friends from Vek Photo took, you can always double-check them here! Now, it is time to get dazzled by the gorgeous highlight reel coming to us from the talent of Epique Cinema. The place was looking totally amazing to house both of the celebrations. We were particularly stunned with Maharani Mukti's fashion choices. As we will see, the colors that she picked absolutely made her features stand out even more! Such beauty! Seriously, ladies, you can't miss today's film! We have everything! Going from the ceremony, the lavish Lamborghini ride after it thanks to The Classic, their lovely first dance and of course, the grand reception party. We know that parties just take a life of their own with DJ Ritz Entertainments talent, so be sure this one was no exception! Hit play below for more!

 

 

          

KILL TONY #231 (BOSTON)

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Eddie Brill, Matt Braunger, Tony Hinchcliffe, Brian Redban – Date: 09/22/2017 DISCUSS THIS EPISODE VIDEO VERSION (VIMEO)
          

KILL TONY #141

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Adam Ray, Matt Braunger, Tony Hinchcliffe, Josh Martin, Jeremiah Watkins, Melissa Eslinger, Pat Regan, Vanessa Johnston, Brian Redban – Date: 01/25/2016 DISCUSS THIS EPISODE USTREAM VIMEO
          

KILL TONY #140

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Joey Diaz, Jeff Garlin, Steve Rannazzisi, Tony Hinchcliffe, Josh Martin, Melissa Eslinger, Pat Regan, Vanessa Johnston, Brian Redban – Date: 01/18/2016 DISCUSS THIS EPISODE VIMEO USTREAM (part 1/preshow) USTREAM (part 2)
          

KILL TONY #137 (AUSTIN)

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Ashley Barnhill, Tony Hinchcliffe, Brian Redban – Date: 12/26/2015 DISCUSS THIS EPISODE USTREAM VIMEO
          

KILL TONY #130

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Jamar Neighboors, Michael Kosta, Melissa Eslinger, Tony Hinchcliffe, Pat Regan, Josh Martin, Brian Redban – Date: 11/23/2015 DISCUSS THIS EPISODE USTREAM VIMEO
          

THE NEXT LEVEL: JULIE NOVACK Discusses LE REVE FILMS - Fine Art Wedding Films Plus Networking and Social Media Tips!

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Andy has Julie Novack as his guest co-host today on The Next Level. Julie is the CEO and Co-Founder of PartySlate. PartySlate is a photo-rich website where leading event professionals share their work, build their brand, and drive leads.

Le Reve Films is the brainchild of Lindsey and Cherish Conklin. This husband and wife team is known for their work on the Engage 19 Baha Mar Conference as well as their work with other discerning clients. To them, cinematography is building a relationship with clients and telling their stories in the most effective way possible. 

Andy and Julie discuss Lindsey and Cherish’s unique way of following up with people they meet at networking events. Their ability to market themselves and their business with Instagram stories that are authentic and moving and the way they take these Instagram links and share them with creative partners. The trick to standing out with potential clients, when you know they have many options, is to send an introduction video with your proposal.

Do you follow up with everyone you meet when networking? Julie chats about her policy of following up with four or five people whom she meets and building meaningful and lasting relationships with them. She believes it is better to concentrate on a few than to spread yourself so thin that you don’t make truly meaningful connections.

Le Reve Films has a very different approach to and making wedding films. Listen in as Andy and Julie dive into some of their favorite parts of the interview and see if you can pick up a nugget or two that you can use in your business.

 

Show Highlights:

  • [00:56] Hey Julie, welcome back to the show!
  • [02:35] They chat about Le Reve Films focusing on the story of the couple.
  • [03:25] Julie talks about how Lindsey and Cherish capture the authentic and real-life stories of their clients. 
  • [05:04] The way they follow up with the people they meet while networking is unique.
  • [06:55] Julie focuses on creating four or five meaningful relationships she makes while at conferences and speaking engagements.
  • [09:13] It’s impossible to follow up with everyone you meet, don’t spread yourself thin.
  • [10:46] Instagram stories and sharing them with vendors can broaden your client base.
  • [11:50] Cross-promoting with creative partners gives everyone they deserve.
  • [13:20] Sending an introduction video with proposals is a great way to set yourself apart.
  • [14:20] Julie, thank you for being on the show again!



Follow The Wedding Biz on Social: 

The Wedding Biz

The Wedding Biz on Instagram: @theweddingbiz

The Wedding Biz on Facebook: @theweddingbiz

 

Title Sponsor: This episode is sponsored by PartySlate - the first website designed specifically for event professionals and venues!

 

Lindsey and Cherish of Le Reve Films

Le Reve Films

@lerevefilms

Instagram | Facebook | Vimeo

 

This Week’s Guest Co-Host, Julie Novack, CEO and Co-Founder of Party Slate

 

Party Slate

@julierothnovack

Twitter | Instagram

@julie.novack

Facebook | Linkedin

Julie Novack on The Wedding Biz

 

Mentioned in this episode

Andre Maier on The Wedding Biz

Eddie Zaratsian on The Wedding Biz


          

LE REVE FILMS: Fine Art Wedding Films Plus Networking and Social Media Tips!

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Lindsey and Cherish Conklin, who make up the team of Le Reve Films, are Andy’s guests on this episode of The Wedding Biz. This duo is known for their work on the Engage 19 Baha Mar summit and other discerning clients. Cinematography to them is building a relationship with clients and telling their stories through film. They are brilliant at capturing the emotion of events in the most engaging ways.

Lindsey started taking multimedia classes in high school and shooting video wherever he could. He quickly found that if you used video in school projects, you were pretty much guaranteed a good grade. Cherish, on the other hand, took control of the family video camera at a young age. She says that if it weren’t for her, they wouldn’t have any home videos. They have been friends since they were three, but it took until the last few years of high school for Lindsey to get out of the friend zone with Cherish, and they have been together ever since.

The leap from a steady job and guaranteed income to building their own business was terrifying, but the benefits outweighed the fear, and it paid off with the success of their company. Their goal is to keep Le Reve Films a small boutique company so they can concentrate on crafting fine art wedding films for every client. Capturing the true essence of a couples’ wedding day requires that they know the real, raw, and profound truth on how the couple came together.

Wow! The tips that these two give us in this conversation are mind-blowing. The way they market their business and themselves is truly next level. They have found ways to set themselves apart in an industry that is saturated, which is why they will be around for years to come. 

Listen to this episode with a drink in one hand and a pen in the other. This episode will teach and entertain, so be ready.

 

Show Highlights:

[02:59] Welcome to the show Lindsey and Cherish.

[03:16] They chat about meeting each other when they were three and how they grew up together.

[05:03] Cherish grew up taking videos of her family to capture moments.

[05:26] Lindsey took multimedia classes in high school and learned that if you did a video for a school project, it was guaranteed to get a good grade.

[06:11] Being able to tell stories is what drew Lindsey to making videos.

[09:26] In his early 20’s, Lindsey got into an E-Commerce company with his friend and helped grow the company.

[10:33] What did you learn from your time with the E-Commerce company that you use today with Le Reve?

[11:43] Cherish says that college wasn’t a priority for her; she chats about handling the day-to-day operations of Le Reve.

[13:34] Lindsey discusses editing a friend’s wedding video when he was a teenager and the idea of filming weddings was born.

[15:55] Leaping into the video business was terrifying, from a financial perspective, however, they had to go with where their hearts were.

[17:30] Le Reve Films has been crafting fine art wedding films for over 13 years.

[17:47] What do you mean by the phrase crafting fine art wedding films?

[19:54] Building the emotional connection between film and music is difficult but very important.

[21:53] For the Baha Mar Engage summit, what do you mean when you say you went outside of the box with the music?

[23:01] It’s their goal to know the couple they are filming, so they send out a special questionnaire before they meet.

[24:39] What questions do you ask on the questionnaire to dig a little deeper beyond the surface?

[28:10] Ninety-eight percent of their business is weddings, and they usually always film together.

[28:59] Lindsey describes some favorite moments at weddings that touches him.

[30:41] Cherish says her favorite part of the wedding day for her is the time with the bride before she walks down the aisle.

[32:27] How do you stand out in this market and stay relevant?

[34:05] Networking is different for them because there are two of them, and they have different personalities. Lindsey is outgoing and Cherish is a nurturer.

[37:13] The way you follow up with people depends on the connection that was made. Cherish shares some of her experiences.

[39:35] How are you utilizing social media in your business? Do you use an agency?

[42:03] Lindsey brags on Cherish putting together one-minute Instagram teaser videos of the weddings and how they help all the vendors/creative partners cross-promote.

[44:20] They share a brilliantly effective way to communicate their proposals.  

[46:35] How do you deal with the time you spend on weddings and traveling when you have two children?

[49:17] Thank you, Lindsey, and Cherish for being on the show!

[49:57] Look for the Next Level the show that does a deep dive into some of the great ideas we heard on this episode.

 

LINKS & RESOURCES

Follow The Wedding Biz on Social: 

The Wedding Biz

The Wedding Biz on Instagram: @theweddingbiz

The Wedding Biz on Facebook: @theweddingbiz

 

Title Sponsor: This episode is sponsored by PartySlate - the first website designed specifically for event professionals and venues!

 

Lindsey and Cherish of Le Reve Films

Le Reve Films

@lerevefilms

Instagram | Facebook | Vimeo

 

Mentioned on the Show

Andre Maier on The Wedding Biz

Eddie Zaratsian on The Wedding Biz

Tiesto and Annika’s Wedding Teaser

Ashley & Jared’s Same Day Edit with Reactions

Engage! 19 Baha Mar Recap Video


          

Lapsu rogainings. Lielstraupe 2019.

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What is emerging - „DAO“ XR

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Inside Extinction Rebellion - What emerged during the rebellion wave in Berlin in October 2019 - about Collective Participatory Decision Making. The term DAO actually references a digital organisation, here I use it literally for the way XR is organizing themselves.

Cast: kaa faensen


          

Thumbnail Blaster Review

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Everybody knows about YouTube, SnapChat, Vimeo and Facebook, these are well-known sites where you can upload and share videos which almost everybody are doing every day. And for those of you who are going into the exploration of money making online, perhaps building your digital marketing career, you should know by now how relevant and […]

The post Thumbnail Blaster Review appeared first on WSO Update .com.


          

Longtime Mayor Polimeni concedes to Palumbo in Canandaigua

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Longtime Mayor Polimeni concedes to Palumbo in CanandaiguaAfter roughly 20 election campaigns for mayor and City Council since the 1980s, sooner or later Mayor Ellen Polimeni would come out on the losing end of an Election Day result. And on Tuesday night, that happened, as Councilmember Bob Palumbo defeated Polimeni by 83 votes — a 1,357-1,274 margin. “Eventually, you’re going to have to face...
          

Lugnt ikväll – En Stockholmsminut avsnitt #451

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Hitta dit: https://goo.gl/maps/unLNd5LdrMVibETk7Mer info: https://vimeo.com/370712511

Inlägget Lugnt ikväll – En Stockholmsminut avsnitt #451 dök först upp på Stockholm by Pixels.


          

Summer Camp 2019

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Cast: William Bloodworth


          

Alex Brown Speaking

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Cast: William Bloodworth


          

Eddie Hill Preaching Video

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Eddie Hill speaking at our Summer Camp

Cast: William Bloodworth


          

Jay Sanders Preaching Video

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Jay Sanders speaking at Camp Anderson Summer Camp

Cast: William Bloodworth

Tags: imovie


          

Adam Field Preaching

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Cast: William Bloodworth


          

The History of Heaven

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Lane Tipton speaks about his recent conference addresses and his newly available video course, Foundations of Covenant Theology. In this conversation, we seek to address the question of the Spiritual character of the law as an administration of the Covenant of Grace in the Old Testament and set the priority for the history of heaven as a frame of reference for understanding covenant theology in general and the law's relationship to the Covenant of Works and Covenant of Grace in particular.

In the beginning in Genesis 1:1, "heavens" is a reference to an archetypal temple-dwelling of God. Before God creates an earthly temple or tabernacle, he makes a heavenly temple dwelling that he fills with the glory of his Spirit and populates with angels. The earth is a replica of these invisible heavens. Prior to a history on earth per se, there is a bona fide history of heaven, which results in the Lord being enthroned in heaven at the end of the creation week. Covenant history now moves forward with the death, resurrection, and ascension of Christ to this throne and his return when he will bring his people into this glory.

Links

https://vimeo.com/370149742


          

The History of Heaven: The Absolute Beginning and Sabbath Rest Before The Law — Genesis 1:1–2:2

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https://vimeo.com/367292125

Dr. Lane G. Tipton delivers his first plenary address at the 2019 Reformed Forum Theology Conference held at Hope OPC in Grayslake, Illinois.


          

The History of Heaven: Paul's Christological Interpretation of the New Beginning in 1 Corinthians 15:45-49

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https://vimeo.com/369888962

Dr. Lane G. Tipton delivers his second plenary address at the 2019 Reformed Forum Theology Conference held at Hope OPC in Grayslake, Illinois. In this address, he discusses Paul's Christological interpretation of the new beginning in 1 Corinthians 15:45–49.


          

Bees

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Sit back, sound on. Time for Bees!

Directed and animated by Ricard Badia
Sound design and music by Sounds Like These

Follow us on Instagram – instagram.com/animadetv/

Cast: Animade


          

STUFFED

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A Supinfocom Rubika short film.

A little cat with anger issues makes a unexpected encounter in the woods that will help him grow, change his life and teach him ukulele.

Co-directed by Elise Simoulin, Clotilde Bonnotte, Anna Komaromi, Edouard Heutte, Helena Bastioni, Marisa Di Vora Peixoto

Follow us on facebook : facebook.com/stuffedlefilm/

And check out our website : stuffedfilm.wixsite.com/stuffed

Music by Romain Camiolo

Cast: Stuffed, Elise Simoulin, Anna Komaromi, Clotilde Bonnotte, Edouard Heutte and Marisa DI VORA PEIXOTO

Tags: supinfocom, CG, rubika, animation, animated film, graduation film, student film, 3D, short film and siggraph


          

FFA League

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Here’s our latest commercial (director’s cut) we did for the FFA Football Federation Australia along with Passion Pictures Australia. We did whole thing, design, animation and print campaign as well. Gotta go hard!

Cast: 2veinte

Tags: argentina, FFA, 2veinte, australia, celanimation, animation and 2danimation


          

School of Motion: Expression Session

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We had the opportunity to collaborate with our friends Zack Lovatt, Nol Honig & Cypher on the introductory video for their School of Motion course “Expression Session”. For more info visit: schoolofmotion.com/expression-session

Produced by the School of Motion team. Music & sound design by Cypher

Cast: Yaniv Fridman, C Y P H E R and Daniel Luna

Tags: ae, school of motion, expressions, after effect expressions, motion design, after effects course, motion graphics and cypher


          

Strava // Year In Sport

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We were very very excited when Stink Studios brought us in to this year's #yearinsport project for Strava. We created 20 code-driven, customizable scenes designed to be remixed to best express a specific Strava user's data in a 75 second year-end film. So far over 2 million unique films have been created.

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CREDITS
Client: Strava
Agency: Stink
Directed by Giant Ant
Producer: Teresa Toews, Jay Grandin
Creative Direction: Jay Grandin
Art Direction: Rafael Mayani
Storyboard: Jay Grandin, Rafael Mayani, Jorge R Canedo E
Design: Rafael Mayani, Jorge R Canedo E, Jay Grandin
Additional Storyboard & Design: Taylor Peters, Shawn Hight
Animation Direction: Jorge R Canedo E
Animation: Jorge R Canedo E, Taylor Peters, Shawn Hight, Jay Grandin
Sound Design & Original Music: CypherAudio

Cast: Giant Ant


          

Hesperius Draco

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Music Video for the Alessandro Parisi track Hesperius Draco
From the Giallo Disco Records Album La Porta Ermetica
alessandroparisi.bandcamp.com/

Here's some breakdowns - vimeo.com/332052460

More at - instagram.com/rich_e_lord/

Everything was created in Houdini and comped in After Effects.

Cast: Richard Lord

Tags: animation, houdini, sidefx, cg, fx and 3d


          

Clarins 2019

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Cast: Mecanique Generale


          

SVA Advertising: THE NEW BREED

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What is The New Breed?
The New Breed is a collection of creative art and design students who solves challenging problems and deliver their innovative ideas. Their works ranges from creative problem solving to conceptualizing campaigns to making case studies.

Graphic Package:
behance.net/gallery/36930693/SVA-Advertising-THE-NEW-BREED

Cast: Jun Lee, John Choi and SVA Motion Graphics

Tags: sva, motion, graphics, advertising, intro, design, animation, open, music, beat, new, breed, visual, art and arts


          

Floreana

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On a remote island in the future people are preparing for an important mission.

Sound and Music: Sofie Birch and Asbjørn Derdau
Development Support: Tim Leborgne, Per Kristensen and Claus Toksvig Kjaer
Additional Animation: Annalea Hartelius
Supported by The Open Workshop Department of The Animation Workshop, Viborg, Denmark

Awards
Los Angeles Animation Festival: Best of Fest
New Chitose Airport International Animation Festival: ISHIYA Award

Festival Requests: festival@miyu.fr

Official Selection of 80+ International Film Festivals
2019 Chicago International Children's Film Festival
2019 Fantoche International Animation Festival, Switzerland
2019 La Guarimba Film Festival, Italy
2019 Turku Animated Film Festival, Finland
2019 Odense International Film Festival, Denmark
2019 Fest Anca, Slovakia
2019 Animafest Zagreb, Croatia
2019 Pictoplasma, Germany
2019 Filmfest Dresden, Germany
2019 GLAS International Animation Festival, U.S.A.
2019 Tokyo Animation Arts Festival, Japan
2019 Cape Town International Animation Festival, South Africa
2019 New York International Children's Film Festival, U.S.A. (U.S. Premiere)
2019 Animac, Spain
2018 Animateka, Slovenia
2018 Sommets du cinéma d'animation, Canada (North American Premiere)
2018 New Chitose Airport International Animation Festival, Japan (World Premiere)

Distribution
MIYU Distribution
GKIDS Ghibli Fest 2019

Cast: Louis Morton


          

Mari 4.6 is out now!

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Cast: Foundry


          

NŌBL 2019 Reel

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One minute of our favorite moments during these last 2 years...

Cast: NŌBL, Jnantiec and Cyril Izarn

Tags: NOBL, nobbl, showreel, reel, 2019, best, bestof, agency, studio and autumn


          

Duke Health Women's Health

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Cast: We Are Royale


          

Bavaria Moutstorm

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Regie Hugo Goudswaard
Production Artbox Amsterdam
Agency Famavolat (Sandra van de Velde, Niek Jansen, Joris Raaijmakers)
DOP Jeroen Simons
Light Friso Pankonin
Animation Manuel Ferrari
Illustration Eduardo Bertone
Producer Geert Janssen
Interviewer Huub Smit
Make-up Ellen Exter
Sound gerben Kokmeijer
Data Jeffrey Hiemstra
Assistance Henry Rodgers, Isaiah Cedrick

Cast: Hugo Goudswaard


          

Isle of Dogs (Sushi Scene)

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Excerpt of Wes Anderson's Isle of Dogs - animated by Anthony Farquhar-Smith

Cast: Not To Scale


          

Pectus - Najlepiej być w podróży

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Cast: Bart Szadurski


          

pipirichi_beauty

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Cast: diego moises montes


          

"FELIZ DIA DE LOS MUERTOS" - GORILLAZ

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Cast: Zombie Studio


          

International Animation Day 2019

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A short piece I adpted from my "Pink Party" piece to celebrate International Animation Day, 2019.

Cast: The Rusted Pixel

Tags: cinema4d, motion, c4d, graphics, animation, motion graphics, 3d, playful, cute, food, dessert, doughnut, colorful and bright


          

"Pink Party" - Making Of

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A short video showing how some of the animation was created for my recent project "Pink Party".

Cast: The Rusted Pixel

Tags: making of, making, development, cineam4d, c4d, behind the scenes, animation, motion, hotdog and bts


          

Pink Party

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An extended version of the scene I modeled and animated for the Dash Bash event for Dash Studio.

Cast: The Rusted Pixel

Tags: motion graphics, c4d, animation, motion, cinema4d, 3d, cute, pink and stylized


          

Happy Halloween! Here's 18 Short Horror Films You Need To See! (2019 edition)

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October Challenge Day 31:

Happy Halloween everyone!! Here is 18 brilliant short horror films to spook up your day.

Why 18 you ask? Because this is the 8th month of the old Roman calendar and the 10th month of the current calendar. BRAINS!

So without further ado, below is my pick of some of the best out there. With a review of 18 words or less, and in no particular order, please enjoy Horror Habit's 2019 Short Horror Film Festival.



Pictured: Short film scream queen Lotta Losten (of the shorts Light's Out, Coffer, and Attic Panic) delights again!



Holy F__K: Oh, holy sh_t this one is hilarious!! Stellar and hilarious!



Salt: Best keep those salt shakers handy for this fast and furious bite-sized morsel!



The Fisherman: SCARY SEA MONSTERS ARE SCARY! This one is so, so good!



Smear: All the ladies love going in for their annual pap exam - amiright?!! Ladies?!?!



Homunculus: A bizarre animation/stop animation about rotting food...



There Comes A Knocking: A solid, ghostly chiller! Someday we might even see this be turned into a feature film!



Self-Assembly: Wowza! This one's a devilish delight. Warning - the opening scene is intense.



Mother DiedWell, this one is sure a shocker! Possibly poetic even...



Meow: Well this one is a lot of fun! Perfect for cat lovers. 



Lilith: Made in 48 hours, this moody and spooky film will leave you with chills!



Undress Me: Dear christ almighty! Gruesome, gruesome, gruesome!



Shhh: This one is inspired by Guillermo del Toro's childhood nightmares - and the monster does not disappoint!



Reverse: Evil garages are evil! This one is especially spooktacular. 



Cliché (Short Horror Film): The title says a lot - but the scares are still pretty good!



Deadpan - An Awkward Comedy Horror Short Film: Shout to these kids who put this bizarre concoction together in a couple of hours. Hahaha!



Momo: A disturbing little thriller about love, loss, and madness!



Big Bad Wolves: I too have theorized the story of Little Red Riding hood is a cautionary tale about sexual predators...



          

Longtime Mayor Polimeni concedes to Palumbo in Canandaigua

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Longtime Mayor Polimeni concedes to Palumbo in CanandaiguaAfter roughly 20 election campaigns for mayor and City Council since the 1980s, sooner or later Mayor Ellen Polimeni would come out on the losing end of an Election Day result. And on Tuesday night, that happened, as Councilmember Bob Palumbo defeated Polimeni by 83 votes — a 1,357-1,274 margin. “Eventually, you’re going to have to face...
          

ftrack acquires Cospective, developer of the Academy Award-winning cineSync

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ftrack, creator of the production tracking and media review platform for creatives, today announces the acquisition of Cospective, creator of the Academy Award and Emmy-winning synchronized remote review tool cineSync.

ftrack and Cospective have enjoyed a close working relationship since 2015, and have already developed a deep integration that links ftrack with cineSync. This acquisition enables Cospective and ftrack to work even more closely in the pursuit of better, faster, and simpler workflows. Together, the companies will bring new innovations to market, strengthen the review capabilities of the ftrack ecosystem, and capitalize on the industry-leading technology that Cospective has built over the past 14 years.

Fredrik Limsäter, CEO at ftrack, comments: "We respect Cospective not only as a creator of highly regarded products but also as a group of collaborators and individuals. We have worked with Cospective and their review solution cineSync for many years and have come to esteem the team’s professionalism and creativity. We’re excited to welcome such accomplished media experts to the global ftrack organization. Cospective shares ftrack’s aspirations in creating better workflows for creatives; together, we can complement one another’s work and build even better, more efficient products for the industry.”


Watch cineSync showreel



Rory McGregor, CEO at Cospective, comments: "Having collaborated with ftrack over many years, we know the company values our products, our customers, and the way we work. ftrack is committed to cineSync's continued growth and to offering the same service that our customers have come to expect. ftrack also presents new opportunities to add features, to grow the Adelaide team, and to develop review solutions for modern workflows. We're proud to be a part of ftrack, and we're excited to work on great things together."

Cospective will remain based in Adelaide, Australia and will continue to develop and support cineSync and Frankie, including maintenance of integrations with third-party software vendors.

In the short term, this acquisition will enable Cospective to offer around-the-clock, 24-hour product support via the global ftrack organization. In the longer-term, the acquisition will supply Cospective with additional resources to further develop features and workflow solutions with a clear focus on media review and approval. For ftrack, access to the cineSync team will drive new technologies and innovation, strengthen the review capabilities within the ftrack product suite, and further develop the broader ftrack ecosystem.

Cospective has made a name for itself as an indispensable synchronized media review solution for film studios, TV networks and VFX houses, including Disney, Warner Bros, Paramount, 20th Century Fox, Sony, Technicolor, Deluxe, Netflix, HBO, MPC, Framestore, ILM, and Double Negative. cineSync’s media review platform has proven pivotal on notable projects such as Game of Thrones, Inception, Interstellar, Ready Player One, The Walking Dead, Justice League, Jurassic World, the Fast and the Furious films, multiple Bond films, and every entry into the Marvel Cinematic Universe.
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A number of Good Reasons To Go Receive An Phone

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As you reside in today's culture, you might be currently mindful of the iphone 4. This small telephone changed cell phones, calls, and also the communication sector right now. As being the happy operator of any new apple iphone, you should know using all of the greatest bells and whistles. This post is filled with tips to help you learn how to browse through your iPhone's capabilities and operations.


When you have Siri on the latest generation phone, bear in mind that you have to speak simply, obviously and gradually. If you speak too quickly, in the deep feature or mumble your words, she won't be capable of comprehend you, and you'll end up being irritated. Attempt to discover the terms she identifies easily allowing you to have an easier time using her.


In no way acquire apps that are not intended specifically for the iphone. Should you do, you happen to be endangering your phone's steadiness and functionality. Other apps could carry viruses. Just use apps which were particularly accepted to the iphone to make sure that your mobile phone is able to function at its greatest productivity.


You really should choose a larger sized computer keyboard to produce browsing the Internet simpler. It is, even so, not necessary to acquire a bigger key pad. Merely convert your telephone sideways, arrive at the Safari address pub, and then there you are going. Your keying in will certainly be a good deal more quickly and more accurate with the even bigger landscaping-orientation keyboard.


Would you like to increase your life of the battery? There are many diverse actions you can take to obtain the most out of your life of the battery. One particular thing you can do is reject the lumination. Also, shut down any wifi radios if you are not making use of them. This can provide much more life of the battery.


With all the apple Sell iPhone 11 it is possible to rapidly take photos on your own phone. Once you slide to discover the telephone, struck the camera application about the fasten screen and open it as much as use the digicam. This attribute makes it simple to easily take photos and not neglect a recollection.


Should you work or visit college, ensure that your apple iphone is placed to vibrate to lessen the chances that you can cause a interference. You can do this by entering the settings in the sound's area and consider vibrate from through to off of in your iphone 4 to get a practical way to receive messages or calls.


In case your apple iphone uses the iOS4 system, you will probably find that jogging a couple of application will significantly slow down the phone's functionality. Dual-touch your home option to take up a summary of all at the moment running and stopped applications. Faucet, then maintain each till every symbol wiggles. You may then use the delete button to close any unnecessary software.


Rid yourself of another device through the use of your iPhone's built-in technological calculator. To do this, kick off the phone's regular calculator app and spin your telephone sideways, which can bring up the scientific calculator. There are actually quite a number of software for sale in the App Store, too, such as graphing calculators.


Are available web sites you visit so much from your phone? Do you wish you needed a bit icon for these people about the house monitor? Well, in case you have, open up the webpage in Safari and click the Visit icon at the top of the display. You can then pick to include it with your own home display.


Were you aware that you may use your headphone cord to adopt a photo? Start by centering your camera about the subject you want to seize. Basically drive the quantity switch in the headset power cord. This will likely consider the photograph. Now you can keep your photo when you would typically.


By pulling your finger to the right on your apple iphone, you may be delivered to a display where by it is possible to browse your whole telephone. Depending on whatever you enter, this may talk about anything from information, to saved information that you may have on your iPhone for the capability to research your entire gadget.


Have you been seeking to set up articles constraints on the iphone? This can be achieved for several applications, for example explicit audio or converting away Vimeo entry. You do this by looking at Basic and then tapping limitations. Key in your passcode, along with the content material you choose will be confined. If you're ready to find more in regards to Sell iPad take a look at our own web-site. It is a excellent move to make when trying to guard your children regarding iphone consumption.


Do you possess concerns regarding the latest message that you just authored on the iphone 4? Did Auto Right modify whatever you intended to say? At this point, simply shake your Sell iPhone 11. Doing this undoes everything you recently typed. This function is non-obligatory, in order to permit it if you want to by visiting your Settings food selection.


If your phone has frosty and pushing down on the Rest/Wake switch is not really operating, there is another choice. Just push and maintain straight down the two Property switch and Sleep at night/Wake switch simultaneously. Then, you will see a note telling you to "Slide to power away". Just do just that. Once you reactivate the cell phone, it must function all right!


If you are employed in one particular app and would like to go back to an mobile app you were previously utilizing, benefit from mobile app switcher. Iphone app switcher is utilized whenever you faucet two times in the residence switch. You will realize all of your current just recently opened programs, and may easily swap from one for the other.


When typing within a web address to go to a webpage, occasionally you may not understand the domain name finishing. Although you may do, there exists a method of getting it within the tackle pub quicker. In the iphone 4 community, this is extremely valuable. All you do is maintain down the .com switch to be able to see distinct website address endings. Then you can select from a list.


After looking at this content earlier mentioned, you surely have learned a new challenge about your telephone and the ways to get the most from it. Use everything you learned to apply your phone to its fullest extent. Your knowledge about the iphone 4 is going to be very much better, once you have enhanced the application of it!


          

How to win new business and deal with procurement: Pitch Perfect 2019

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For many pitching is the lifeblood of the advertising world. However, it can be brutal and hard work. So how do you win pitches these days?

Pitch Perfect, the annual pitch-focused conference produced by The Drum, aims to arm you with a new business plan, tools, and ideas to win over new clients by the end of the day.

Industry experts will help you build on your current agency business development knowledge and skills, and connect with other industry veterans and newcomers who each have great ideas on how to clinch that all-important client.

Kate Bosomworth, chief marketing officer of M&C Saatchi will lead the event with her keynote speech, New Business Masterclass. Having been both agency and client side, Bosomworth will explain how to bring your entrepreneurial flair to every pitch, win over clients and putting your belief in your business front and centre.

Earlier this year Wunderman Thompson secured the creative with BT Sport in an effort to build its Champion’s League coverage. During a session with the agency’s European chief executive Pip Hulbert, she will chat with the sports broadcaster’s brand and performance marketing director David Stratton about the process and what both sides went through during it. 

Hosted by The Drum’s brand editor Jen Faull, this will be one off chance to hear about what went on behind the scenes on a process involving two of the biggest companies in media and advertising.

Diageo’s chief procurement officer, Janelle Orozco, along with Jo Harding, senior director, strategic sourcing, Expedia Group and Tracy Clark, commercial director of Crown Commercial Service will give insight into procurement teams and how agencies have much to gain by working with a brand’s team.

Cube3’s chief executive officer, Karl Barker will take to the stage to about how his agency took a new business gamble that paid off, which resulted in their biggest client in their 20-year history.

What we want you to get from this event is insights and practical advice on the latest new business developments in the marketing and advertising industries. Our speakers have covered all things pitching including:

  • Client workshops where you get the chance to delve into their mindsets by asking them questions you may not normally get the chance to.
  • Build on your knowledge and create a solid business development plan by attending our jam-packed panel sessions with industry experts.
  • Gain a better understanding of how to selectively target and proactively pursue the right prospects.
  • Uncover ways to create a culture in your organisation, where everyone feels responsible for winning clients.

After a successful first year highlighting the best creative agency business developers in the UK, the BD100 is back at Pitch Perfect once more to recognise and celebrate the important role by those who source and bring in new customers and keep the fortunes of businesses on track within the media and marketing industries.

Submissions are now closed. You can vote for who you think should be included in The BD100, all those nominated nomination profiles will be published on The Drum. 

 
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Pitch Perfect will take place on November 20 at Atmosphere Venues, London. Tickets for this one-day event can be purchased now.

Partners of the event are BD100, The Great Pitch Company and Winmo.


          

Slugger TV looks at the UUP and the DUP

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Slugger TV: Episode 31 from Northern Visions NvTv on Vimeo. This month’s Slugger TV assesses the incoming UUP Leader and looks back at the recent DUP conference. David McCann was joined in the NVTV studio by former DUP SPAD Tim Cairns and the commentator Sarah Creighton. If you require subtitles please watch the YouTube version below and turn on the captions.
          

Règles sur la gouvernance scolaire : M. Reid était présent à la Commission de la culture et de l’éducation

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M. Pierre Reid, directeur général des élections, s’est exprimé en faveur du maintien des élections scolaires lors de son passage à la Commission de la culture et de l’éducation, le 5 novembre. Il s’exprimait alors sur le projet de loi no40, qui prévoit de revoir le mode de gouvernance scolaire au Québec.

« Je suis d’avis que la Loi sur les élections scolaires doit être maintenue, tant pour les milieux anglophones que pour les milieux francophones. Cette loi permet d’assurer l’intégrité, la transparence et l’équité du processus électoral. L’exercice d’une saine démocratie doit s’appuyer sur des règles claires. Nous croyons que la Loi sur les élections scolaires actuelle offre ces garanties. Nous pourrions par ailleurs revoir cette loi pour l’améliorer et la simplifier, de manière à ce qu’elle réponde mieux aux besoins exprimés par les différents acteurs concernés. »




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