Jean-Luc Ponty’s new American label, World Pacific Jazz, wasted little time in marketing their jazz violin phenomenon. Ponty was quickly paired with WPJ mainstay Gerald Wilson and his big band for an album of mainstream jazz/swing, Electric Connection. Wilson wrote the arrangements, Ponty provides the solos and a few original compositions, George Duke plays the piano, but the connection never really happens. Most of the time, Ponty’s violin seems out of place in the music or, more to the point, Wilson’s arrangements make space for the violin but rarely make good use of it. The idea of a violin in a jazz setting, especially one so free and fluid, is a novel and exciting concept. In my opinion, it deserved a novel and exciting setting, not a standard set of jazz/swing/funk that might have come from the soundtrack to a second-rate crime film. The rhythm section of Paul Humphrey and Bob West is at least sympathetic; Duke is criminally undermiked. If you’re interested in Ponty’s earliest work, I would start with the live recording at Thee Experience featuring the George Duke Trio. That show was an electric affair which gave the violin plenty of breathing room. On Electric Connection, unfortunately, the violin is something of a caged bird. You’ll encounter some nice solos (“Hypomode Del Sol,” “Forget”) and perhaps develop a deeper appreciation for the violin as a jazz instrument, but nothing on here will change your world. The kindess of critics toward this album is likely due to deference to the violinist himself; the music itself is merely adequate and ill-fitting.
Kronomyth 5.0: ELECTRIC NIGHT. World Pacific Jazz founder Dick Bock had the bright idea to expose Jean-Luc Ponty’s jazz fusion to rock audiences and booked him at the Sunset Strip pyschedelic stop, Thee Experience. Too bad that lightbulb didn’t go off before they made the disappointing Electric Connection. Slimmed down to a quartet of Ponty, George Duke (now on electric piano), John Heard and Dick Berk, The Jean-Luc Ponty Experience with The George Duke Trio is an electrifying evening of jazz fusion that served as something of a breakout for both Ponty and Duke. Ponty’s electric violin is both beautiful and grotesque, a creature of the post-Miles fusion forest where noise and art intertwine, yet it’s a new species, interesting to be sure, but not entirely alien. I think it’s this grotesque beauty that captured Frank Zappa’s imagination. As the first effective example of Ponty’s playing in a jazz/rock fusion setting on his own, The Jean-Luc Ponty Experience should be experienced. As an arranger, Duke is far less rigid than Gerald Wilson, and that freedom allows Ponty’s violin to soar. Their versions of Herbie Hancock’s “Cantaloupe Island” and Wolfgang Dauner’s luminescent “Pamukkale” are highlights. Listening to this concert, you get a sense of the excitement that audiences had when they first heard Ponty some fifty years ago (hard to believe, I know). At first, I wasn’t that enamored of this recording, approaching it as I did from the future, but from the perspective of his previous recordings this is a giant step forward. [Note: This concert was re-packaged overseas as Live In Los Angeles. The French version is a sort of hybrid of the two, prominently featuring the word “Experience” on the album cover.]
Kronomyth 6.0: BEAUTY AND THE BEAST. This is basically Frank Zappa making an orchestral jazz/rock record on Dick Bock’s dime, with wonderful results. Bock had signed French violin sensation Jean-Luc Ponty to his World Pacific Jazz label but, frankly, didn’t know what to do with him. Frank did. He assembled various Mothers and talented others into an ad hoc, all-star band and gave them some of his most daunting compositions to reinterpret in a jazz fusion and small orchestra setting. The album’s centerpiece is the nearly 20-minute “Music For Electric Violin And Low-Budget Orchestra,” on which Zappa makes his most compelling case yet for consideration as a serious modern classical composer. In fact, King Kong is the first album where Zappa casts himself primarily in the role of composer; he steps into the fray only once, for the lone Ponty original, “How Would You Like To Have A Head Like That.” Ponty, for his part, finally gets some great material to work with, not to mention some great studio musicians including Ernie Watts, John Guerin, Wilton Felder and Vince DeRosa. King Kong also marks the first collaboration between Frank Zappa and George Duke, who would go on to become a permanent fixture in the Mothers. In every way, this is a quantum leap in Ponty recordings; nothing he recorded before this was as revolutionary or mind-expanding. Ponty’s violin also brings a more melodic touch to the material; “Idiot Bastard Son” has never sounded so charming, and the version of “Twenty Small Cigars” recorded here is simply gorgeous (Zappa would revisit this on Chunga’s Revenge). King Kong is a work of musical genius, a high point in the early catalog of Ponty and Zappa. Honestly, there was little in Ponty’s previous work to suggest a convergence of styles between the jazz violin prodigy and the brooding composer, but there’s no denying that the pairing is magic. Dick Bock deserves a lot of credit for bringing the two musicians together and putting artistic ideals over commercial interests; this album is as much a part of his legacy as Zappa’s or Ponty’s.
Kronomyth 10.0: THE YAWN AND THE RESTLESS. Chunga’s Revenge finds Frank Zappa at a kind of existential crossroads. He had just re-tooled the band, adding Mark Volman and Howard Kaylan (The Phlorescent Leech and Eddie), George Duke (displaying a heretofore hidden talent for the trombone) and Jeff Simmons. It was a crack outfit with the theatrically minded Flo and Eddie giving Zappa’s dark humor an added dimension that often felt like musical theatre (“Would You Go All The Way?,” “Rudy Wants To Buy Yez A Drink”). From here on, you got one of several Zappa personalities: the funny, the fiery fretwork or the philharmaniacal monsters. Chunga’s Revenge has a little from columns A, B and C. There is the sense, however, that Zappa was becoming more of a rock and roll centrist, at least relative to earlier creations like Weasels and Weeny. “Transylvania Boogie” and “Road Ladies” are, at their core, blues-rock mutations, while “Sharleena” and “Tell Me You Love Me” are rock songs that could actually be played on the radio. It’s not to say that Zappa had sold out on Chunga’s Revenge (the album, for example, didn’t chart particularly well). It’s simply that you didn’t need a musical degree or a passing familiarity with Igor Stravinsky to appreciate it. Throughout the 70s, most of the Zappa/Mothers albums would sound more or less like Chunga’s Revenge. Zappa released some fantastic albums during this period (The Grand Wazoo, Overnite Sensation), but the decade was largely an audible retreat from the longer compositional works of Lumpy Gravy and King Kong in favor of slightly more commercial fare. Maybe that’s exactly what you were waiting for, maybe not. I would tell you that the intimate reworking of “Twenty Small Cigars” is my favorite thing on here, but that would be a lie, it’s really “Rudy,” and therein lies the philosophical crisis that every Zappa fan would face from now on: Were we smarter than everyone else or just smartasses?
Kronomyth 14.0: DIDJA GET ANY OUIJA? While Frank Zappa was convalescing from an assault on stage that resulted in a paralyzed arm and crushed larynx, he released two jazz-fusion albums with an updated version of The Mothers that now included Tony Duran on guitar, Erroneous (Alex Dmochowski) on bass, Jeff Simmons on guitar/vocals and a full horn section featuring Sal Marquez on trumpet. Containing a pair each of extended instrumentals and mutant blues songs, Waka/Jawaka is sometimes presented by critics as an extension of Hot Rats, a comparison likely occasioned by the album cover’s reference to the album in the illustration (suggested by Sal Marquez). In fact, I’ve done that myself. But what it really is, is a transitional record between Chunga’s Revenge and The Grand Wazoo. The two songs align almost exactly with “Road Ladies” (“Your Mouth”) and “Rudy Wants To Buy Yez A Drink” (“It Just Might Be A One-Shot Deal”) in terms of their approach and effect on the listener. The two extended instrumentals, “Big Swifty” and “Waka/Jawaka,” are the visions of things to come: surreal semi-classical jazz-fusion giants that amble preponderously in the ear canal for twelve minutes or a lifetime, depending. Transitional records are arriving, they haven’t arrived. Waka/Jawaka doesn’t arrive at the genius of The Grand Wazoo. Among the great Dubyas (which would winclude Weeny, Wazoo and Weasels), Waka/Jawaka might be the least impressive. Or not. They’re all brilliant records, so it’s a little like picking a favorite Beethoven symphony. The ninth. Okay, so that was easier than I thought. But you get the point: you wouldn’t want only eight Beethoven symphonies, and you don’t want to eke out your miserable, crotch-kicking existence without Waka/Jawaka. Because, truly, nothing will re-inflate your balls like listening to an acid trip about a frog segue into the most beautiful pedal steel guitar solo you’ve ever heard and then careen into “Waka/Jawaka,” knowing that only a small percentage of the general population will ever share that joy with you. Lying down and placing a rolled-up towel under your testicles also does the trick, apparently, although I’d put the second side of Waka/Jawaka on the turntable before you lie down just to be safe, since you don’t want to put too much faith in a rolled-up towel.
The last of the great instrumental burlesques, at least until Orchestral Favorites surfaced in 1979. The Grand Wazoo was recorded during Frank Zappa’s recovery from injuries sustained following an on-stage assault (so much for soothing the savage breast), thus entering into the top of two rather select musical subgroups: the recovery recordings (besting both Eno’s Discreet Music and Dylan’s The Basement Tapes, to name a few) and program music dealing with the clash of different musical cultures (progeny of the classic cartoon that includes Patrick Moraz’ eponymous effort and The Residents’ Tune of Two Cities). Drawing musical dialogue from the classical and rock cousins of the jazz family, The Mothers make the sort of music that’ll just curl the toes of anyone who enjoyed the mock-classical adventures of Waka/Jawaka, Weasels and Burnt Weeny Sandwich. Zappa has proved adept at writing program music (200 Motels, Joe’s Garage, Thing-Fish), though The Grand Wazoo differs in its instrumental approach; only the opening “For Calvin (And His Next Two Hitch-Hikers)” features vocals, and it’s not empty praise to point out this might be the most perfect amalgam of vocal and instrumental music in all of Zappadom. The natural and seemingly effortless melange of instruments inhabits a unique world where rock, jazz and orchestral sounds meet in the middle of a saucepan and dance to the hot whims of the master composer in convalescence. Yet Zappa is careful to make sure that each of the songs retains a distinct flavor, from the seamy tones of “The Grand Wazoo” to the comic “Cletus Awreetus-Awrightus” to the epic riff that underpins “Eat That Question” (one I’d put on a pedestal with the closing theme to Gentle Giant’s “Three Friends”). Anyway, I could go on for pages—I’m that enthusiastic about this album. If I had to pick a favorite from Frank Zappa, it’d be down to this and Hot Rats.
Somehow, Frank Zappa found a way on Over-Nite Sensation to package his oddball humor and complex arrangements into a commercially palatable package. It was the first Zappa album to go gold, and contained songs (like “Montana”) that could actually be played on FM radio without frightening away listeners. For this reason, AMG rightly refers to this as a “watershed album.” It marked a clear and conscious departure from the complex, often orchestral jazz rock of earlier efforts like Hot Rats and The Grand Wazoo, succinctly summing up the traits that made Zappa so special: the brilliant guitar leads, luminous contributions from fellow artists (Jean-Luc Ponty, George Duke, Ruth Underwood), and the perverse sense of humor. Because folks who might not ordinarily buy this album did, some were shocked to hear lyrics about bestiality (“Dirty Love”), orgasms (“Dinah Moe Humm”), and a Mexican witch who just happens to be breeding a dwarf (“Camarillo Brillo”). However, longtime listeners were used to this sort of thing; after all, is anything on here less tasteful than “Magdalena” or “The Mud Shark?” If the material is a little off color, Frank delivers it in a good-humored growl more mischievous than menacing. What’s most impressive about Over-Nite Sensation is that so much music finds its way into these six-minute tunes without bursting the confines of the standard lyric rock song. The band’s ability to start a track like “Zomby Woof” in a relatively straightforward manner, veer off into extracurricular melodies and solos, and then bounce back to find the original structure still intact is amazing. Some might argue that Underwood, Duke and Ponty are given limited roles in these arrangements, but all the better to hear Frank’s guitar burn up the place on “Dirty Love” and “I’m The Slime.” Over-Nite Sensation is probably the most accessible entry point for adventurous rock fans to approach the work of Frank Zappa. The guitarist himself was obviously pleased with his newfound ability to write in a more concise format, and continued in this idiom for the remainder of the decade, relegating his experimental side to his unreleased leviathan, Lather (which escaped in drips and drabs over the ‘70s and ‘80s).
Kronomyth 4.0: THE ISLAND OF LOST SOLUS. This double album is, in reality, two separate sessions recorded in 1971 that were originally intended to be separate albums called Solus and The Inner Source. Long story short, the original music label (SABA) changed hands a couple of times, eventually ending up back in the hands of its original owner at a newly started label, MPS. Recorded with the standing George Duke Trio (John Heard, Dick Berk) plus some extra horns and percussion, the recordings align with Duke’s short tenure in the Cannonball Adderly band (as Joe Zawinul’s replacement, no less) following his first stint with The Mothers. For some reason, MPS opted to interleave the recordings from both sessions, so the flavor of the two is now mixed together. The Inner Source is an important stage in Duke’s journey of self discovery—a pair of Rhodes trips where he explores the range of the electric keyboard in a variety of settings, from Coltrane meditations (“Peace”) to avant-garde (“Solus”) and Africana (“Nigerian Numberama”). To my mind, the stronger pieces are the more direct and melodic: “Feels So Good,” “So There You Go,” “The Inner Source.” “Some Time Ago,” popularized by Sergio Mendes, is another highlight, here re-imagined in a frothy Coltrane treatment. Otherwise, a lot of The Inner Source sounds like a cross between generic jazz (“Love Reborn”) and a Rhodes demonstration record (“Manya”). Those listeners interested in the journey of George Duke would do well to pick up a copy of The Inner Source, if they can find it at a reasonable price. Unfortunately, it hasn’t been released on compact disc yet, which may speak more to the condition of the original tapes than commercial interest.
Kronomyth 5.0: A REFLECTION IN FUSION. The music of Frank Zappa was a reaction to the times. The music of George Duke is a reflection of the times. The one breeds genius, the other geniality. Faces In Reflection is as genial an album of jazz fusion as you’ll find in the early catalogs of Stanley Clarke and Lenny White—high praise to fusion aficionados. George Duke unleashes the synthesizers and explores some very interesting spacescapes that will feel instantly familiar to followers of RTF: “North Beach,” “Psychosomatic Dung” (which clearly shows the influence of Frank Zappa) and “Faces In Reflection” (both parts). Like Chick Corea, Duke also intersperses Latin music (“Maria Tres Filhos,” “Da Somba”) and solo piano interludes into the proceedings. Despite the seemingly limited lineup of only bass, keyboards and drums, the trio of Duke, John Heard and Ndugu (Leon Chancler) generate plenty of energy on this session. Judicious multitracking helps to fill in the gaps, such as Duke emulating a rhythm guitar with his synth on “The Opening.” Ndugu, who caught my attention on Herbie Hancock’s Mwandishi, continues to make a case for himself as one of the pre-eminent jazz rock drummers here; his unique solo on “Maria Tres Filhos” is nothing short of amazing. The consensus that Faces In Reflection is a very good fusion album is accurate, although it’s a crowded field. Duke can certainly lay claim to that field; in fact, this album is very much a reflection of his own personal journey at the time (Flora Purim, Frank Zappa). Yet Duke quickly forsook fusion for funk, leaving this record as a tantalizing testimony to what might have been a fruitful multiyear foray into fusion before funk’s inevitable call. If you’re interested in what a George Duke fusion album would sound like, Faces In Reflection will leave you suitably impressed.
Kronoymth 18.0: SEX & DRUGS & ROXY & ROLL. If you enjoyed Over-Nite Sensation and Apostrophe, that’s good; it means you’re not dead. It also means you’re going to enjoy Roxy & Elsewhere a whole lot. But isn’t this a live record, you ask, and don’t all live records secretly sort of suck it? Well, yeah, the ones that don’t have strippers, bubble machines, trombone solos, jaw-dropping xylophone monologues and molten lava guitar licks probably do. Fortunately, Roxy & Elsewhere has all that plus immaculate sound (the credits confess to overdubbing) and two elpees of great, new songs such as “Village of the Sun,” “Cheepnis” and “Son of Orange County.” Where most live albums tend to paraphrase a specific period of time, Zappa live albums are the exclamation points to those periods: Fillmore East, Zappa In New York, Tinsel Town Rebellion. Roxy captures what’s best about the Over-Nite Sensation->One Size Fits All period of Zappa without regurgitating it and includes some of his best songs over a long and amazing career. Released as a double album, Roxy plays up the live format by beginning each side with a preamble from Frank plus the usual audience engagement. From there, you’ve got your tasteful sexual innuendo (“Penguin In Bondage”), social criticism (“More Trouble Every Day”), a Firesign Theatre full of strange voices and at least two bands’ worth of brilliant soloing. Although the classical jazz phase was awesome (Burnt Weeny Sandwich, Hot Rats), the 1972-1975 albums managed to best wed Frank’s sense of humor, jazz-inspired genius and rock guitar chops, and in many ways they represent the quintessential Frank Zappa sound. If you were hoping for live versions of “Zomby Woof” or “Montana,” too bad; you’ll need to fast-forward to the Stage series to get your fix. Roxy is rather one of those live albums you shouldn’t try to live without because, truly, your world is probably at least one radioactive poodle song shy of perfection.
Kronomyth 6.0: FUNK, FRANK AND FLORA. Feel is a transitional record between the space fusion of his last effort, Faces In Reflection, and the synth funk of the future. It also features Frank Zappa’s blistering electric guitar on two tracks, billed here as the mysterious Obdewl’l X. If you’re approaching this from Faces, a lot of this will feel familiar. The new wrinkle is the funk (“Funny Funk,” “Old Slipper”) and a certain Barry Whiteness in the spirit/love vibe of songs like “Feel” and “Love.” George Duke has a gentle voice, which he multitracks to give it an extra dimension. Flora Purim also appears on one track, “Yana Aminah,” but it’s a missed opportunity as Duke seems musically out of synch with what should have been a slam-dunk Brazilian jazz number. Zappa is the elephant in the room, literally. His guitar solos on “Love” and “Old Slipper” completely dominate the surrounding landscape like an eclipse; in fact, Duke seems to throw a musical wrench into “Old Slipper” just to prepare the listener for Zappa’s heavy footfalls. The remaining songs follow the space fusion of Faces for the most part: “Rashid,” “Cora Joberge,” “The Once Over.” An interesting exception is the short theme from an unfinished opera, Tzina, a classical jazz piece that explores a heretofore hidden dark side to Duke. (Pieces of Tzina would appear over the years on other Duke works.) The album’s closing “Statement” simply restates the theme to “Love.”
A cleverly staged car wreck between Zappa and Captain Beefheart that, despite the creative velocity of the pair at the time, wasn’t the big bang some had hoped for. The disappointment of Bongo Fury might be that both artists weren’t looking to do something new together, but simply do what they do together. There are songs that represent an even union of sorts, where Beefheart takes the lead and Zappa’s band lays down the groundwork: the twisted “Debra Kadabra,” the sort-of-a-cowboy-song “Poofter’s Froth Wyoming Plans Ahead” and “200 Years Old” (the last two forming a kind of a bicentennial medley). These may be a little grittier and bluesier than Zappa’s usual work, but fans should eventually warm up to them. Beefheart also presents his greasy, look-what-I-found-under-the-refrigerator poetry on a pair of tracks: “Sam With The Showing Scalp Flat Top” (which introduces the “bongo fury” theme) and “Man With The Woman Head.” Frank even answers in kind with his own story, “Muffin Man,” that starts like a carbon copy of “Evelyn, A Modified Dog” before launching into a brilliant guitar solo. Zappa fans will take solace in the tracks that sound most like his usual work from this period: “Carolina Hard-Core Ecstasy” (cut from the same cloth as “Camarillo Brillo”) and “Advance Romance.” However, those fans would do better to pick up Over-Nite Sensation, Roxy & Elsewhere, The Grand Wazoo, One Size Fits All… well, you get the point. For the best blending of Beefheart and Zappa, seek ye Hot Rats. Two heads are better than one in the world of bongos, but in the live/studio world of Bongo Fury maybe not so much.
Kronomyth 4.0: BASS CLASS. From whiz kid to wizard in five short years. On School Days, Stanley Clarke steps out of the shadow of Return To Forever to show us what he’s learned. Suffice to say that fusion fans took note(s). School Days is set up to showcase the many sides of Stanley: fusion, funk, smooth, classical, acoustic, R&B. For progressive fusion fans (i.e., the kind of people who only get jazzed about RTF, Frank Zappa, Brand X, etc.), School Days scores an A+ on the merit of the opening title track alone. “School Days” is basically six feet of genius crammed into eight minutes of music. I walked away from that song thinking that Clarke had found a way to match the best progressive fusion artists of the day and make it look easy. “Quiet Afternoon” explores the romantic/smooth jazz side of Stanley Clarke, though it’s not as painful as you’d think. “The Dance” follows exotic fusion, “Desert Song” journeys into the arid world of acoustic jazz , “Hot Fun” is a crazy funk song that lives up to its name, and “Life Is Just A Game” brings out all the stops in a big fusion finale, including vocals. Earlier albums showcased many of the same skills, but were partly weighed down by multipart suites and occasionally weak arrangements. School Days is different, as Stanley Clarke scores extra credit with one great number after another. Is it his best record? Well, given what I’ve heard so far, that would be an educated guess.
Kronomyth 6.0: LET BE BE FINALE OF SEEM. This is a live/studio hybrid that has all the earmarks of a contract closer. In other words, Clarke likely owed Nemperor two more albums on his contract and decided to kick in an album’s worth of live material to hit the magic number of albums owed, which would apparently be six. Anyway, that’s just speculation on my part, and of no particular interest. The music on I Wanna Play For You, now that’s interesting. I find it amazing that a bass guitarist could build a robust live repertoire around their instrument. Clarke is an extraordinary musician, of course; the sounds he coaxes out of those four strings would make a Stratavarius blush. The live performances are excellent; I sort of wish they had preserved the concerts intact, since I would have loved to hear songs like “Silly Putty,” “Yesterday Princess” or “Dayride” in a live setting. Instead, you’ll have to settle for a six-minute sampler called “My Greatest Hits.” The studio material has a live energy to it and features a few funk/pop/disco numbers that point forward to the Clarke/Duke Project. “The Streets of Philadelphia” is the best of these; in fact, I’ve always regarded it as the heart of the album. I Wanna Play For You feels instantly familiar, not just in the sense that you’ve heard “School Days” and “Quiet Afternoon” before; even the new songs (e.g., “Together Again,” “Jamaican Boy”) arrive like old friends. In that sense, the record wraps around your mind like a favorite shirt (I know, that’s a crappy analogy); it feels good whenever you put it on. (Apparently, there was a 2-for-1 semicolon sale at that shirt store.) The Epic adventures that followed were too populist; the last emperor is this Nemperor of nice dreams.
Kronomyth 8.0: GEORGE AND STANLEY MAKE A CAMEO. When George Duke and Stanley Clarke signed with Epic to record an album together, the label apparently expected a jazz fusion album. I’m with the labels this time. As a fan of Stanley Clarke’s music (with and without RTF) and Frank Zappa, I was expecting a Journey To Love. Instead, what Epic and the rest of us got was a Top 40 R&B/disco album. Now, if you’d been paying close attention, you would have heard this kind of music creeping into Stanley Clarke’s records, so the commercial direction of The Clarke/Duke Project can’t be called a complete surprise. But if you’re expecting me to heap praise upon it, I would kindly point you in the direction of a different site, perhaps one called Discoography. I listen to Stanley Clarke records to hear him cut loose on the bass, not to sing “I Just Want To Love You.” In the record’s defense, it’s only about half an album of sappy disco music; the other half features smart funk that suggests Was (Not Was) (e.g., “Finding My Way”) and Cameo (e.g., “Let’s Get Started”). As a bonus, you’ll hear what is probably the funkiest version of “Louie Louie” ever recorded. The pair’s commercial acumen paid off when the album reached the Top 40 (and topped the Jazz charts according to Billboard, the same company that gave us the Hot Black Singles chart) and scored the biggest hit of Duke’s career with “Sweet Baby.” Clarke repeated the exercise on his next album, Let Me Know You, with inferior results, so if you’re interested in his disco phase, The Clarke/Duke Project is probably the best place to start. Or you could just ignore this altogether and go back to listening to “Inca Roads.”


Welcome to Angels and Mermaids (A reality free zone).
Founded by the Secret Mermaid Society in 2016. Our office is the beach and our home is the sea. We are here to celebrate our love of the free -spirited beach bohemian lifestyle, through fashion. Inspired by the arts, music, the beach, spirit and the street- Angels and Mermaids represents the beach boho lifestyle. We Celebrate Summer All year long here.
Head Muse and President of the Secret Mermaid Society
Angels and Mermaids
c/o Secret Mermaid Society
US Mermaid Islands 77777
Contact outside of the Mermaid Islands:
214 E Venice Ave. Suite 207
Venice, Fl 34285


Kami's 'Watched in 2012' (80 movies items)
"27 January 2012
O~kay. Now i was curious if a Hulk film with Norton would be better. The story went a bit different and I still don't know which is the original one, but I dont mind as long as it makes sense somehow. This version was balanced much better. Impressive action scenes, simple story, a a little bit of humour, a darker atmosphere and on top of that an enjoyable soundtrack. Norton was great and the animation was brilliant. Although the ending about letting his enemy go was greatly unre"


I sort of wish I'd taken a "before" for this project. The box for this snowy community housed a Disney Planes plane that Grandma had to have for the boys, so I had two of these high-quality plastic containers. While not normally a hoarder, my mom gave me some seriously strange looks when I told her I was going to keep them for some sort of project.
Naturally, I gave her one of the two that I made.
A lot of modeling paste and embossing powder gave the snow some depth and shine. Though, I probably should have made the car a bit smaller since it's grossly out of scale with the house.
The paper shapes were all cut from a variety of Silhouette Studio shapes and the trees were from Fancy Pants.
Oops, the moose lost his antlers, no worries I glued them back on but forgot to take another picture. The cute little snowman was made with Mod Melts.
And if you look really closely at the ceiling of this box you'll see the Disney Planes logo, which soooo didn't go with my little wintry scene. I used MME Necessities Metallic vellum to cover it up. The vellum kept the scene bright and camouflaged the logo.
Not so bad for an upcycled community. ;)


Wood ClockIndustrial Design
Self-directed project utilizing four operations on a CNC machine. Made from maple and walnut, this clock was first designed in Rhino, and the tool paths were then created in Mastercam. From Mastercam, the clock was machined from prepared stock using a Techno 4896 CNC router. The design was inspired by wrist watch faces and detailing.
Rhino v.5, Mastercam x6, Techno CNC Router 4896
Course: Design for CNC Milling


It’s funny how the white space on a blank page has the ability to make me feel like it is laughing at me, mocking me. As ridiculous as it sounds, I have a tendency, as I’m sure do many other writers out there, to feel completely overwhelmed and terrified by the presence of so much blank space. Or rather, the absence of so many words.
So instead of busting out my creativity and imagination to show the piece of paper what’s up, I usually just pack it in and move on to something else.
Whether it is a busy lifestyle, the stress of the daily grind, or just plain old laziness (guilty!), we all from time to time fall off the proverbial wagon and neglect our crafts and hobbies. It is easy get caught spinning in the wheel of the everyday routine, thus leaving our pens and paintbrushes and yoga mats and instruments and whatever else you may use as a creative outlet collecting dust in a lonely closet somewhere.
We often neglect to nurture our creative talents and passions—those very activities which had at one time brought us perhaps a sense of self, a sense of peace, a sense of accomplishment. Though much of this piece refers to my craft of writing, there is ample room to replace ‘pen’ with whatever you desire. We can all use a bit of help when finding our stride and rekindling our own creative processes. Here, lovers of creativity, are a few tips to give you a boost back into the saddle.
Pick Up the Habit
Developing good habits is just as important to the health and happiness of an individual as breaking bad habits. In order to get back on track, we have to be conscious of making time for ourselves and our hobbies. Set aside a specific time when you can create, and do it not just sporadically, but make the effort to do it every day. And it doesn’t have to be a large chunk of time. Give yourself twenty minutes, a half an hour, when you devote your entire self to your craft.
I’ll be honest, there are days when the very last thing I want to do is sit down and write in my journal. But when it becomes a habit, it seems less of an obligation and more an enjoyment. I actually look forward to my writing time. And just like breaking bad habits, remember that it doesn’t happen overnight. It takes the same devotion and will power to pick up the pen as it does to put down the cigarette.
Check Your Ego at the Door
It’s inevitable, my friends. There is going to come a point when we hit a wall: the proverbial, or in some cases, the very literal, writer’s block. That perfect sentence just won’t make it to the paper; you just can’t nail that pose or hit that note. And it is in those times we will most likely lose our ‘mojo’. Frustration will ensue, I promise.
It is crucial, however, to find a way to overcome such obstacles. Feel free to step away for a moment, take a few breaths, take a walk. Find a way to clear your head. But when you come back, pick up the pen and write whatever word or sentence or phrase comes to mind, and write it over and over. Repeat that pose, or that brush stroke. Chip away at that concrete block, and eventually it will crumble into that very sentence you almost gave up on. Don’t be afraid to feel silly, especially when you are rewriting the same word twenty times. Vulnerability is part of it.
Remember, It Won’t Always Be Pretty
Unfortunately most things in life are definitely not as easy as recalling how to ride a bike. That goes for writing or doing whatever at one point you were so good. I am sure my college English-major self is guffawing at this piece. But it is not always possible just to pick back up where you left off. Finding your stride again takes time and practice and patience. It may very well be painful. Know that for the first few or many times, you will want to crumple up the finished product. Instead, keep what you have created and use it as a stepping stone. Reflect on it, improve upon it, and though it may not be pretty now, what you will create thereafter will be. It is evidence of the process.
Rekindling the flame for our dormant passions and hobbies is way to connect us back to ourselves, and back to each other. Our creativity is an extension of who we are as individuals, and helps define our places in our respective creative communities. So do what you love every day. Look for inspiration in your frustrations. Beat your head against the wall. Be vulnerable. Create.
Andrea Bentley, a Colorado native, is currently living the military lifestyle with her husband in Lacey, Washington. After graduating from the University of Colorado at Boulder with a degree in English and Sociology, she traveled abroad and a chance meeting in Munich led to her marriage to a soldier in the U.S. Army. After being diagnosed with multiple sclerosis at
age 24, her focus has turned to balancing her health, relationship, and the transience of military life. She fills her spare time with the company of books, enjoys running to clear her mind, and loves the hell out of a good happy hour.


As a short form writer, I know that each word is chosen with extreme precision. While at a summer writing retreat, we did an exercise: whatever word count your piece was at, bring it down to 300, then 250, then 150, and so on, switching to increments of 10 and then 5. Once you got to 5 words, or even a single word you were hard pressed to decide the core of your piece. But that's what the exercise was meant to do: cut through the fluff of your story or poem and think of what you were truly trying to convey.
As others have already said, I agree that Prose needs a better editing system. But I also kind of like the blank format, and the vulnerability & trust that quick writing and next-to-no editing provides. My rawest work tends to come out of Prose, mostly because I'm not really censoring myself. Just as I'm about to post this without reading it over once. :)


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Hello! I'm Laura May, a wedding photographer living in the beautiful village of Shifnal, Shropshire BUT I photograph weddings all over the UK including across the Midlands and in London.
I love weddings; I invest a lot, emotionally and professionally, in your day and it’s a privilege to share it with you. My aim is to capture the realness of your wedding day in an un-obtrusive manner, for you to look back through your gallery and re-live the day in all its laughter, emotion and celebration. Photography gives me the opportunity to document real moments, unique connections and personalities throughout your wedding day. Weddings are about enjoying yourself. Do your wedding, your way!
If people cry, you relive and feel it in your gallery. When people laugh and dance all night; how amazing if you can laugh and dance again with them? We are sentimental at heart and your wedding gallery will help you relive the day beautifully through imagery – for years to come.
I love blubbing along to the speeches (soooo glad I have a camera to hide behind) and you will love the couple portrait session; it’s a chance for you two to have a breather alone together and relax for possibly the only time in the day!
Overall, the best thing about being your wedding photographer is being able to take ace photos, create your memories and capture you guys in love…and let’s not forget the dancing…BALTER!
I would love to hear from you if your planning a wedding, and want natural and relaxed photos with some cracking romantic and gorgeous portraits!
“Your work is absolutely fantastic, your persona, your talent and dedication is second to none. Thank you so very much for how hard you worked to make sure every little detail was included…everybody has commented on how brilliant the pictures are!
Your effort and talent really is outstanding.”
Jess + Ryan
“YAAAAAAY!!! This is so exciting!! Honestly Laura, I can’t even describe how much we love the pictures!! The full gallery is just incredible! And Mr-I-don’t-want-many-pictures-who-even-needs-more-than-50-pictures said they were amazing and not one picture is too much…”every one has a purpose.” Ever the rational one, but that’s even more of a credit to you!! I didn’t think I’d be a woman obsessed over pictures but I am! You’re the best! Thank you SO much for capturing our special day. We are overwhelmed with happiness at the pictures and couldn’t have asked for anything more.”
Robert + Jessica
To make things totally straight forward for you, the ‘Essential Collection' wedding package comes with photography coverage, editing time and an online gallery for downloading your wedding memories. You and your partner are then able to add items on top which are important for you (such as a second shooter, USB, album, or prints etc).
You can book me as soon as you want to secure a photographer. It's never too early!
Absolutely not. When you book Laura May Photography to photograph your wedding it is always me that turns up, not an associate.
Obviously there may be extreme circumstances where I cannot works but I would always find a photographer to cover me. Never happened yet though!
Yes, I cover the whole of the UK.
England and Wales mileage is included in the Essential Collection. Scotland may include an additional charge for miles.
I use professional Sony A7iii's and Sony G Master lenses.
Your images are delivered to you via an online gallery which you can share with family and friends.
I work alone unless you book a second photographer who I source and works with me. I highly recommend you do book a second and I can chat with you about this at the time of booking.
The Essential Collection is a set fee which covers you for up to 9 hours. Additional hours can be added.
Our trusted network of suppliers and venues we have worked with
Pickwick Court, Shifnal, Shropshire, TF11 8DQ
Laura May Photography details have been saved to your shortlist.


Updated: Jul 26, 2020
Sophie & Mike's engagement portraits were the first session I shot when I was allowed to re-open my studio after lockdown and it truly felt like the universe gave us that perfect evening as a 'sorry' for all the trouble! Haha! It was absolutely magical to be back out, doing what I love and capturing such special memories for such a special couple. We shot their engagement portraits at sunset on Coombe Hill in Wendover. Their wedding was due to take place at Huntsmill Farm in August but has been postponed due to Corona Virus. It is incredibly upsetting and heart breaking to have to postpone your wedding but I know when we are able to celebrate it's going to be an absolutely amazing day and that bit more special for having to wait I'm sure!
Mike's Mum is a close friend of mine and earlier in the week had sent me the sweetest photographs of her own engagement - shot on film and recorded in a beautiful album. They were leaning on a tree and it was just too tempting so of course we had to create them and give them a little modern twist for Sophie & Mike. A lovely little nod to a family tradition and really special for the mother of the groom!
These images were taken with the very last of that magical summer sunset light - nothing can replace that perfect glow and I think it's clear to see why I always ask my clients to come out at sunset for their sessions. I always try and 'steal you' on your wedding day for a few portraits at sunset too - it's such a lovely time to take a break from the day and enjoy a moment of calm with your new husband/wife.
Client's often tentatively ask, 'would it maybe be ok if maybe possibly we could bring our dog with?' My answer is always the same OF COURSE! I am absolutely a dog person in every way - they are a huge part of your family and I think it can be a great way to help you relax if you are feeling nervous. Nothing a little puppy therapy can't fix.
This gorgeous puppy was the perfect model too - she was such a little poser for me and was perfectly well behaved for the entire shoot!
I love shooting at Coombe Hill as there are so many absolutely beautiful locations for photos - every part offers something different from the beautiful long blonde grass, the woodland and of course that incredible view. I shoot here year round and there's always something new on offer to enjoy.
It also makes posing for your portraits easier when you have a beautiful surrounding to interact with - I always help you with posing my prompting you or asking you to look out at the view or tell a funny story about a holiday or favourite family Christmas. Before long any nerves are long gone and we spend the whole session laughing and having a wonderful time!
Styling your engagement session is such an important aspect that I think most people feel daunted by. Sophie and Mike absolutely nailed it by keeping it simple. I always say you should be 'matching without matching' stay on the same colour palette and the same level of 'dressiness' but always - and this is the most important thing - you want look like you on your best day. If you dress up in something that makes you uncomfortable or that you would never usually wear, you won't recognise yourself in the images.
An Engagement Photography Session is included with most of my Wedding Photography Packages - it's such a wonderful way for us to get to know each other better ahead of your big day. We can work together to create portraits that reflect you beautifully as a couple - all taken in a relaxed and romantic way.
I am now booking 2021/22 Weddings - if you would like a brochure please drop me an email at: firstname.lastname@example.org
Wedding Photographer. Wedding Photography. Aylesbury Wedding Photographer. Buckinghamshire Wedding Photographer. Oxford Wedding Photographer. London Wedding Photographer. Huntsmill Farm Wedding Photography.


Apoorva First Day Box Office Collection
Ravichandran’s dream project “Apoorva” hit the screens on Friday, May 27. It is probably the next film after his 2002 “Ekangi” on which he has shown so much interest. He has dedicated two years to this flick and the director-actor is said to have locked in the final copy of the movie after editing it 18 times. The actor-filmmaker has introduced a new actress named Apoorva with this movie. The other attraction of the film is that popular names like Kiccha Sudeep, P Ravishankar and Prakash Raj have done voice overs.
The Kannada flick has drawn the audience’s attention with its audio and teaser. Moreover, Ravichandran’s one-liners, which are seen in the promotional material, have impressed the viewers with their philosophical undertone. “Apoorva,” which is written, directed, produced by Ravichandran himself, apart from scoring music, tells the story of a 19-year-old girl who falls in love with a 61-year-old man. The major part of the movie is set in a lift where romance blossoms between the two.
Apoorva has got amazing response from audience on its first day especially. It recorded mind blowing occupancy on the releasing say and registered enormous collections by the end of day. Total first day collection of Apoorva was 0.45 Crore*. Upcoming days are being predicted to be more positive for the film as the weekend is near and with no close competition the way id all clear for Apoorva to score good on the big screen.
More from my site


Aside from being a unicyclist, an avid (if cautious) motorcyclist,
an Etch-A-Sketch (TM) artist, a magician's assistant, a juggler,
and the infamous legs behind Ivar's Unicycling Clam commercials
in the 80s, Lisa Parsons is a mighty fine person. This girl really
RoCkS the house - having been one of the original Vivace baristas
page), she turns out a superb crema.
| Working at Vivace
One of the great things about running errands with Lisa is the number
of people on the street who recognize her from the coffee cart. It's a
real testament to her skills that so many people miss her and want her
back at Vivace making coffee.
| Lisa's sketch of Vivace's
But after 10 years in the coffee business, Lisa was ready to be lured
away from her thousands of over-stimulated devotees to the chaos and creativity
of CR. She is quite literally the glue that holds the productions together
since without her unparalleled sense of organization, we might never be
able to find the materials, tapes, and images needed to turn these shows
out! ("Uhm, Lisa, remember that picture of three people standing in
a field in Namibia and one of them has his hands up in the air with the
sun behind him? Do you happen to know where that photo is? I need you to
scan it and email it out today...?
| Ta Da!
Lisa's day usually ends with the downtown Fed-X run sending the day's
video edit off to lands near and far. She has become quite the Volvo wrangler
(our company car is an old Volvo station wagon named "Mr. Dick,"
after Harold Dick, our mechanic who is based in Portland, Oregon, but that's
another story...) and can mix it up with the best of them navigating the
increasingly crowded streets of our fair city.
Besides running the office and holding down the fort while the bosses
are away, Lisa is fast becoming proficient in various aspects of production,
especially as an efficient offline voice editor. We even have occasional
need for the smattering of Portuguese she remembers from her days as an
exchange student in Brazil. In fact, she is a multi-faceted talent who
must now contend with an entirely new group of loyal and devoted fans.
| Crawdad at the old


All Workshop Events
Introduction to Filmmaking
Writing and Directing
Editing on FilmNOTE: This workshop is in person. It is recommended that participants wear a mask while on the premises.
Learn the operations and edit your next (or first) motion picture film with LIFT's 2020 manufactured Steenbeck film editorial machine. This workshop is geared towards those interested in the traditional analogue art of filmmaking and is intended to build the foundational knowledge of working with celluloid. Participants will have an overview of film editing, discuss the tools and expendables for prepping a print, explore operations and setup for traditional 16mm, S16mm and 35mm formats.
In addition, participants will learn to use Steenbeck's digital film-to-video transfer component working with digital interface (720p for 16/S16mm and 576i for 35mm) and gain hand-on practice on the system.
Topics will include: Image projection, sound sync, splicing, cutting, sorting, creating a workprint, preparing for neg cutting, and creating final prints.
Participants are welcome to bring their own film footage to practice for this combination lecture and hands-on class.
Wed 6 December 2023, 6 - 10 pm(Registration deadline is Wed 6 December 5:00 pm)
Instructor: Karl Reinsalu
Based in Toronto, Canada, Karl Reinsalu is a “do-it-yourselfer” with expertise in analog film techniques and a graduate of Humber College’s Film and Television Program. Since 2006, Karl has had the opportu- nity to experiment and hone his craft by helping his fellow artists in his role as technical coordinator for the Liaison of Independent Filmmakers of Toronto.
Location: 1137 Dupont Street, Toronto, Ontario M6H 2A3
Maximum Capacity: 4
4 hours of instruction $65 /member$90 /nonmember


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Styled Shoot: Dark 1950’s Glamour
As some of you may know, me and Emily are still in the process of setting up our new business venture; The Online Wedding Show and in order to promote it we decided to set up a styled shoot with some fabulous vendors! It was a great way for us to meet new people in the industry and work with a few old friends! Although I have to admit, it was pretty scary being in front of the camera with a handful of people watching! Ed Taylor did a great job with all of the photos and we’re so excited to finally be sharing them with you…
We also had the whole shoot documented and filmed by the talented I Do Wedding Films so be sure to read onto the end of the post to see it in action!
We decided to hold the shoot somewhere a little different from your average wedding venue as we really wanted the photos to have that touch of unique about them…cue Dig Haushizzle…a quirky home for tons of individual pieces including furniture, taxidermy and everything else in between.
Prop clocks, antlers & scientific glassware were just some of the things that surrounded us in the shop and with a few finishing touches of wedding bits & bobs from the lovely Little Wedding Helper the scene was set!
But before we could jump in front of the cameras we had to get ready! First stop: hair and makeup by the wonderful Isabel While at Bridal Styling! I was first in the hot seat to have my hair arranged into a messy chic up do! I was a little uneasy about this because I rarely have my hair tied up but Isabelle reassured me & did a great job in styling my hair around the gorgeous Hermione Harbutt head piece we were lucky enough to borrow! Next it was Emily’s turn & a bohemian side bun was created to show off a super feminine hair do! Isabelle created completely different looks for each of us when it came to our makeup too! Emily had a fresh & pastel image while I was showing a darker makeup look with a bit of a smokey eye & dark lipstick! A few cups of tea later & cuddles with the cat meant we were ready to head off to the shoot!
Once we had arrived at Dig Haushizzle we quickly put out some olives, crisps & cupcakes (we wouldn’t want our lovely suppliers getting hungry now would we?!) and popped open a few bottles of wine then it was off downstairs to slip into our dresses.
Man did we love the dresses. It was only the week before that we had taken a trip to The Mews in Clifton to try some on and to say we were spoilt for choice would be an understatement! We pretty much wanted every dress in the shop considering they boasted a gorgeous collection of Jenny Packham, Alice Temperley, Suzanne Neville & many more! So after a few trips in and out of the changing room and with the help of Gail who owns the shop, we both decided on Jenny Packham! I wore Eden & Emily wore Ivy.
Favours were also given to us to complete the look from Through The Looking Glass which finished off the shoot nicely! There were cute little bottles of pages from books & chocolate spoon mini desserts! Yum!
When choosing a photographer for this shoot we knew that Ed Taylor would be great for the job, not only did he shoot Ed & Cassie’s Wedding (which you can see here) but he had also taken promotional images of Dig Haushizzle a few weeks prior to our shoot. Ed photographed this shoot in a style that is not only creative but also soft & hazey! We love how warm the images look and we couldn’t be happier with them! You can see a snippet of his new website here which is currently under development & you can also check out his tumblr filled to the brim with other stunning images here! Watch this space people…
Since this was our first time ever organising a styled shoot (and our first one in front of the camera!) we didn’t really know what to expect and on the morning of the shoot nerves were certainly setting in but we truly hope that everyone had as much fun as we did while there! It was such a great opportunity for us and it’s always nice to get away from the computer and meet lots of amazing people in the industry!
As I mentioned earlier, Adam from I Do Wedding Films was also kind enough to come along to the shoot and create an awesome ‘behind the scenes’ video for us, I can honestly say that Adam made both of us feel very comfortable in front of the camera and I’m sure it shows through on the clip! We would recommend these guys to anyone!
We’d love to hear what you thought about the shoot and would like to thank everyone who was involved, we appreciated your help so much and look forward to working with you in the future!
Credit where credit is due:
♥ Venue: Dig Haushizzle
♥ Dresses: Jenny Packham, The Mews
♥ Hair & Makeup: Bridal Styling
♥ Photography: Ed Taylor
♥ Videography: I Do Wedding Films
♥ Favours: Through The Looking Glass
♥ Styling: Little Wedding Helper
♥ Head Piece: Hermione Harbutt
Much Bespoke Love


“The King of Diamonds” by Rena Pederson is a captivating historical novel that reveals the fascinating story of a famous diamond, her extraordinary journey through time, and the lives she touches along the way. With meticulous research, compelling characters, and a narrative that spans generations, this literary gem offers a riveting exploration of love, ambition, and the enduring attraction of precious treasures. Prepare to be enchanted as Pederson weaves a story that blends history, mystery, and the captivating world of diamonds, leaving readers enchanted until the very last page.
…::::: Summary :::::…
“The King of Diamonds” by Rena Pederson is a captivating historical novel that delves into the fascinating world of diamonds and the lives entwined with them. The story revolves around the renowned Koh-i-Noor diamond, which carries a rich and mysterious history.
The narrative unfolds through multiple timelines and perspectives, transporting readers to different eras and locations. From the moment the diamond is discovered in the Golconda mines of India to its eventual placement in the British Crown Jewels, the novel traces the diamond’s path through time.
The characters in the novel are intricately connected to the diamond. Their lives intersect with the gem, bringing love, betrayal, ambition, and sacrifice to the forefront. From Indian maharajas to British royalty, from miners to thieves, each character’s journey intertwines with the diamond, revealing the profound impact it has on their lives.
As the story progresses, readers witness the diamond’s allure and the lengths people will go to possess it. Alongside the characters, they experience the opulence of royal courts, the perils of diamond smuggling, and the struggles for power and control over the precious gem.
Through vivid descriptions and meticulous research, Rena Pederson brings to life the historical settings and societal dynamics of each era. From the vibrancy of India’s past to the grandeur of the British Empire, the novel immerses readers in a rich tapestry of cultures and historical events.
“The King of Diamonds” not only explores the diamond’s journey but also delves into the deeper themes of wealth, power, and the human desire for something rare and valuable. It examines the moral dilemmas faced by those who encounter the diamond and raises thought-provoking questions about the true worth of material possessions.
With its blend of history, intrigue, and human drama, “The King of Diamonds” offers an engrossing narrative that keeps readers captivated until the final revelation. Rena Pederson’s masterful storytelling transports readers into a world of glittering gems, where the pursuit of the Koh-i-Noor diamond unfolds against a backdrop of ambition, love, and the eternal quest for beauty and significance.
…::::: Book Information :::::…
- Book Name: The King of Diamonds
- Book Author: Rena Pederson
- Book Publisher : Pegasus Crime (April 2, 2024)
- Book Language : English
- Hardcover : 386 pages
- ISBN-10 : 1639366059
- ISBN-13 : 978-1639366057
…::::: Download PDF :::::…
…::::: Buy This Book :::::…


Download Free Wallpaper
Lifestyle blog (and HL staff favourite) DESIGNLOVEFEST.com regularly offers 'dress your tech' downloads, a series of desktop and phone wallpapers created by top illustrators, designers and photographers. Right now our HL May issue was designed on a backdrop of New York-based illustrator Katie Smail’s beautiful painterly florals. Previous wallpapers (and still available as downloads via DESIGNLOVEFEST.com) feature the acrylic art of Britt Bass Turner and photographer Max Wanger. Keep checking in to view new downloads.


Have to lick these to close.
These envelopes are a pretty color, just not quite the color I was expecting. When I think of the word "vineyard", I think of more of a magenta hue, a little more purple in the color, closer to wine. I will put them to good use though. Better used for Valentine's Day cards!
I had no idea what to expect when I ordered. So glad I did as the color is stunning and will be perfect for mailing holiday and Valentine cards. Will be buying more!
...especially in red . The holidays are fast approaching so start making those cards now!


AS anticipation continues to build ahead of next week’s inaugural EurAsia Cup presented by DRB-HICOM, officials today unveiled the trophy which will be awarded to the victorious team.
Tun Ahmad Sarji Abdul Hamid, Chairman, Professional Golf of Malaysia, which is the local facilitator of the event, was joined by Datuk Mohamed Razeek Md Hussain, Chief Operating Officer of presenting partner DRB-HICOM and Charlie Tingey, Senior Director, EurAsia Golf as they revealed the trophy to an expectant crowd of media at the Glenmarie Golf and Country Club, the host venue for the Europe versus Asia match play contest from March 27-29.
The specially commissioned trophy was produced in Malaysia and designed by Ahmad Sarji himself with the help of Mior Adlizul Jazmi of Permodalan Nasional Berhad and crafted by Hassan Mat Jusoh, a master craftsman at the renowned silversmiths KB Permai Krafperak Kelantan Silver.
Using traditional Malaysian techniques and working almost entirely by hand, it took four expert craftsmen over two months to fashion the stunning trophy that now awaits the winning captain. The final sterling silver piece weighs over six kilograms and stands 18 inches tall. The winner’s gold plated medal and the runner-up silver plated medal were also designed by Ahmad Sarji with the help of Mior Adlizul.
As he unveiled the trophy, Ahmad Sarji commented: “The EurAsia Cup is a very important new event in the world of golf so we wanted to have a suitably impressive new trophy for the players to compete for. It was also very important for us to have something that shows off Malaysia’s wonderful craftsmanship and reflects the role Malaysia has played in the beginnings of the EurAsia Cup. I very much hope that come next Saturday, it is Team Asia that is being engraved on the trophy as inaugural winners.”
Mohamed Razeek added: “This trophy will become one of the most coveted awards for golfers from both Europe and Asia. It is a truly impressive piece and I am sure that the players will be desperate to get their hands on it. It is beautifully crafted and expertly finished. Whichever team is lucky enough to lift the Cup next week will surely enjoy being the recipients of such a spectacular trophy.”
The format of play for the EurAsia Cup presented by DRB-HICOM will see five fourball matches being played on the first day (Thursday) followed by five foursomes matches on day two (Friday) and 10 singles matches on the final day (Saturday) at Glenmarie’s Garden course.


Posts tagged Beastie Boys
10. Kanye West – All of the Lights
Even though I love this video, the concept was pretty much taken from Gaspar Noé’s award-winning psycho-thriller, Enter the Void‘s opening credits. I guess to Hype Williams, copying is a form of flattery.
9. Lana Del Rey – Born to Die
8. Metronomy – The Bay
7. The Strokes – Taken for a Fool
There’s nothing to love when you see a constant clip of 5 different Julian Casablancas and Nick Valensi.
6. Rihanna Feat. Calvin Harris – We Found Love
Directed by Melina Matsoukas, who was also sued by David LaChapelle for her S&M video. I was really surprised that Rihanna went back to her for ‘We Found Love’. This video was well done in my opinion because I honestly haven’t seen this much emotion and action from Rihanna in a while. But the downside is.. I’m pretty much tired of seeing female musicians kissing some guy on top/inside/outside a car. Overdone.
5. Lady Gaga – Judas
Epic music video. Definitely my favourite one by Gaga. What’s more surprising is that her choreographer, Laurieann Gibson (Torontonian!), was also the director of this video. There was a lot of biblical/religious references, but this is nothing new to her fans. I was mostly drawn to the cast and the huge amount of work that went into the sets and wardrobe. Definitely her best one in my opinion.
4. Foster the People – Call it What You Want
This music video and song title matches each other perfectly. The reason why I probably like this video so much is because of the pan in and out shots.. and the randomness.
Directed by Ace Norton – who also worked with Death Cab for Cutie (Crooked Teeth), Steve Aoki & Armand Van Helden (BRRRAT) and Felix Cartel.
3. The Black Keys – Howlin’ for You
I couldn’t believe that the director for this music video (Chris Marrs Piliero) also directed Britney Spears’ – ‘I Wanna Go’ single. Concept and screenwriters are ESSENTIAL.
The Black Keys blew up so quickly throughout 2011, mainly because of their creative music videos. Such as Tighten Up and their most recent single off their new album, Lonely Boy. From what I know, I don’t see many music videos set as a false movie trailer with full narration of the story line. Which, in my opinion, seems to be pretty damn creative and it gets the attention easily.
2. Matt and Kim – Cameras
Directed by Jonathan Del Gatto, who also directed Block After Block for Matt and Kim.. when or even how OFTEN do you see two band members beat the shit out of each other on ‘camera’? Fun, hilarious and entertaining. Love this music video.
1. Make Some Noise – Beastie Boys
What a smart and GREAT way to get back to their fans with an ENDLESS list cameos in a 30 minute short film as their music video. I was just completely speechless when I first watched it. In a way, they took the Kanye West approach to make a film, but in this case, they made it into one big parody of themselves.
Instead of posting actual music videos, I thought I would share some music-related videos that premiered over the month of April. Throughout April, the Beastie Boys released their 30 minute movie featuring a list of well-known celebrity cameos to promote their latest album Hot Sauce Committee Part Two which will be released on May 3rd. Then the surprising trailer of Revenge of the Synth that will be the sequel to The Electro Wars. And recently, Nardwuar interviewed Lil Wayne in Vancouver, that is a must watch.
I have to give so much credit to these guys, I have always been a huge fan of their work. And since their release of REMATCH, The White Panda have gotten a bigger and much more respected name in the blogosphere. Rematch features 47 mash-up tracks with over 100 different samples from various artists. Although this mix-tape is a bit old, I wanted to share it with everyone and show how much work and detail that goes into making a mash-up and mix-tape.
For more tracks by The White Panda check out:
Download MixTape: HERE
Full Track Listing
1. Juicy O’Riley (Notorious B.I.G // The Who)
2. Don’t Wanna Hurt Your Neck (Khia // The Sounds)
3. Intergalactic Spell (Beastie Boys // Alphabeat)
4. Replaylight (Iyaz // Matt & Kim)
5. Nothin’ On Paris (B.o.B // Friendly Fires)
6. Genius of Play (David Banner // Tom Tom Club)
7. Flippin’ Style (50 Cent // Flipsyde)
8. Alejandhoes (Ludacris // Lady GaGa)
?9. The Next Starfucker (Dr. Dre // Starfucker)
10. Excuse Me Miss Cyrus (Jay-Z // Miley Cyrus)
?11. Get Like Butterflies (David Banner // Crazy Town)
?12. Teach a Billionaire to Diggity (Blackstreet // Cali Swag District // Travis McCoy)
13. Praise Outkast (Outkast // Fatboy Slim)
14. Tipsy In The Sun (J-Kwon // Weezer)
15. Sugar Groove (Flo Rida // Madonna)
16. Smooth Ballin’ (Tupac // Michael Jackson)
?17. Welcome to Celebration (Ludacris // Kool & The Gang)
18. Ahh California (Trey Songz // Katy Perry)
19. The Independent Touch (Webbie // Bloodhound Gang)
?20. Final Thong (Sisqo // Cassian)
21. Ritual God (Usher // Worship // Bestrack)
?22. Freak Faces 2Night (Willie Wonk // Electric Youth)
?23. A Cholo You Know (Down AKA Kilo // Two Door Cinema Club)
24. Get Ready To Go Low (Ludacris // 2 Unlimited)
25. Not Gonna Teach Your Boyfriend To Romance You (Lady GaGa // Black Kids)
26. Never Gonna Set Me Free (Rick Astley // Phonat)
27. I’ll Get Your Whistle (Too Short // Classixx)
28. One More Whoop (Tag Team // Daft Punk)
29. Wired To The Systems (Dorrough // Knightlife // Ying Yang Twins)
30. Heads Will Shake (Eminem // A-Trak // Yeah Yeah Yeahs)
?31. Hold On My Momma (Will.i.am. // The Vanish // Russ Chimes)
32. Raining Rude Boys (Rihanna // Moby)
33. Got Some Stratosphere (Obie Trice // Junkie XL)
34. I Wish I Broke Your Heart (Skee-Lo // Taio Cruz)
?35. Flashtomania (Phoenix // Calvin Harris)
36. How We Remember (The Game // David Guetta)
37. Rhythm To The House (Snap! // Trick Daddy)
38. Shake The Moonlight (Ying Yang Twins // Fonzerelli)
39. Always Push ‘Em Up (Fatman Scoop // Pet Shop Boys)
40. Kiss Anthonio (Chris Brown // Annie // Designer Drugs)
41. Prez-a-boo (Dead Prez // DEVO)
42. Overnight Panther (Twista // Crystal Castles)
43. Alone Over Here (Alice DeeJay // Young Jeezy)
44. Fireflies Goin’ Down (Young Joc // Owl City)
45. Drake & Diane (Drake // John Mellencamp)
46. Shooting Superstars (Eminem // Bag Raiders)
47. Pop Bottles Baby (Birdman // Justin Bieber)


- Country:UK, USA
- Genre:Action, Adventure, Family, Fantasy
- Director:Joe Cornish
- Stars:Louis Ashbourne Serkis, Denise Gough, Dean Chaumoo, Tom Taylor, Rhianna Dorris, Nathan Stewart-Jarrett, Noma Dumezweni, Rebecca Ferguson, Mark Bonnar, Angus Imrie .....
Old school magic meets the modern world in this epic adventure. Alex (Louis Ashbourne Serkis) thinks hes just another nobody, until he stumbles upon the mythical sword in the stone, Excalibur. Now, he must unite his friends and enemies into a band of knights and, together with the legendary wizard Merlin (Sir Patrick Stewart), take on the wicked enchantress


This year, we welcomed our very first generation of Chef Works brand ambassadors — 16 incredible chefs who are inspiring us inside and outside the kitchen. Next up, meet Chefs Ryan Van Voorhis, Seth Bradley, Galen Zamarra, and Barret Beyer!
Chef Ryan Van Voorhis & Chef Seth Bradley of Nude Dude Food
Ryan Van Voorhis and Seth Bradley are not your conventional private chefs. As the founders of Nude Dude Food, a private dining and catering service in Chicago and Nashville, this duo is living proof that lighthearted vibes and serious eats can pair beautifully. Whether they’re sporting chef coats or their signature shirtless-with-aprons look, Chef Ryan and Chef Seth are masters at elevating simple, locally-sourced ingredients into a dining experience that wows their clients every time. Add the fact that they’re best friends, and you get a dynamic you simply can’t recreate. Don’t let the cheeky name fool you — Nude Dude Food is raising the bar for private dining and the culinary world as a whole.
|“Care about what you’re cooking and where it comes from. Then, present it in a way that’s relatable and be a nice person. The longer we’re in it, the more we go back to that. The food is first, and the way we connect with people over the food is very important.”|
Chef Galen Zamarra
Chef Galen Zamarra is a James Beard Award-winning chef, restaurateur, and culinary consultant. The epicurean spirit beckoned him at a young age, and before he was even old enough to get a job, he started taking cooking classes at a local community college. His passion eventually took him to New York, where he graduated with honors from the Culinary Institute of America. Since then, he’s worked with globally-renowned chefs David Bouley, Georges Blanc, Michel Bras and Alain Passard, and he’s opened three restaurants in New York City, all of which allowed him to focus on what he loves most — seasonal, local ingredients. Today, Chef Galen is the executive chef of The Lodge at Blue Sky in Park City, Utah, where he reimagines Mountain West cuisine and gathers inspiration from the ingredients and cultures of the region. Chef Galen describes his cooking style as ingredient-driven, supported by proper technique. Restaurant culture is also top-of-mind for Chef Galen, and he works hard to cultivate a supportive and positive atmosphere for his teams.
|“This industry allows us to be creative and unique — and I don’t think you can say that about a lot of jobs… When you open a restaurant, whether it’s a café or a bar or a restaurant, you can really make that an extension of your own personality.”|
Chef Barret Beyer
Chef Barret Beyer is a Florida-based private chef who brings his ambitious New Yorker spirit to everything he does. You might have seen him on season 11 of Hell’s Kitchen, but Chef Barret is so much more than a TV personality with an awesome mohawk. As a chef, veteran, serial entrepreneur, and more, he has a lot to teach us about creative risk-taking and the art of the pivot — skills that have become so essential in today’s rapidly-evolving world. As someone who once struggled with substance use disorder, Chef Barret is passionate about underscoring the importance of mental health and the value of the culinary arts as a creative outlet.
|“Don’t be afraid to step outside the box. Don’t be afraid to mess up and create something. Some of my best recipes have been something I messed up that somehow turned out amazing.”|


Ladies and Gentlemen, dearest fans, my debut EP "BURN AND RISE" is finally OUT NOW! Buy it at Shadybrain or other shops:http://www.shadybrain.net/music/electronic/release/burn-and-rise
Also check the video for "BURN AND RISE", the title track of the EP- it was shot in Glasgow by award winning director Reza Dolatabadi:http://vimeo.com/8965799
Stay tuned! Yours sincerely, Panic Girl
Ankledeep in organic, wobbling synthesizer marshes, deep down in the machine room where blueprints are being shaped, transformed, chopped and rebuild. Slow thuds, mid rotations, high vibrancies. Black shadow orchids spill out their grains to become flamboyant melodies, keys, strings, harps, celli, guitars, weaving them into a lush orchestration. And finally her warm, husky voice that guides you through the misty tales.
Panic Girls’ addiction to form and manipulate soundscapes began when she was a little child. After 20 years of growing unerringly into an audio junkie, synthesizer geek, studio nerd, instrument stockpiler, anything and anyone sampler, tangible multi-touch interface devotee, sound designer and singer she now decided to release her very own downbeat sound with the debut EP ...


Minecraft Sticker- There are effects like Diamond Golem, Mutant Creeper, Titan Herobrine from Minecraft, Creeper from Minecraft, Enderman from Minecraft, Steve from Minecraft on your photos, Minecraft Mob Battles!
You can edit your photo and avatar to make it funny and share them with your friends, Add funny & interesting sticker and give fun effect to your image with a touch and bring the magic to your picture!
- Regular updates with new Minecraft sticker. - Lots of fun & entertainment with your friends and relatives with editing their photos! - More than 70+ free graphics sticker are available! - Very easy to use! - Add text/caption functionality - User friendly user interface and attractive app designs
Photography tools and effects:
- Take camera photo to add sticker - Select album photo to add sticker - Add multiple sticker to the photo - Add text/caption to photo - Change font of text - Change font size - Zoom sticker - Flip image - Rotate image - Erase sticker - Delete sticker - Save image to album - Share image via other app
Disclaimer: All images are copyright of their perspective owners. All images in the app are available on public domains. This image is not endorsed by any of the perspective owners, and the images are used simply for aesthetic purposes. No copyright infringement is intended, and any request to remove one of the images/logos/names will be honored.
Thank you for Downloading. Please Rate & Review the App.


Octogenarians Georges and Anne are retired music teachers whose daughter lives abroad with her family. When Anne suffers a stroke and is left paralyzed on one side of her body, the couple’s abiding love for each other is put to the test. Directed by Michael Haneke, starring Jean-Louis Trintignant and Emmanuelle Riva. French. Two hours, 7 minutes. Sponsored by the Friends of the Library.
International Film Festival
Tuesday, April 8, 2014, 6:30 pm


if a cardmaker could make cards? 13. Yes, that is how many I made on a rainy weekend. I was bound a determined to use up a mat stack from DCWV that I purchased sometime last year. Used the stash of flowers, brads, twine and.... some stampable linen that I purchased from CTMH about 3 years ago. Love this stuff- makes its own statement and when you pull on the threads, you can make it look like a well worn garment label.
This card was made using the sketch over at Clean and Simple Stamping #98. Though my card is clean, simple it is not. I had to add the flowers, twine, leaves and brads to finish off my card.
This card is inspired by the sketch challenge at Get Sketchy #46. The base of the card is just a patterned piece of paper from the stack, added the scraps to make the top sentiment focal piece. Chocolate grosgrain and LOTS of gems finish off this card.
Hoot loves u? I have seen so many lovely banner cards I wanted to try my own. This used the sketch from Christmas Card challenges #31, Charisma Cardz #27 Watch the birdie, and 365 cards day #131 banners, and Paper sundaes #26, lots of layers.
And finally this card is for a dear friend of mine. Haven't seen her since school let out- between the 2 of us, our 6 kids keeps us running around to camps and the pool. Not much of a mommy social life during the summer! The bird stamp is from the dollar section of Mike's! What a bargain! Used the sketch at Inspirational Card Sketches #73, Charisma CArdz watch the birdie, and Stamp Challenges recipe: 1 image, 1 Designer paper and 1 ribbon (twine).


It has been four and a half years… yes YEARS… since I painted my last EDM challenge item.
EDM stands for Every Day Matters and is a list of 328 items to draw or paint. It was created by Karen Winters to help artists create a daily practice without mulling over the eternal question, What should I draw today? I’ve been oh so sloooowly working my way though the list but never have I gone this long since my last entry. I painted number 122- draw something where shade is a prominent part of the subject, back in March 2017. Ouch.
EDM 123 – Draw a bell.
Yes, it’s a bell… a Christmas ornament bell. I had to dig around in the closet to find it and now that it’s out early I guess I’ll have to find a safe spot for it to rest until it can take it’s rightful spot of honor on our holiday tree!


A few months later a parcel arrived with two copies of the book and I couldn't wait to get to my page!
Of course all my friends and family got a copy of the book for Christmas too!
The beginning of this year I had a message from the publisher saying they wanted to produce a revised softback copy of the book with added artists and if I wanted to add a few more images I could. By this time I had a new cat Morpheus and I had done loads of artworks based on him! It was difficult choosing which prints to send in as I had so many!
I narrowed it down to a few favourites a "Dreamy" collagraph print from when he was a tiny kitten!
|Dreamy Collagraph Print|
|Play With Me! Collagraph Print|
|Captain Jack Kitty Collagraph Print|
|Happy Kitty Collagraph Print|
|Kitten Cute Linocut Print|
|Kitten Play Linocut Print|
Morpheus the cat really loves being in a book!
The book is available direct from the publishers Mascot Media or from Amazon


The project we just completed is a commercial spot for eSignal, currently airing nationwide. eSignal is a platform designed for dedicated, professional day traders and we wanted to emphasize the sophistication that eSignal guarantees its users.
The 3D graphics bring eSignal to life, mirroring actual features within the product. This is some of our best work to date and we couldn’t be prouder of our team.
Produced by Transvideo Studios and its creative division, Picturelab


Desperation to make:
I ended my first self-produced show in a serious production hangover. It ended. There was no one on the phone or in email to help me put it back up anywhere else anytime soon. I was desperate to make something.
I have always wanted to try busking a little more formally. I have made various pieces of performance art before and even been involved in guerrilla style street art. (flash mobs? I wish.) One of the art forms I have always admired is graffiti. Besides all the political implications behind tagging, some of the small, medium, and large mural-sized pieces are visually stunning and the fact that they often don’t have permission speaks to how much people in that given place need creative expression.
(I promised myself I wouldn’t get into an entire blog post about that here.)
Creative Fast-Food without the calories:
I wanted to do something as immediate and accessible and creative as graffiti, but legally, and using my skills. So…I invented a new style of busking that I had a fun time explaining at the Sydney city office. It’s an installation I call HYPERGRAPHIA based on the psychological disorder that compels some people with neuro-atypical brains to write everything, obsessively and without censorship. (I mean writing-on-the-shower-curtains level compulsive.)
I pick a theme appropriate to every location. At the bustling “no-time-for-you” Queen Victoria Building square in downtown Sydney I went with my post-show feeling…”vulnerability.” I write for an hour, without stopping or planning, in chalk, on the street. It’s usually huge.
It was entirely successful and fulfilling, and fabulous to watch people really engage with what I wrote as well as what I was busy writing…live, in front of them, for all to see. Now I do this as often as I can in a large populated area. So far I have done 4 installations (including 1 by commission) and will be adding more.
I will try to post where and when I do these on my
“Upcoming Events” part of the page as well as twitter and facebook (more likely). It is one of the most vibrant and fulfilling parts of my artistic life, and is free for everyone, artist and non-artist alike.


CHANEL introduces NOIR ET OR Paris-Shanghai Collection
For the “METIER D’ART” fashion show in Shanghai, Peter Philips, Global Creative Director of CHANEL Makeup, created an exclusive collection, NOIR ET OR. The collection is a glamorous fantasy of Shanghai in the 30’s and 40’s as Coco Chanel herself may have imagined it. The black and gold eyes and nails complimented the gilded and jet black accents shown on the runway.
Ligne et Ombre de Chanel in Jet-Gold
Matte black eyeliner and sparkling gold eyeshadow $45.00
Le Vernis Nail Colour in Black Velvet
Matte black nail color in a frosted bottle $25.00
Le Vernis Nail Colour in Gold Lamé
Satiny gold nail color $25.00
Le Vernis Nail Colour in Illusion d‘or
Transparent sparkling gold nail color $25.00
On counter: April 2010
Available exclusively at www.CHANEL.com, CHANEL boutiques and CHANEL Makeup Studios.


Hello from the Hill Country, south of Austin Texas. Josh and I are enjoying our first anniversary returning to near where we spent our honeymoon. This time we're staying in an Airstream Trailer. It's cute and cozy. I told Josh I think it would be fun to live here. I would only need an outside room because even though I could squeeze my active library in the trailer I would need another room to house the rest of my books and also the occasional guest.
Josh said, yeah and that outside room would need to have four rooms inside of it and a full bath and high ceilings then he wouldn't mind living in an Airstream, either.
Well, it was a romantic thought.
While here I finished the last of three novels by Georges Simenon. Simenon was a Belgian writer best known for his prolific amount of murder mysteries centered around a Parisian detective, Inspector Jules Maigret.
Maigret is a cynical slow moving character that is incapable of drawing conclusions as to the moral compass murderers and thieves live by. He seems to solves these problems because they are his job and they seem to ningle him like some mathematical problem that gives him no peace until he finds the solution.
None of his stories are formulaic. In the three murders in this collection the people are murdered for very different reasons. The first man is an extremely unpleasant man and everyone connected to him, including his family, had good reason to want him dead. This of course leaves the reader clueless as to the actual perpetrator because everyone else had equally good motives and when we do find out who did it, it leaves one shrugging and thinking, "Oh. That one did it."
The next one, everyone involved in the victim's life is suspected, especially one unpleasant and uncooperative caregiver to the dead man but the ending is as unexpected as it is different from the first story. Not all things or people are as they seem.
Finally, the last story is about a petty thief who is brutally murdered. Maigret had dealings with the man before and had grown to have a sort of, not affection, but perhaps a compassion, for him. Maigret himself doesn't know how to describe it. He simply cannot dislike the man, even though in my opinion, he was a creep. Apparently this murder victim, Honore Cuendet is some sort of adrenaline junkie. He carefully cased his houses, only of the very rich, and only robbed them while they were at home.
Because a parallel storyline about a gang of bank robbers travels abreast with the murder mystery, one assumes there's a connection but it turns out to be a red herring (sorry for the spoiler). And the actual murderers are people who one could not have suspected because they were barely in the story. Yet the conclusion is entirely logical.
I don't know if everyone would enjoy Simenon's stories. He writes as though everyone were clinically depressed. No one shows emotion over anything. I know it is a characteristic, even a stereotype, of French culture but everyone, I mean everyone, has mistresses or are mistresses. There is really no moral compass to anyone's life.
When Maigret interviews a girlfriend of Cuendet, he asks why the victim never married her. The woman shrugs and replies that she assumes he probably already had a wife. As if it were of no importance.
And yet, Maigret does not have a mistress. His wife is there in the background, calm, loving and supportive. When he is woken at 2am for an investigation, she is immediately in the kitchen making him coffee. She is waiting for him when he returns at the end of a harrowing day.
Strangely there is no emotion revealed between the two of them but the actions show a genuine love: her's through support and his through his implied fidelity.
While I find none of the characters sympathetic or particularly likeable, I still enjoyed romping through the Parisian streets with this laconic inspector and encountering the different character types that he must confront in order to solve his murders.
Whether Simenon is giving the reader a realistic taste of Parisian life and culture, who knows? As Oscar Wilde says, perhaps our image of a thing is more enjoyable than the actual thing itself.
Georges Simenon (1903-1989)


The Seven Sopranos
The 7 Sopranos have been dubbed “Australia’s Most Beautiful Voices” following the successful launch of their self-titled ABC Classics album in 2013, which debuted at Number 2 on the ARIA charts. In 2016 they released an independent album – “Popcorn” – a selection of songs from stage and screen, based on their current touring show Songs From Stage and Screen.
What is most striking about The 7 Sopranos is their commanding stage presence and vocal prowess. Their refined vocal skills make this operatic ensemble of seven talented women a show-stopping headline wherever they go. They convert the inconvertible to the power and versatility of classically trained performers with their breadth of work covering everything from opera to musical theatre to contemporary song. Their irresistible style, personas and unique sound appeal to music lovers everywhere.
From Dubai to Dunedin to Dubbo and beyond, The 7 Sopranos have clocked up hundreds of appearances across the globe. Appealing to music lovers everywhere, they successfully straddle the divide between opera and mainstream music, creating their own unique fusion of faithful classical traditions and techniques meshed with contemporary music, enchanting new and enthusiastic audiences. The 7 Sopranos are an accessible, versatile all-female ensemble of breath-taking music makers.
Bradley Daley has won critical and popular praise for some of opera’s most expansive tenor roles..
Teddy has rapidly established an international career on both the opera stage and concert..
Under the baton of Founding Artistic Director & Chief Conductor Sarah-Grace Williams, The..
The multi-talented Mick Buckley first found fame as the rockin’ drummer for "The Radiators",..
Tamara-Anna Cislowska is one of Australia’s most acclaimed and recognised pianists. Soloist and..
Mirusia is an Australian-Dutch soprano and has gained worldwide fame as soloist with Andre Rieu...
Peter Cousens, a graduate of the National Institute of Dramatic Art (NIDA), is the only Australian..
“Forceful, funny, powerful and poetic, Ami Williamson is a Folk Singer/ Songwriter like none..
Resident on board Bravo! Cruise of the Performing Arts since it first set sail in 2013 and a..
Les Wilson's Swing Force Big Band has emerged as a bright and energetic..


Remarks by the First Lady at Classical Music Series Workshops
MRS. OBAMA: Well, hello. (Laughter.) Good afternoon. Welcome to the White House. How's it been going? We've heard you everywhere. Good music going on.
So I am -- I'm thrilled that you could join us for this music workshop, where you've had a chance to learn from some of the greatest classical musicians alive today. And now we have a chance to hear from all of you, the classical music superstars of tomorrow. Is that who's in the room? Say yes. (Laughter.) Yes, that's me! Say yes. Own it! It's me! (Laughter.)
With us today are Joshua Bell on violin, Alisa Weilerstein on cello, Sharon Isbin on guitar, and Awadagin Pratt on piano. (Applause.) They are the best in the world, and we're incredibly lucky to have them today.
I also want to thank two of our youngest performers, Jason Yoder -- Jason, where are you? Hey, Jason. Jason blew me away in Pittsburgh, and so much so that when we organized this, I said, get Jason. And Jason is here. Yay for Jason.
And also Sujari -- how are you? -- Sujari Britt, who's only eight years old, Sasha's age, but is already performing on a regular basis. Let's give those two a round of applause. (Applause.) We're so proud of you both.
And finally I want to thank all of you young people who have come from all over the country to play together, to learn together, and hopefully to make new friends today. I love events like this because this is what the White House is all about. It's the People's House. We say that all of the time. It's a place that's steeped in history. You can look on -- the pictures on the walls, and there are so many stories that can be told. But also it's a place where we like to start new traditions and to bring people together in different ways.
And that's what we're doing today, because nothing mixes old and new quite like classical music. Many of the beautiful concertos and sonatas you're playing today were written hundreds of years ago, long before CDs and computers and MP3 players were ever invented. The only reason we know what they sound like is because the great composers of history scratched those notes into parchment with quill pens.
But today you can play these same notes on an electric violin. You can write your own variations of these songs online and e-mail them around the world. And you can mix and blend your instruments in ways that Beethoven and Mozart never could have imagined.
That's what makes classical music timeless, because even though it's been around for centuries, musicians like all of you are always reinterpreting and replaying it in ways that we've never heard before -- and that makes it so exciting.
Now, I know that what you're doing doesn't always feel easy at times. Is that true? Yes, yes, I can get -- I hear that. And I know how hard you all work, and practicing even when you don't feel like it sometimes, right, and lugging heavy instruments around when you don't feel like it, pushing yourselves to learn new pieces, or getting that last measure just right. Many of you are perfectionists, and it takes a lot of energy and time, and it's not always easy.
But I can tell you this. It's through that kind of struggle, whether it's through an instrument or writing or research, it's through that struggle that you find what you truly have to offer to your instrument or to anything in life. And you won't just learn about rhythm and melody and pitch when you're working with your instruments; you're going to learn about discipline and determination and taking risks.
And I know your instructors and parents have probably told you this time and time again, but they were right -- they're right, I'm sorry -- you'll learn that if you believe in yourself and put in your best effort, that there's nothing that you can't achieve. And those aren't just lessons about music. These are really lessons about life.
So I'm here today to tell you to keep up the good work and never lose that passion that you feel about the instruments that you play and that the music that you make.
That's the passion that drives Joshua Bell, who was just four years old, I understand, when his parents caught him stringing rubber bands between the knobs of dressers, stretching and plucking them to play different notes.
It's the same passion that drives Alisa, who I understand her grandmother made her a string quartet out of cereal boxes when she was a little girl. And she kept sawing away at the cardboard cello, playing along with her musician parents until they finally gave in and signed her up for lessons.
Awadagin started playing piano after his mother bought a dusty upright piano for just a hundred dollars. That passion drove him to stick with the piano, even when he felt like skipping lessons to play tennis instead.
And Sharon's father promised her that if she practiced guitar for an hour, she could go outside and launch her model rockets. And after a while, the rockets stayed on the ground, but then her musical career took off.
It wasn't that long ago that these great musicians that you celebrate today were sitting in your seats, standing in your shoes. And that's why they're here -- to show you that if you follow that passion and never give up, you too can claim your place in the world of classical music.
So thank you all for celebrating with us. Thank you for learning with us today. And I'm excited now to see what you all have been working on.
So let's get this show going. Thank you. (Applause.)
Michelle Obama, Remarks by the First Lady at Classical Music Series Workshops Online by Gerhard Peters and John T. Woolley, The American Presidency Project https://www.presidency.ucsb.edu/node/320251


Montalembert is a fire-resistant, matte jacquard with a geometric motif accentuated by a different colour thread. Dynamic polygons seem to interact and interlock perfectly. A thread ensures that they remain subtly separate and accentuates their contrasts.
Available in monochrome shades and bright colours, there are 6 fantastic variations for you to choose from.
To read more about the collection Click Here.


Yo Yo Honey Singh, who fought with bipolar disorder and has recovered now, is all set for a grand comeback with a song in Luv Ranjan’s Sonu Ke Titu Ki Sweety. Titled Dil Chori.
Makers of the film, starring Kartik Aaryan, Nushrat Bharucha and Sunny Singh, shared a teaser of the song over the weekend.
The song’s title reminds us of a hit number by Hans Raj Hans from the 90s, Dil Chori Saada Ho Gaya.
Sonu ke Titu Ki Sweety is the first of a three-film contract between T Series and Luv Ranjan. It is said to be a quirky, new age love triangle set in Delhi and UP.
After a controversial absence from the public scene following reports of a fight with Shah Rukh Khan and being in a rehab, Honey Singh said in an interview last year, “Nobody knows this, and I wanted to tell the world myself, not through a spokesperson. The last 18 months were the darkest phase of my life, and I wasn’t in a state to talk to anyone. I know there were rumours that I was in rehab, but I was in my Noida house throughout. Truth is, I was suffering from bipolar disorder. It went on for 18 months, during which I changed four doctors, the medication wasn’t working and crazy things were happening.”
The wait is over …
Lots of love ✌…. ????????????????….. https://t.co/Gymi2zjlZf
— Yo Yo Honey Singh (@asliyoyo) December 26, 2017
Before his latest tweet, Honey had also shared pictures from the Ganges, and dropped hints in his tweet that he was working on a song. “Chillin at Ganges. Makin #BEATS writing #VERSES. “Jai Ganga Maiya Ki” #YoYo #YoYoHoneySingh #Music,” he tweeted last week.
— Yo Yo Honey Singh (@asliyoyo) December 16, 2017
The Punjabi rapper has been reportedly spending nearly 12 hours a day in studios, making new songs and is likely to reveal the new song around the New Year.
His last song was Aankhon Aankhon from Bhaag Johnny (2015).
High Heels, Blue Eyes, Lungi Dance, Dope Shope, Desi Kalakaar and Angrezi Beat are some of his most popular hits that continue to rule hearts and disco parties.
Produced by Luv Films’ Luv Ranjan, Ankur Garg and Bhushan Kumar and Krishan Kumar of T-Series, the film is slated to be released on November 3.