Corps style band

A Corps style band is a type of marching band based on those of Drum Corps International. Notable differences include the introduction of the roll step, backwards marching and sliding, and the "8 to 5" step size.
History.
The corps style of marching stems from a rich American military history of marching bands. Following the Civil War, many musicians from the North and the South returned home and formed community bands. These proliferated in many American towns for decades, and served as a focal point for local festivals. Following World War I, the VFW and the American Legion began sponsoring their own bands for local parades and performances. These groups grew in size and scope to where competitions were held locally, regionally, and finally nationally.
When the Drum Corps Associates (DCA) was formed in 1965 and later Drum Corps International (DCI) in 1972, the performances and level of creativity began to dramatically change from the traditional military style. During this time, step sizes were altered from a "6 to 5" ratio (six steps to five yards) to an "8 to 5" (eight steps to five yards). Instead of a constant forward marching, groups would "stand fast" or "mark time" to music, maintaining specific forms. Backwards marching, as well as a Traverse march (sliding side to side) was incorporated into the marching style during this time.
Through the 1960s the American high school and college bands marched primarily in a military style. However, following the trends set forth by drum corps, many college and high school bands began to incorporate the drum corps elements into their style. The 8 to 5 stride became widely accepted in the late 1970s. During this time marching bells, xylophone, and even marching tympani were added to the field.
The 1980s saw increased movement by American high schools to utilize the corps style of marching rather than the military style. This is most likely due to the fact that the corps style allowed for a much broader selection of musical styles, tempos, and moods, versus the limitations of the traditional military march. Another important factor is that the Corps Style bands face the audience, versus the military bands primarily facing the end zones, therefore, the corps style band has a much fuller sound, and is generally louder. The 80's also saw the movement away from strict 8 to 5 step size to the usage of a constantly changing step size.
With the addition of new musical elements, the 80's also saw the addition of the "Front Ensemble" or "Pit", a derivation of the orchestra pit used for ballet and opera. In marching band, the pit is used to incorporate keyboard percussion such as xylophone, marimba, and vibraphone, as well as other color percussion instruments such as tympani, cymbals, hand drums, drum set, and tambourine.
The 1990s observed increased usage of dance with the color guard, more usage of props and backdrops, increased usage of pit percussion, and generally an increase of the physical demands of the band members. Faster tempos of music were incorporated into corps style shows. Electronics were also incorporated into the corps style via the pit. Electronics are used for amplifying soloists, or as synthesized sounds effects or instrument voices in the arrangements.
Similar styles.
During the 1970s, several styles were derived from the corps style, including "Patterns in Motion" which was pioneered by Bill Moffit, then band director at the University of Houston, and later Purdue University. The Patterns in Motion style includes mostly symmetrical forms, gate swings, pinwheels, etc. Generally, the style maintains a fixed 8 to 5 stride but can include altered step sizes to accommodate maneuvers such as pinwheels. This style also maintained a military-style "high step", where the feet are brought straight up to the knee before being pushed forward for a step.
Another similar style developed in the 70s is the "show band" style, which incorporates similar gate swings, pinwheels, and such from the patterns in motion style. Generally, the show band style includes more standing time, and more movement to a drumbeat or cadence, instead of while marching to the music of the winds. The music selection for show bands is often more popular music.
In modern times the show band style still is fairly popular around the country. Although one may observe patterns in motion movement during a show, it is generally not utilized for an entire performance.
Even within the show band style, there are significant variations. There tends to be a style more geared towards African American traditions, and can be observed in bands from schools such as Grambling State University, Texas Southern University, or the fictitious college from the film "Drumline". This variation features more standing time, while band members dance and entertain the spectators. Often, musical elements from this variation of show band incorporate contemporary popular music and traditional rhythm and blues. Many of these bands maintain a twirling line, as well as a dance line instead of a color guard.
The other major derivation of show band can be observed in bands such as the University of Texas, or Ohio State University. Although one could argue that both these bands have such rich and longstanding traditions which predate the formation of drum corps, they could be considered a style unto themselves. However, these bands serve more as the foundation of the show band style, not as its ultimate evolution. These types of show bands are also more interested in crowd entertainment, and typically change their field show (music and drill) every other week. They generally have a theme for each show but derive their musical selection from a variety of sources such as traditional marches, symphonic, film scores, jazz, or popular music. These types of bands feature mostly playing while marching with only a limited amount of stand fast time.
Stylistic differences.
Where the military style is usually a constant forward march, it may incorporate an abrupt turn (known as a face turn) or an about face. The corps style incorporates forward, backward, and side to side marching. The military bands generally always face an end zone, where the corps bands generally face the main audience (home side press box), but can face backfield or other directions for specific effect. The military style uses a strict "6 to 5" foot stride, where corps style generally has a constant altered step size.
A significant break from the military tradition used in the corps style is instead of baton twirlers, there is a color guard which uses flags in their routines, as well as rifles and sabres. In military bands twirlers march the same drill as the band members do, where the color guard in a corps band is generally a separate unit, doing their own drill and routine. Color guard members also may incorporate dance movement. If a military unit has flags, they are generally not spun, and the same silk is used throughout the show, where a color guard will use multiple designs for silks during the show, as well as rifle and sabre.
Musically, military bands perform marches. The corps style can incorporate any or multiple styles of music to fit the theme of their show. Corps style bands can utilize props and backdrops to enhance the theatrical quality of their show, whereas military bands generally don't have a theme for their shows.
Instrumentation.
The corps style marching band contains the traditional military band instrumentation with the addition of other concert instruments and percussion.
The drumline.
The development of the corps style of marching has brought about new equipment for drumlines. In the 1970s and 1980s, specific drum harnesses were developed to accommodate marching with a set of bells, a single fiberglass timpani, or a xylophone. These types of harnesses are also used for snares, tenors (quads/quints), and bass drums, a significant upgrade to the traditional cloth sling. Multiple sizes of bass drums are often used for corps style bands, with the bass drums playing melodic or "moving" parts (similar to a hand bell choir) rather than a traditional military bass drum keeping a steady beat.


Shakespeare on the Saskatchewan

Shakespeare on the Saskatchewan (Shakespeare on the Saskatchewan Festival) is a yearly summer Shakespeare theatre festival founded in 1985, which takes place in Saskatoon, Saskatchewan, Canada.
History.
Under its origin of Nightcap Productions, founder and first Artistic Director Gordon McCall brought a group of theatre artists together to put up the first production - A Midsummer Night's Dream in the summer of 1985 on an old lawn bowling pitch near the current festival site. During Gordon's tenure from 1985-1991, the festival saw the production of seven of Shakespeare’s plays plus a remounted national tour - a landmark bilingual production of Romeo & Juliette co-directed with Robert Lepage. These productions celebrated the festival atmosphere and challenged approaches to Shakespeare.
Henry Woolf, British-born actor/playwright/director and past Head of the University of Saskatchewan Drama Department, assumed the role of artistic director of the company in 1991. During Woolf’s years, the company grew to become a multi-faceted festival and theatre company that included music, dance, and workshops, presenting off-season and non-Shakespeare productions, including the North American premiere of Harold Pinter's Ashes to Ashes. His productions over the next ten seasons earned national acclaim and public notoriety. His production of Much Ado about Nothing (1993) set in "The Bug Kingdom" had purists buzzing with anger, but the evil Don John as a black widow spider and Hero as a lovely butterfly captured the imagination of many new patrons. Woolf retired as artistic director in 2001.
After years at the festival as stage manager and production manager, Mark von Eschen stepped into the role of Artistic Director in 2001 and would oversee the longest and most consistent period of the Festival's leadership and artistic output. Mark directed a staggering 28 productions for the festival over his tenure and was known for his personal connection with his audience. From his first A Midsummer Night's Dream to his Indiana Jones inspired Comedy of Errors, audiences had a great time at his shows. In 2004, Mark also stepped into the shoes of Executive Director to take leadership of the company's financial health.
In 2014, the leadership of the organization of the company was passed to Will Brooks as Artistic Producer. Although 2014 was largely in place already, the new team was able to make many steps forward in time for the quickly approaching season: for the first time in years, an additional half week's rehearsal was added on to the company's tight preparation time, and a guest director took the reins of one of the festival's main stage shows. As only the second woman to be at the helm and the first guest director at all since 2000, this was a vital step towards a vision of gender parity for the company. Added to this were innovations like the inclusion of live actor-played music, gender blind casting, education and outreach programs, a re-designed festival mainstage, Above all else this new artistic vision brought with it a revitalized, forward-thinking, and cutting-edge vision for the company.
Recent partnerships with the Gordon Tootoosis Nīkānīwin Theatre, and the company's first all-female production of J. Caesar, and the inclusion of a third devised production earned Shakespeare on the Saskatchewan a Juror's Award for Innovation from the Saskatoon Area Theatre Awards in 2016.
In addition to productions of plays by William Shakespeare and his contemporaries, the festival's activities include: medieval feasts; workshops; tours; art displays; special matinees; and a free community stage. It is a major Canadian tourism summer destination.
Shakespeare on the Saskatchewan is listed as a Major Festival in the book "Shakespeare Festivals Around the World" by Marcus D. Gregio (Editor), 2004.
In 2019, the city of Saskatoon announced new plans of an overhaul of the Shakespeare on the Saskatchewan location, including a permanent auditorium, dressing room, new bathrooms, concession, and other buildings. 3Twenty Modular, a Saskatoon based design and construction company, among other Saskatoon based companies, has been contracted for the future development of the area.
Production History.
The following production history is sourced from the "Shakespeare on the Saskatchewan" website.


Needlework

Needlework is decorative sewing and textile arts handicrafts. Anything that uses a needle for construction can be called needlework. Needlework may include related textile crafts such as crochet, worked with a hook, or tatting, worked with a shuttle.
Similar abilities often transfer well between different varieties of needlework, such as fine motor skill and knowledge of textile fibers. Some of the same tools may be used in several different varieties of needlework.
According to the "Ladies' Needlework Penny Magazine":
There are many women who persuade themselves that the occupations particularly allotted to their sex are extremely frivolous; but it is one of the common errors of a depraved taste to confound simplicity with frivolity. The use of the needle is simple, but not frivolous.
Background.
Needlework was an important fact of women's identity during the Victorian age, including embroidery, netting, knitting, crochet, and Berlin wool work. A growing middle class had more leisure time than ever before; printed materials offered homemakers thousands of patterns. Women were still limited to roles in the household, and under the standards of the time a woman working on needle work while entertaining the parlor was considered beautiful. According to one publication from 1843: "Never is beauty and feminine grace so attractive as, when engaged in the honorable discharge of household duties, and domestic cares."
Fancy work was distinguished from plain sewing and it was a mark of a prosperous and well-managed home to display handmade needlework. While plain sewing was often handed over to servants, even in middle class households, fancy work would often be done while entertaining guests, in the afternoons, evenings, or on Sundays. The types of goods that could be decorated with needlework techniques was limited only be the imagination: knitted boots, embroidered book covers, footstools, lampshades, sofa cushions, fans and on and on.


Macbeth (Sciarrino)

Macbeth: tre atti senza nome is an opera by Salvatore Sciarrino that received its premiere in Frankfurt in 2002 in a production by Achim Freyer. Although the work is based on endless permutation of a few simple recitation-figures, Sciarrino worked on the opera for 25 years.


Shed (weaving)

In weaving, the shed is the temporary separation between upper and lower warp yarns through which the weft is woven. The shed is created to make it easy to interlace the weft into the warp and thus create woven fabric. Most types of looms have some sort of device which separates some of the warp threads from the others. This separation is called the shed, and allows for a shuttle carrying the weft thread to move through the shed perpendicular to the warp threads. Which threads are raised and which are lowered are changed after each pass of the shuttle.
The process of weaving can be simplified to a series of four steps: the shed is raised, the shuttle is passed through, the shed is closed, and the weft thread is beaten into place. These steps are then repeated, with a different set of threads being raised so as to interlace the warp and weft.
The term "shedding" refers to the action of creating a shed. A "shedding device" is the device used to raise or open the shed. Creating the separation is referred to as raising or opening the shed, while the reverse is known as lowering or closing the shed.
Shedding device.
The type of device that is used to raise and lower the shed differs on the type of loom. With a tablet loom the sheds are raised and lowered by rotating the tablets, or cards. In a floor loom the shed is created by the harnesses. Inkle looms have one of the more primitive shedding devices, where there is one set of heddles and the shed is created by hand.
Originally there was no shed, and the weft was inserted into the warp by picking the warp threads up individually, as is done in tapestry weaving. After each weft thread is woven the warp threads had to be picked out and lifted again, which made the process slow. To speed up the process various devices were developed to create a reproducible shed, so that the weft could be passed between the separated threads, and so the threads would not have to be separated individually each time. The first type of shedding device was called a shed-rod. It was a rod inserted into the warp to ease in weaving, and came about at the same time as the heddle. Threads were alternated over and under the rod, and the threads that went under the rod went through string heddles attached to a bar. The shed was created in two ways:by raising the shed-rod, and by lifting the heddles. The shed-rod was an invention of eastern origin, and was introduced to Europe via Egypt in the first century AD. The Romans used it for both plain weave and twill.
After the shed-rod came the rigid heddle loom, where the shed is created by raising or lowering the rigid heddle. As the loom progressed, the shed-rod was replaced by a second set of heddles, for a total of two shafts with heddles. Eventually looms like the modern floor loom were developed, where there are many shafts which can be raised to create the shed.
Rising shed loom.
Two different shedding methods were developed for the harness loom-one where any one harness or combination of harnesses was lifted while the other harnesses remained stationary. This type of loom is known as a rising shed loom, and examples include the table loom, dobby loom or the Jack loom. The other method used in harness looms is where some harnesses are raised while others are lowered. The second method lessened the effort of lifting the selected harnesses because they no longer needed to be raised as high as in a rising shed loom. Counterbalance and countermarch looms are of this second type.
Poor shed.
There are many things that can cause the warp threads not to separate cleanly, and thus produce a poor shed. A slack warp, threads set too closely in the reed, or increase of friction on the first foot or so of the warp where the threads were handled all cause poor sheds. Fuzzy yarns like mohair can also cause a poor shed. To get a better shed the weaver can lift the harnesses while the reed is against the fabric, or raise only one harness at a time. By weaving in a different manner sometimes a good shed can be created. The weaver can also insert a stick into the shed to clear it, and make way for the shuttle though this option is time-consuming.


The Animation Show

The Animation Show is a touring festival of animated short films that was first held in fall 2003. It was created by award-winning animators Mike Judge and Don Hertzfeldt.
Following the demise of other American touring festivals of animation, such as Spike and Mike's Classic Festival of Animation, the stated purpose of the "Animation Show" was to bring animated short films back into proper cinemas, where most of them were intended to be seen, and to "free these artists from the dungeons of Internet exhibition". It was the first-ever festival of animation to be curated by working animators and was described as a "passion project" by its creators, not something intended to turn a giant profit. A sister series of "Animation Show" DVD volumes are also available from MTV Home Video and Paramount Home Entertainment, but the producers stress that the theatrical and DVD lineups are intentionally a little bit different, to encourage audiences to not just wait for the DVD but to visit the cinema and view these films properly. As stated on the "Animation Show" programs and flyers, once the current edition of the Show is out of theaters, it's "gone forever".
Mike Judge and Don Hertzfeldt programmed the first three "Animation Show" programs together. Don Hertzfeldt parted ways with the festival in 2008 and the fourth season of "the Animation Show" was released without his involvement.
History.
2003.
The first season's 2003 tour visited over 200 North American theaters with occasional appearances from the producers (Mike Judge and Don Hertzfeldt) and Q&A's with many of the award-winning filmmakers involved. The program included "everything from forgotten classics to the very latest in computer animation". This included many current Academy Award nominees, as well as the restoration of a 5-minute excerpt from Ward Kimball's 1957 Disney film, "Mars and Beyond". The tour concluded with the DVD release of "Animation Show, Volume One".
2005.
The second "Animation Show" toured throughout 2005, featuring Bill Plympton's "Guard Dog", The 1999 National Film Board of Canada's classic "When the Day Breaks", Don Hertzfeldt's "The Meaning of Life" and new films by animators Peter Cornwell, Georges Schwizgebel and PES.
2007.
The third season of "The Animation Show" began its nationwide release in January 2007, featuring the return of Mike Judge's "Beavis and Butt-Head". The third tour also showcased new work by animators Joanna Quinn, PES, Bill Plympton, and Don Hertzfeldt.
2008.
The fourth "Animation Show" was released in 2008. It included new work by animators PES, Bill Plympton and Georges Schwizgebel as well as the Academy Award nominated short "This Way Up".


Guingamor

Guingamor is an anonymous medieval lai about a knight who leaves the court of his uncle, a king, because the queen has sent him off to hunt for a white boar. By offering a reward for the boar's head, she hopes to get rid of the protagonist Guingamor, who has refused her sexual advances.
Guingamor crosses a river and passes into a mystical kingdom. Returning with the boar's head after what seems to him like three days, he encounters a common charcoal-maker, who tells him that many years have passed since the king's faithful nephew never returned from a hunt for the white boar. Guingamor's return is triumphant and he is immortalized in a lai.
The story was once presumed to have been written by Marie de France, but is now considered anonymous. However, it draws on Marie's "Lanval", and the anonymous "Graelent":


Buckle Up Music Festival

The Buckle Up Music Festival was a three-day country music festival in Cincinnati, Ohio, at Sawyer Point Yeatman's Cove on the banks of the Ohio River. The festival's inaugural event took place July 18–20, 2014. It featured over 80 performances on six stages. The festival was founded by MidPoint Music Festival co-founder and former Fountain Square managing director Bill Donabedian.
Headliners for the inaugural year included Willie Nelson, Allison Krauss and Union Station, Emmylou Harris and Alabama band.
Buckle Up coordinators also gave local artists an opportunity to showcase their music during the event. Some of the local artists at the 2014 festival included: Kentucky Struts, Straw Boss, Bobby Mackey, The Tillers, Kentucky Timbre, & Buffalo Wabs and the Price Hill Hustle.
Festival Dates.
Buckle Up Music Festival was a summer festival that took place the third weekend in July.
2014 line up.
"River Stage"
Friday: Amanda Shires, The Railers, Ashley Monroe, Jamey Johnson
Saturday: Lisa Lynn, Joe Pug, The Lone Bellow, Drive By Truckers, Old Crow Medicine Show
Sunday: Logan Brill, Blackjack Billy, Dylan Scott, Thompson Square
"Bud Light Stage"
Friday: Joshua Scott Jones, Jamie Lynn Spears, David Fanning, Chris Janson, Marty Stuart
Saturday: Sundy Best, Natalie Stovall and the Drive, Spirit Family Reunion, A Thousand Horses, Kristain Bush of Sugarland
Sunday: Abigail Rose, Lyndsey Highlander, Dallas Smith, Corey Smith
"Amphitheater Stage"
Friday: The Dan Varner Band, Tyler Childers and the Foodstamsp, Phillip Fox Band, Jeremy Pinnell and the 55s, Pistol Holler
Saturday: Coraless and the Townees, Kentucky Timbre, Buffalo Wabs and the Price Hill Hustle, The 23 String Band, The Tillers
Sunday: Kentucky Struts, Straw Boss, Bobby Mackey, Noah Smith
"Main Stage"
Friday: Old Dominion, Sturgill Simpson, Eric Paslay, Eli Young Band, Alabama
Saturday: Sleepy Man Banjo Boys, Houndmouth, Emmylou Harris, Allison Krauss and Union Station, Willie Nelson
Sunday: Chase Bryant, JT Hodges, Sam Hunt, David Nail, The Band Perry
"Acoustic Stage"
Friday: Andrew Hibbard, Jamison Road, Messerly and Ewing, Sara Haze
Saturday: Wild Carrot, Dean Fields, The Carolines, Caitlyn Smith
Sunday: Max Fender, Zach Dubois, Michaelis, Ruth Collins
"Lawn Stage"
Friday: Lonesome Jared and the Heartattacks, Alexis Gomez, Sam Lewis, Ashley Martin
Saturday: Shiny and the Spoon, Al Scorch, Arlo McKinley and the Lonesome Sound, Tall Heights
Sunday: Honey and Houston, Jetset Getset, Mark Utley and Bulletville, Ty Bates
"VIP Stage Tent"
Friday: Eric Paslay, Phillip Fox Band, Old Dominion, Jamison Road, Jeremy Pinnell and the 55s
Saturday: Arlo McKinley and the Lonesome Sound, The Tillers, Sleepy Man Banjo Boys, Buffalo Wabs and the Price Hill Hustle, Tall Heights
Sunday: Sam Hunt, Noah Smith, Corey Smith, Bobby Mackey


Unforgettable (novel)

Unforgettable is the fourth book in "The It Girl" series, released in 2007. It was written by a ghostwriter with suggestions from Cecily von Ziegesar. Aimed toward young adults, it is a spin-off from the bestselling "Gossip Girl" series.
Plot summary.
After being torn between Callie Vernon and Jenny Humphrey, Easy Walsh makes his decision and chooses Callie. Although Jenny and Callie made a pact to put their friendship before relationships with Easy in front of the whole school, Callie will certainly not give him up for her sophomore roommate.
Meanwhile, Brett Messerschmidt is still upset about the breakup with Jeremiah. After Jeremiah lost his virginity to Elizabeth, Brett had enough with guys. Surprisingly, Brett finds love in the most unexpected place: Kara Whalen, and confides in the most unexpected person: Heath Ferro, an inveterate gossip. Not ready to declare her sexuality to the student body, Brett keeps the relationship a secret by bribing Heath with sexy pictures of her and Kara. As a result of this, the three become surprisingly close.
Tinsley Carmichael does the unexpected and hooks up with a freshman: Julian McCafferty. However, Tinsley finds Julian growing increasingly more distant, and she cannot accept he might be bored with her.
Brandon Buchanan is completely over Callie and Jenny and is completely in love with Elizabeth, a unique and spunky girl who goes to Jeremiah's school. However, Elizabeth is afraid of being tied down to commitment and wants to be free to see other people, much to Brandon's discontent. Then at a party hosted by Tinsley he sees her flirting with another guy and decides he is not able to have an open relationship with her.
At a special off-campus party hosted by Tinsley, Easy proclaims his love for Callie, and they sleep together in a barn while the party rages on. Jenny walks in on them, runs out of the barn before they see her and finds Julian behind it. They talk and realize their feelings for each other, finally kissing. A fire in the barn interrupts them: a fire started by Tinsley throwing Julian's lighter away after seeing them. Suddenly, when the group returns to Waverly, rumors are flying about who actually started the fire. When Jenny confronts Callie about what she saw, they both accuse each other of starting the fire.
Brett and Kara's secret is exposed when an intoxicated Callie lets the secret slip at the party, Kara having told Callie the secret after a meeting of Women of Waverly, the club started by Brett for girls to talk about their problems. Soon the entire student body knows that their prefect is in a lesbian relationship. Fueled by anger, Brett is hungry for revenge.
Dean Marymount finds out about the fire in the barn and is planning to expel whoever was responsible. Tinsley and Callie seize this chance to frame Jenny and get rid of her once and for all.


Rundle Mall

Rundle Mall is a pedestrian street mall located in Adelaide, South Australia. It was opened as a pedestrian mall in September 1976 by closing the section of Rundle Street between King William Street and Pulteney Street, to vehicular traffic. The street continues as Rundle Street (as before) to the east and Hindley Street to the west.
The pedestrian mall has become the centrepiece of Adelaide's city centre, home to some of the most expensive real estate in the state. It competes with the large shopping complexes in the suburbs, (e.g. Westfield Marion, Armada Arndale Shopping Centre, Westfield Tea Tree Plaza, etc.) In 2009, retail space directly on the mall leased for up to $3,700 per square metre per year.
The mall is home to the South Australian flagship stores of many large Australian retailers and many smaller independent and chain stores. The mall also features a number of arcades and plazas containing smaller boutiques and eateries. These include the Italianate-style Adelaide Arcade (also being the first retail establishment in Australia with electric lighting, and allegedly home to six ghosts), Regent Arcade, Gay's Arcade, City Cross, Southern Cross, Adelaide Central Plaza, Myer Centre, Renaissance Arcade, and Rundle Place.
There are usually several buskers performing in the mall, licensed by the Adelaide City Council. The mall's stores are generally open seven days a week.
History.
Rundle Street, from which the mall takes its name, is named after John Rundle, a member of the British House of Commons and an original director of the South Australia Company. The street was named on 23 May 1837 by the Street Naming Committee. In 1895, the first electric street lighting was installed at the intersection of Rundle Street (as it was then), King William Street and Hindley Street. It also had a tramline run through it when it was still part of Rundle Street.
In November 1972, the then South Australian Premier, Don Dunstan, issued the closure of the western part of Rundle Street to create Rundle Mall, due to extreme congestion caused by traffic and the increasing number of pedestrians. It opened on 1 September 1976. Other than police and other government vehicles, drivers need permission to drive on the pedestrian strip. The mall is a dry zone as well as a smoke-free zone.
Notable sites.
There are several items of modern sculpture in the mall. The best-known is the tall "The Spheres" by Bert Flugelman; two large stainless steel spheres with a diameter of balanced one on top of the other. They are most commonly referred to as the "Mall's Balls" or "Rundle Mall balls". The "Mall's Balls" are a common meeting place for visitors to the mall. Erected in 1977, they were commissioned by the then Hindmarsh Building Society (subsequently absorbed into the Adelaide Bank) and donated to the City of Adelaide to mark the building society's 1977 centenary.
Other sculpture includes a group of life-size bronze pigs − Horatio, Truffles, Augusta and Oliver - rooting around a rubbish bin.
Of note is the historic Beehive Corner, completed in 1896. It lies at the western end of the Mall, on the corner of King William Street, and was originally owned by John Rundle. Beehive Corner is built in the Neo-gothic style, which is generally reserved for churches. The Mall also contains a fountain (The Fountain) that is painted in Victorian colours and was cast in the late 1800s.
Not to be left in the dark, Rundle Mall also boasts the ELITEM Rundle Mall Super Screen—a 35SQM P12 LED display which broadcasts city and state notices as well as other local business messages. Another noteworthy large lighting display is the Rundle Lantern which marks the eastern end of Rundle Mall and the beginning of Rundle Street.
Towards the end of 2014, there was work being undertaken to demolish the café which was located near the junction with King William Street and build an open area replete with benches. The Adelaide City Council info centre was also relocated to the other end of the strip. More work was completed toward the end of 2014.
In 2013, there was giant cockroach statue added to the mall. This statue was salvaged from a junk yard and cleaned up, before being placed in the mall. Police reported two men for dragging the statue six metres along the mall.
In December 2020, there was a giant 2 metre tall steel pidgeon statue placed at the Gawler Place entrance of the mall.
Development.
In 1995−96, the mall received its first major upgrade. The upgrade saw most of the mall's fixtures replaced and the erection of permanent market stalls down the centre of the mall. The market stalls were later demolished as part of a 2013 redevelopment.
There were also some escalators in the middle of the Rundle mall in the 1990s, but this was taken down later.
In 2013, the Adelaide City Council commenced a $27 million upgrade of the mall that was completed in four stages over a 16-month period. New paving, benches, trees, bins, a multi-purpose structure and ground services were installed. The Rundle Mall master plan also included a catenary lighting system to be supported by four 20m poles at either end of the mall and brackets on a number of building facades.
In June 2015, it was announced that an additional cost of $3 million was required to complete the lighting system and to undertake further storm water works in the mall.
The catenary lighting system for the mall was completed in November 2015 after being delayed by several months.
Buildings and tenants.
The majority of buildings on the Mall contain a small number of retail tenancies. There are also many larger arcades and shopping centres that lead off the Mall or blocks around it. No single company or organisation owns a significant proportion of the Mall's real estate.
With direct mall access:
With access via laneways or other arcades:
A number of public laneways lead off the mall, such as James Place, Charles Street, Twin Street and Gawler Place. These are home to more retail tenants.
Anchor tenants.
Department stores:
Other large tenants:
Former tenants:


Dindga McCannon

Dindga McCannon, born July 31, 1947, is an African-American artist, fiber artist, muralist, teacher author and illustrator.
Early life and education.
McCannon was born and raised in Harlem and inspired to become an artist at the age of 10. She is self-taught and works intuitively. Calling herself a mixed-media, multimedia artist she works at "fusing my fine art 'training' with the traditional women's needlework taught to me by my mother, Lottie K. Porter and grandmother Hattie Kilgo — sewing, beading, embroidery and quilting into what is now known as ArtQuilts."
Career.
Dindga McCannon has been an artist for 55 years. In addition to her work as a quilter author, and illustrator, Dindga considers herself a costume designer and muralist and a print maker. Her work involves women's lives, portraits, and history.
In response to sexism and racism in the art world, artists in the 1960s and 1970s created collectives as a way to fight oppression. In the 1960s McCannon was a member of Weusi Artist Collective. This is how McCannon became interested in the Black Arts movement. The Weusi Collective was interested in creating art that evoked African themes and symbols, as well as highlighting contemporary black pride. In 1971, she hosted the first meeting of the Where We At group of black women artists in her apartment, which grew into one of the first group show of professional black women artists in New York City.
McCannon's interest in black arts and women's work met in her creation of dashikis, which then led her to create wearables and quilts.
She recently presented at the "Art of Justice: Articulating an Ethos and Aesthetic of the Movement" conference at New York University presented by the Caribbean Cultural Center African Diaspora Institute in Collaboration with the Department of Art and Public Policy, New York University; Institute of African American Affairs, New York University; and Institute for Research in African American Studies, Columbia University.
Artworks.
McCannon has a quilt (titled "Yekk's Song") in the permanent collection of the Schomburg Center for Research in Black Culture. In January 2020 McCannon's oil painting, "The Last Farewell" was auctioned for $161,000 as part of Johnson Publishing Company's bankruptcy proceedings. This work was part of their private collection, which also included works by Henry Ossawa Tanner and Carrie Mae Weems.
"Revolutionary Sister", a mixed media work created in 1971, was created in response to a lack of revolutionary women warriors. The work depicts a powerful and colorful sister, created in part with items from the hardware store. McCannon speaks about this piece as a Statue of Liberty figure. It is in the permanent collection of the Brooklyn Museum.
Exhibitions.
One-woman shows.
In 2009, McCannon had a one-woman exhibition titled "(This) Woman's Work is Never Done — Celebrating 44 years of Art Making." It was featured at the Hamilton Landmark Galleries, 467 West 144th Street in Harlem.
McCannon's work has appeared in many group shows since 1971.
Commissions.
McCannon has also been commissioned to create various pieces of art.
Books.
McCannon has written and illustrated two books. "Peaches", published by Lothrop, Lee & Shepard in 1974 and by Dell in 1977, tells the story of a young black girl growing up in Harlem, her life with her family and her ambition to be an artist.
"Wilhemina Jones, Future Star", published by Delacorte in 1980, has a similar theme, with a young black girl growing up in Harlem in the mid-1960s who dreams of pursuing an art career and leaving the oppressive atmosphere of her home.
McCannon has also illustrated books for others: "Omar at X-mas by Edgar White", Lothrop, Lee & Shepard, and "Speak to the Winds, African Proverbs", written by K. O. Opuku, published by Lothrop, Lee & Shepard in 1972.
In 2018 McCannon published an illustrated cookbook called "Celebrations". The opening reception was held at Art For the Soul Gallery in Springfield, MA.
Memberships.
McCannon is a member of two artist's collectives, Weusi and Where We At (a black woman's collective from the 1970s).


Flat knitting

Flat knitting is a method for producing knitted fabrics in which the work is turned periodically, i.e., the fabric is worked with alternating sides facing the knitter. Another method of reaching the same result is to knit alternately from right to left and left to right without turning; this back-and-forth technique requires either innate or learned ambidextrous motor skills. The two sides (or "faces") of the fabric are usually designated as the right side (the side that faces outwards, towards the viewer and away from the wearer's body) and the wrong side (the side that faces inwards, away from the viewer and towards the wearer's body).
Flat knitting is usually contrasted with circular knitting, in which the fabric is always knitted from the same side. Flat knitting can complicate knitting somewhat compared to circular knitting, since the same stitch (as seen from the right side) is produced by two different movements when knitted from the right and wrong sides. Thus, a knit stitch (as seen from the right side) may be produced by a knit stitch on the right side, or by a purl stitch on the wrong side. This may cause the gauge of the knitting to vary in alternating rows of stockinette fabrics; however, this effect is usually not noticeable, and may be eliminated with practice (the usual way) or by using needles of two different sizes (an unusual and less effective way).
In flat knitting, the fabric is usually turned after every row. However, in some versions of double knitting with two yarns and double-pointed knitting needles, the fabric may turned after every second row.
Flat knitting can be worked by hand as described above, or made on a single-bed knitting machine, but it can also be produced on a double bed knitting machine using only one bed.
In Industrial Knitting applications, the terms "Flat" and "Circular" have very different meanings to those given above. A "Flat" or Vee Bed knitting machine consists of 2 flat needle beds arranged in an upside-down "V" formation. These needle beds can be up to wide. A carriage, also known as a Cambox or Head, moves backwards and forwards across these needle beds, working the needles to selectively, knit, tuck or transfer stitches. A flat knitting machine is very flexible, allowing complex stitch designs, shaped knitting and precise width adjustment. It is, however, relatively slow when compared to a circular machine. Knitting speed up to or slower is considered the low speed in flat knitting which is generally in hand flat machines. The two largest manufacturers of industrial flat knitting machines are Stoll of Germany, and Shima Seiki of Japan. The industrial hand flat knitting machine is considered to be launched by the Isaac Lamb patents.


Light Sings

"Light Sings" is a song written by Will Holt and Gary William Friedman and performed by The 5th Dimension. It reached #12 on the U.S. adult contemporary chart, #15 on the Canadian adult contemporary chart, #22 on the Canadian pop chart, and #44 on the "Billboard" Hot 100 in 1971. It was featured on their 1971 album, "Love's Lines, Angles and Rhymes".
The song was produced by Bones Howe and arranged by Bob Alcivar.


List of works influenced by One Thousand and One Nights

The Middle Eastern story collection One Thousand and One Nights has had a profound impact on culture around the world.
Literature.
The influence of the versions of "The Nights" on world literature is immense. Writers as diverse as Henry Fielding and Naguib Mahfouz have alluded to the work by name in their own literature. Other writers who have been influenced by the "Nights" include John Barth, Jorge Luis Borges, Salman Rushdie, Goethe, Walter Scott, Letitia Elizabeth Landon, Thackeray, Wilkie Collins, Elizabeth Gaskell, Nodier, Flaubert, Marcel Schwob, Stendhal, Dumas, Gérard de Nerval, Gobineau, Pushkin, Tolstoy, Hofmannsthal, Conan Doyle, W. B. Yeats, H. G. Wells, Cavafy, Calvino, Georges Perec, H. P. Lovecraft, Marcel Proust, A. S. Byatt, Ruydard Kipling and Angela Carter.
This work has been influential in the West since it was translated in the 18th century, first by Antoine Galland. Many imitations were written, especially in France. Various characters from this epic have themselves become cultural icons in Western culture, such as Aladdin, Sinbad and Ali Baba. Part of its popularity may have sprung from the increasing historical and geographical knowledge, so that places of which little was known and so marvels were plausible had to be set further "long ago" or farther "far away"; this is a process that continues, and finally culminate in the fantasy world having little connection, if any, to actual times and places. Several elements from Arabian mythology and Persian mythology are now common in modern fantasy, such as genies, magic carpets, magic lamps, etc. When L. Frank Baum proposed writing a modern fairy tale that banished stereotypical elements, he included the genie as well as the dwarf and the fairy as stereotypes to go.
Japanese literature.
The "Nights" also had an influence on modern Japanese literature. George Fyler Townsend's revised edition of the "Arabian Nights" was the first "European" literary work to be translated into the Japanese language during the Meiji era, by Nagamine Hideki in 1875. The Japanese translation was entitled "Arabiya Monogatari" ("Arabian Stories" or literally "Stormy Night Stories"), as part of the monogatari genre. Though the book was intriguing to Japanese readers who then had very little knowledge of Arabic culture or the Middle East in general, the "Nights" did not gain popularity in Japan until a more Japanified translation, entitled "Zensekai Ichidai Kisho" ("The Most Curious Book in the Whole World"), was produced by Inoue Tsutomu in 1888. His translation exerted a great influence on the literature of the Meiji, Taishō and Shōwa periods, with writers and poets such as Hinatsu Kōnosuke, Hakushū Kitahara and Mokutaro Kinoshita citing the work as an influence on their own works. In the early 20th century, other translations from the Lane and Burton editions were also published, including ones from the Lane edition by Kōnosuke and Morita Sōhei, as well a translation of the Andrew Lang edition by Daisui Sugitani, and translations of individual tales by Iwaya Sazanami. In "Norwegian Wood", written by Haruki Murakami in 1987, Toru refers to Reiko as a regular Scheherazade when she leaves a story about her past unfinished. Moreover, Murakami wrote a short story entitled "Scheherazade", published in "The New Yorker" in October 2014 and previously compiled in his short story collection "Men Without Women", published in April 2014.
"" is a Japanese fantasy manga written by Shinobu Ohtaka which borrows several elements from the "Nights". Each of the three protagonists, Aladdin, Alibaba and Morgiana have several traits in common with their counterparts from the original, with the same occurring with other characters like Sinbad, Cassim and Scheherazade. First released in 2009, it was adapted into an anime series in 2012.
Film, television and radio.
There have been many adaptations of "The Nights" for television, cinema and radio.
The atmosphere of "The Nights" influenced such films as Fritz Lang's 1921 "Der müde Tod", the 1924 Hollywood film "The Thief of Baghdad" starring Douglas Fairbanks, and its 1940 British remake. Several stories served as source material for "The Adventures of Prince Achmed" (1926), the oldest surviving feature-length animated film.
In the late 1930s, Fleischer Studios produced three two-reel animated "Popeye" cartoons in color for Paramount Pictures. All three cartoons, known also as the "Popeye Color Specials" (or "Features"), were adapted from "The Nights": "Popeye the Sailor Meets Sindbad the Sailor", "Popeye the Sailor Meets Ali Baba's Forty Thieves", and "Aladdin and His Wonderful Lamp".
One of Hollywood's first feature films to be based on "The Nights" was in 1942, with the movie called "Arabian Nights". It starred Maria Montez as Scheherazade, Sabu Dastagir as Ali Ben Ali and Jon Hall as Harun al-Rashid. The storyline bears virtually no resemblance to the traditional version of the book. In the film, Scheherazade is a dancer who attempts to overthrow Caliph Harun al-Rashid and marry his brother. After Scheherazade's initial coup attempt fails and she is sold into slavery, many adventures then ensue. Maria Montez and Jon Hall also starred in the 1944 film "Ali Baba and the Forty Thieves".
Columbia Pictures released "A Thousand and One Nights", starring Cornel Wilde as Aladdin, in 1945.
In the 1952 Universal Pictures movie "The Golden Blade", Harun al-Rashid (Rock Hudson) uses a magical sword that makes him invincible to free Baghdad from the evil vizier Jafar and his son Hadi and win the love of the beautiful princess Khairuzan (Piper Laurie).
The 1955 RKO Pictures film "Son of Sinbad" combines the Sinbad character with Ali Baba's Forty Thieves (who in this film are all female).
The 1958 movie "The 7th Voyage of Sinbad" was a Sinbad film produced by the stop-motion animation pioneer Ray Harryhausen. Harryhausen also provided the stop-motion effects for "The Golden Voyage of Sinbad" (1974) and "Sinbad and the Eye of the Tiger" (1977).
In 1959, Columbia Pictures released a UPA-produced animated feature starring Mr. Magoo, entitled "1001 Arabian Nights".
Osamu Tezuka worked on two (very loose) feature film adaptations, the children's film "Sinbad no Bōken" in 1962 and "Senya Ichiya Monogatari" in 1969, an adult-oriented animated feature film.
Hanna-Barbera had created Shazzan, a powerful genie that comes from a ring in 1967 and the next year premiered a segment on The Banana Splits Show called Arabian Knights, a team of heroes saving their lands from an evil emperor.
In 1982, an X-rated adaptation entitled “A Thousand And One Erotic Nights” was produced, starring Annette Haven as “Scheherezade”.
The most commercially successful movie based on "The Nights" was "Aladdin", the 1992 animated movie by the Walt Disney Company, which starred the voices of Scott Weinger and Robin Williams. The film led to several sequels and a television series of the same name. Scheherazade and her "thousand tales" are referred to in the song "Friend Like Me".
A French animated television series, "Princesse Shéhérazade", was originally broadcast from 1996 until 1999.
"The Voyages of Sinbad" has been adapted for television and film several times, most recently in the 2003 animated feature "", featuring the voices of Brad Pitt and Catherine Zeta-Jones.
A recent well-received television adaptation was the Emmy Award-winning miniseries "Arabian Nights", directed by Steve Barron and starring Mili Avital as Scheherazade and Dougray Scott as Shahryar. It was originally shown over two nights on April 30, and May 1, 2000 on ABC in the United States and BBC One in the United Kingdom.
In 2001, the "Radio Tales" series produced a trilogy of dramas adapted from the Arabian Nights, including the stories of Aladdin, Ali Baba, and Sindbad.
Other versions of "The Nights" include the 1974 Italian movie "Il fiore delle mille e una notte" by Pier Paolo Pasolini and the 1990 French movie "Les 1001 nuits", in which Catherine Zeta-Jones made her debut playing Scheherazade.
There are numerous Bollywood movies inspired by the book, including "Aladdin and Sinbad". In this version the two heroes meet and share in each other's adventures; the djinn of the lamp is female, and Aladdin marries her rather than the princess. Other Indian films inspired by the book, include "Allauddinum Albhutha Vilakkum" (1979; Malayalam), "Allaudinaum Arputha Vilakkum" (1979; Tamil) and "Daya" (1998; Malayalam).
The Turkish television series "Binbir Gece" (Thousand and one nights) is a modern re-telling of the book. It is about an architect named Şehrazat (Scheherazade) who spends a night with her boss for a money to pay for her son's expensive surgery.
In 2009, the BBC Radio 7 science fiction series "Planet B" featured an episode set in a virtual world which had merged "The Nights" with a wargame.
Alif Laila is an Indian TV series based on the stories from "The Arabian Nights". It was produced by Sagar Films (Pvt. Ltd.) and aired on DD National.
In the episode "Stan of Arabia (Part II)" of "American Dad!", Roger distracts a wealthy sheik with stories from American soap operas to delay consummating their marriage.
Bugs Bunny portrayed a Scheherazade-like character in "". Bugs must entertain Sultan Yosemite Sam and his son Prince Abba-Dabba with story after story or else be subject to beheading.
In the third season episode "The Scheherazade Job" of the TNT series "Leverage", Hardison (the "Hacker") has to play the violin solo in a live performance of "Scheherazade" in order for the crew to successfully rob the story's villain. Ironically, the crew is so captivated by Hardison's playing of the solo in the fourth movement that they stop still during the robbery to listen. While discussing Scheherazade, Sophie says she was the first "grifter", being able to make the king fail to keep his murderous vow and then to make him fall for her.
The Japanese animated film "" is inspired by "Arabian Nights".
"Sherazade, the untold stories", is a CGI cartoon TV series for children started in 2017.
In season 9, episode 8 of the Cartoon Network series "Adventure Time" (Elements Part 7: Hero Heart) Ice King and Betty run into Lumpy Space Princess while riding on a magic carpet. Ice King greets her by saying "Check it out, LSP! It's a real, magic, flying carpet! I feel just like Scheherazade."
In 2018, Audible commissioned the retelling of the Scheherazade and Ali Baba stories in an eight-part radio drama penned by Marty Ross and performed by Wireless Theatre Company.
Scheherezade is portrayed by Meredith Stepien in the 2013 Starkid musical "" (a parody of Disney's 1992 animated feature, "Aladdin", with strong influences from the musical "Wicked").
"Arabbya Rajani" ("Arabian Nights") is an Indian Bengali-language drama television show. An adaptation of various tales from the collection, it aired on Colors Bangla in 2019.
Sculpture and visual arts.
In Iraq, from the time the Hashemite monarchy was overthrown (in 1969), Iraqi artists searched for a visual language that would reference their deep artistic and literary heritage. A number of sculptures by sculptor Mohammed Ghani Hikmat, now dotted around the city of Baghdad, were inspired by stories from "One Thousand and One Nights." These include statues of "Sinbad, the sailor"; "Ali Baba and the Forty Thieves"; "Kahramana Fountain" featuring Morgiana pouring hot oil on the thieves hidden in jars; "Shahriyar and Scheherazade;" "Flying Carpets" and the "Magic Lantern."


Frank Castorf

Frank Castorf (born 17 July 1951 in East Berlin) is a German theater director and was the artistic director of the "Volksbühne am Rosa-Luxemburg-Platz" from 1992 to 2015. His work is often associated with postdramatic theatre.
Life.
Early Years.
Castorf's father was an ironmonger. Frank Castorf successfully completed his schooling in 1969/70, entering training for railway work. Between 1970 and 1972 he undertook military service with the army's National Border Force.
Then, between 1971 and 1976, he attended the Humboldt University of Berlin, studying theatrology. His teachers included , Rudolf Münz and . His diploma dissertation, which was formally commended, was entitled "Ground Rules for the 'Development' of Ionesco's Global Ideological Perspective and Artistic-Aesthetic Position". He made numerous culturally focused visits to Poland during this period.
In 1989, Klaus Pierwoß brought Castorf with a production of "Hamlet" to Schauspiel Köln, Cologne.
In 2013, he directed a "deliberately incoherent" production of the Ring Cycle at the Bayreuth Wagner Festival, which was booed by the audience.


Fung Hak-On

Fung Hak-on (born 12 September 1948 – 2 March 2016) was a Hong Kong actor. He appears in Hong Kong films since the 1960s until mid 2010s.
Career.
In 1955, Fung became an actor in Hong Kong films. Fung first appeared in Seven Bodies, Eight Deaths and Nine Human Heads, a 1955 film directed by Fung Fung. Fung often plays antagonist.
Fung was nominated for Best Action Choreography at the 2nd Hong Kong Film Awards in 1983 for his work in "Dragon Lord" with co-star Jackie Chan and stunt coordinator Yuen Kuni.
He portrayed Master Cheng in Ip Man 2 (2010) in his final years.
His sister, Fung Bo-bo, is also an actress.
Death.
He died on 2 March 2016 from cancer.


Consistori de Barcelona

The Consistori (de la Gaya Sciència) de Barcelona (, ; "Academy of the Gay Science of Barcelona") was a literary academy founded in Barcelona by John the Hunter, King of Aragon and Count of Barcelona, in 1393 in imitation of the Consistori del Gay Saber founded in Toulouse in 1323. The poetry produced by and for the Consistori was heavily influenced by the troubadours. The Consistori's chief purpose was to promote "correct" styles and themes and discourage vices ("vicis") by awarding prizes in competition to poets who adhered to the "rules" of poetic composition. The names of few poets laureate have come down to us and despite some excellent descriptions of the Consistori's activities, associated persons and poems are obscure.
Prehistory and origins.
At Pentecost, 31 May 1338, a contest was held at Lleida before Peter the Ceremonious, John's predecessor, at which those poems adjudged the best were given awards. A panel of judges was designated in advance by the king. It was to pass judgement "super arte dictandi et faciendi pulcra carmina sive cantars": "on the art of speaking and composing beautiful songs, that is, "cantars"". The winning poets received a "rosa d'or" (golden rose) and piece of expensive golden satin called "diasprell". With its floral prize, the 1338 contest emulated the "jocs florals" (floral games) already being held in Toulouse and to be held eventually in Barcelona as well.
Much about this event, however, remains unknown: the language of composition was vernacular ("cantars"), but which vernacular is uncertain (Occitan or Catalan), and the names of the poets or any portions of their work have not survived. Nonetheless, Martí de Riquer presumes that similar festivals occurred in years prior and recurred in subsequent years, though there are no records. It need not be assumed that such contests took place in the royal presence; they may have been held by the great lords.
At Valencia on 20 February 1393, John the Hunter founded an annual festival ("la festa de la Gaya Sciència") to be celebrated in honour of the Virgin Mary on the day of Annunciation (15 May) or the following Sunday at Barcelona. The festival included a vernacular poetry contest, modelled after those held in Toulouse, Paris, and other illustrious cities, and the poems submitted were judged by Jaume March II and Luys d'Averçó, entitled "magistros et defensores" (teachers and defenders) of poetry.
The document of the king's foundation, which was written up by the scribe Bartomeu Sirvent, also mentions that the initiative for the festival had been March and Averçó's and that they had requested it of the king. The expertise of judges for the festival was also set out by the king, in Latin: , that is, "gay and joyful, and by another name inventive science". The Latin terms and were direct translations of the vernacular terms "gay sauber" (gay science) and "ciència de trobar" (science of troubadour composition).
Competitions.
The first recorded contest held by the Consistori de Barcelona was held probably on 28 March 1395 with the king in attendance. He had only been in Barcelona since 25 March. This festival is known from a letter the king wrote, which he sent on 19 February 1396 recording the "bella festa ... a honor de la dita gaya ciència", the prizes for which were provided by the municipal government. There is no record of the names of the winners, the prizes, or their poems. The letter of 1396 was written in Catalan by Bernat Metge on behalf of the king and sent from Perpignan to Barcelona, foretelling the king's arrival for the festival and asking the city to commit some funds to it. Jaume March brought the letter before the Consell dels Cents Jurats sometime in the middle of march, but the timing was horrible. The Consell was intriguing against the king and the city had largely rejected his control. Then the Consell dels Trenta sent an embassy to John to report on "el fet de la gaya sciència", but the city's response was "que les dites joies no sien donades per la Ciutat" (that the aforesaid jewellery shall not be donated by the City) and that was the end of the year's floral games.
John died two months later, having only held two of his planned annual festivals (1394 and 1395). The festival disappeared for two more years until 1 May 1398, when John's successor, Martin the Humane, agreed, from Zaragoza, to subsidise the Consistori's annual festival, to be held again on Pentecost, with forty Aragonese gold "florins" to cover the cost of the golden and silver prizes for the winners, to be chosen by "mantenidors" named by the king. On 12 August 1399 at Zaragoza, Martin renominated Jaume March and Luys d'Averçó as rectors, maintainers, and defenders of the Gaya Sciència de Barcelona. Martin's two acts do not refer to the previous efforts of King John and rather seem to treat the Consistori as a new royal foundation distinct from the municipally-run foundation of his predecessor. Martin's 1398 act also made mention of Toulouse and Paris (again) in a lengthy preamble outlining the merits of the various sciences: arithmetic, astrology, dialectic, geometry, law, medicine, music, politics, strategy, composing ("trobar"), theology, etc. Under Martin a great "festa" was held in 1408 beneath the walls where the Mirador del rei Martí—a recent addition the royal palace complex—and the Palau del Lloctinent meet in Barcelona.
The Consistori lapsed with Martin's death (1410) and the political confusion leading up to the Compromise of Caspe (1412) prevented its activity, but on 17 March 1413 Ferdinand of Antequera, who succeeded Martin in accord with the Compromise, confirmed to the Consistori ("consistorio, collegio seu cetu inventorum") all that Martin had decreed in 1398, conceded to it the right to elect the four maintainers, and permitted it to meet at any time of the year other than the annual festival. The annual contest was confirmed to occur on 1 May, and Ferdinand became its greatest patron. His ties to Castile helped increase the accessibility of Catalan (and Occitan) culture and was a catalyst for the first Castilian poetic treatise, the "Arte de trovar".
Speeches of Felip de Malla.
In February 1413, one month before Ferdinand's privilege, the Consistori held one of its best-recorded competitions at the Palau Reial Major. The opening speech ("presuposició") of one of the maintainers (the master of theology, Felip de Malla) and the declaration of the winner have both been preserved. Both of these speeches were transcribed (and presumably delivered) in a Catalan liberally seasoned with classical and ecclesiastical Latin. Felip displays knowledge of classics, of Pindar, Alcaeus, Horace, Catullus, and Serenus Sammonicus. Not surprisingly from a master of theology, it is intensely religious:
Felip's speeches are interesting and very erudite, but he shows a penchant for Scholastic digressions and tolerated only religious poetry dedicated to God or the Virgin. Felip praises Ferdinand, who was apparently present, for lending prestige to the Consistori ("collegi"). He then presents the theme. In light of the fact that Ferdinand is involved in a war with the James II, Count of Urgell, Felip asks for short, sharp pieces about war, namely, for a "sirventes". Felip's closing speech is similar in style to his opening, being filled with Latin references and lengthy commentary, but absent is the mention of the winner's name or poem. Probably the speech was written in advance of the final judgement before a winner was known.
Description of Enrique de Villena.
One of the best descriptions of the Consistori de Barcelona is found in the "Arte de trovar" of the Castilian writer Enrique de Villena, who was at Barcelona in 1408. Though written in 1423, it probably describes the Consistori during the era of Martin the Humane as well. Enrique's account of the foundation of the Consistori, however, is a jumble of historical events that took places decades and almost centuries apart:
Enrique is the sole authority for the statement that John the Hunter sent an embassy to the King of France, Charles VI, evidently before 1393, to request that he send two men from his Consistori at Toulouse to found one at Barcelona. According to Jerónimo Zurita in his (Zaragoza: D. a Portonariis de Ursinus, 1578), in 1388 an embassy was sent to France ("so that the vernacular language might be celebrated in Spain, translated from the school of the province of the Narbonnaise: and poetic studies, which is called the gay science, instituted"). The story is not implausible, however, and may explain the obscure references to Paris in the acts of John and Martin. It is also plausible that two scholars left Toulouse with the purpose of founding a second academy at Barcelona, considering the history of Occitan literature in Catalonia.
According to Enrique, who is the only source for the organisational structure of the Consistori, it was run by four "mantenidors": a knight, a master of theology, a master of laws, and an honourable citizen. Since all other existing documentation shows John and Martin naming two "mantenidors", it follows that Ferdinand of Antequera, under whom Enrique was writing, raised it to four. At one point Enrique seems also to say that prizes ("vergas de plata", silver rods) were given out each month ("cada mes"), but this may represent a corruption in the manuscript and should perhaps refer to each year. According to Enrique, the "collegio de Barcelona" lapsed after the death of Martin in 1410. The sixteenth-century Toledan Álvar Gómez de Castro glossed the "Arte de trobar" manuscript with the fact that Enrique came into the service of Ferdinand after his election to succeed Martin in 1412 that he "procuró la reformación del consistorio y señaláronle por el principal d'ellos" ("procured the reformation of the consistory and was marked as the principal among them"). Enrique held a post in the Consistori similar to that of a president, but it is possible that he exaggerated his own importance.
Enrique described the "festas" of the Gay Science as occurring in two sessions, perhaps on two separate days. At the first session, one of the "mantenidors" gives a lecture (called the "presuposición"), then the poets recited their work "de la materia a ellos asignada" (on the theme assigned to them). The themes were "algunas vezes loores de Santa María, otras de armas, otras de amores e de buenas costumbres": sometimes the praises of the Virgin Mary, other times of arms, other times of love and good customs. These three themes were understand by the Romantics as those of faith ("fé"), patriotism ("patria"), and love ("amor").
After the first session, the poems were put into writing and taken by the "mantenidors" for secret deliberations (the "jurat"), where the poems were examined for fidelity to the rules and their faults were carefully enumerated. Stress was laid upon the identification of "vicis" (vices, faults) in the esteemed "llibres de l'art" (books of the art), the treatises carried by the "mantenidors". The second session was held after the judgement was passed and there the winner was declared and the prizes awarded.
Poetic content and style.
The isolation and their classicism of the Consistoris (of Toulouse and Barcelona) cut them off from the literary movements giving life to other vernaculars, such as the "dolce stil novo" and the Renaissance in Italian and the work of Ausias March associated with the zenith of medieval Catalan. Martín de Riquer is highly critical of the negative influence of the Toulousain academy on Catalan poetry through the exportation occitanisms and support of an outmoded literary language. For its thematically limited, narrow conception of art and imposing rules for form and content, he compares it to French neoclassicism and its "tyranny of the monotonous alexandrine". All these bad influences continued their negative effect from Barcelona, where the rhetorical style of Toulouse was copied. The picture of judges marking of "vices" in the margins of the poems submitted for competition is emblematic of the "tyranny" the rules held over creativity. In these respects the Consistori was much like a medieval university. It was also more bourgeois, being essentially created by citizens for citizens, with their tastes and their concerns in mind. The essential difference between the activities and the poetry of the Consistori and that of the earlier troubadours is that the latter composed (originally) in a courtly environment and share courtly tastes and concerns. In this respect the movement mirrored that of the "dolce stil novo" in Italy, but it was less successful. The failure of the city of Barcelona to support the Consistori and its falling back on royal patronage in 1396 best exemplifies the problems of consciously continuing the troubadour tradition in an atmosphere that was not made for it.
Few poems have survived from the Consistori's contests, preserved in chansonniers with other troubadour songs. The Cançoner dels Masdovelles is one of the most important songbooks, yet only three songs can be connected to the Consistori de Barcelona with any certainty. Gilabert de Próxita wrote "Le souvenirs qu'amors fina me porta", a secular song on love, in the manner of the troubadours. According to its forty-second line, it was presented "al novell consistori" (to the new consistory), probably the re-creation of Martin the Humane. Andreu Febrer composed "Sobre.l pus naut element de tots quatre", an astrological and mythological panegyric for an unnamed queen of Sicily. It alludes to the "cossistori", but this may be a reference to some competition held in Sicily. Another troubadour with surviving work presented at Barcelona is Guillem de Masdovelles, who also competed (and won) at Toulouse. His "canso" of love "Pus li prat son de verdura guarnit" was "coronada" (crowned) the winner at a contest in Barcelona. Guillem's work is written in an Occitan sprinkled with catalanisms and Andreu's in Catalan with occitanisms. Apparently, the language of the poetry presented at the Catalan consistori was not constant (besides being romance). Guillem's nephew, Joan Berenguer de Masdovelles, did translate his uncle's winning poem from "llemoví" (Occitan) into Catalan. Joan Berenguer's translations of his uncle's Occitan works demonstrates the conscious use of a literary idiom as opposed to the language of conversation and the consciously archaic nature of occitanisms in Catalan writing.
Legacy and influence.
The Consistori of Barcelona is generally considered a transitional period in Catalan literature, away from the prestigious treatment of Occitan and the pervasiveness of occitanisms and towards an independent Catalan poetry. In many respects it is the last phase of medieval literature and of the troubadours, opening the way to what can be considered Renaissance literature in Catalan. The Consistori, or more specifically the Gay Science that it fostered in the Iberian peninsula, extended its influence slowly over Castile and Portugal to the west. Enrique de Villena's Castilian "Arte de trovar" was probably written with the intention of exhorting its dedicatee, the Marqués de Santillana, to found and patronise a Consistori in Castile modelled after the Barcelonan example:
Somehow anyway the Marqués did absorb the concept of the Gay Science, for he wrote to Duke Pedro of Coimbra a famous letter, "Prohemio e carta", which extols the divinely inspired, charismatic yet frenetic nature of the "gaya sçiençia". This conception of the troubadours' art was fundamentally altered by the infusion of neoplatonism that came with the Renaissance and Italian influence. Nonetheless, Spanish poetry of the fifteenth century, more so than anywhere else, sought to emulate classic Occitan poetry. Alfonso the Magnanimous in particular, despite his classicism, brought a distinctly medieval, Occitan, and troubadour-esque poetry to Naples with his 1443 conquest. This Spanish literary tradition at Naples remained outside Renaissance currents. In Spain, troubadour scholarship got off to a quick start in the sixteenth century, but the influence of the Consistori can hardly be spoken of past the mid-fifteenth century.


Christian Richardt

Christian Richardt (25 May 1831 in Copenhagen - 18 December 1892) was a Danish writer. He wrote the libretto for the opera "Drot og marsk" by Peter Heise.
Sources.
"The following sources were given:"


Big Spender

"Big Spender" is a song written by Cy Coleman and Dorothy Fields for the musical "Sweet Charity", first performed in 1966. Peggy Lee was the first artist to record the song for her album of the same name also that year. It is sung, in the musical, by the dance hostess girls; it was choreographed by Bob Fosse for the Broadway musical and the 1969 film. It is set to the beat of a striptease as the girls taunt the customers.
Shirley Bassey version.
A hit version of the song by Shirley Bassey reached No. 21 in the UK Singles Chart in December 1967. This version is featured in the 2004 film "The Life and Death of Peter Sellers", and in the 2005 film "Nynne". The song has become one of Bassey's signature songs. She has performed the song numerous times, most notably for the 80th birthday of Prince Philip. She also sang it at the 2007 Glastonbury Festival.
In December 2007, it was re-released in a new remixed version as a digital download. This was the third and final single released from the album "Get the Party Started". The single features a remix from "Pink Pound" and two instrumental remixes that were not included on the album release. Unlike the previous two singles this track featured a remix of a previous released recording, the vocal track was taken from a session recorded in 1984 for the album "I Am What I Am". There was no promotion undertaken for the single and no video was made to support the release.


Mary Bond Davis

Mary Bond Davis (born June 3, 1958) is a singer, actor, and dancer from Los Angeles, California.
Biography.
Davis began her career at the age of 15 singing with different bands. She was a member of The Young Americans from 1974 to 1976, and appeared with them on "The Bing Crosby Christmas Show".
In 1980, Davis auditioned for Ain't Misbehavin', which traveled throughout the United States and Canada, and in 1982, spent a year with the world tour of "Ain't Misbehavin".
Davis' most memorable film appearance is in Eddie Murphy's Coming To America. Additional film credits include "Jo Jo Dancer, Your Life Is Calling"; "The Art Of Dying"; "Hook"; "Jeffrey"; "New York Minute"; and "Romance and Cigarettes".
Davis was in the original cast of the Broadway shows "Mail", "Jelly's Last Jam", "Marie Christine", and "Hairspray".
She is a three-time winner of the Drama-Logue Award ("Get Happy, Shout Up A Morning, A...My Name Is Alice").


Red Cliff (Peking opera)

Red Cliff () is a Peking opera by the China NCPA which premiered at the first anniversary of the National Grand Theatre in 2008. The director was the choreographer and PLA lieutenant general Zhang Jigang, best known as deputy chief director of the Beijing Olympic Games opening and closing ceremonies. It was written by Cai Fuchao and composed by Zhu Shaoyu.
In China the opera appeared in three versions - for older singers, youth, and children - as part of the educational purpose of the project. The opera then toured Europe.
Synopsis.
A dramatised account of the Battle of Red Cliffs in 208 AD, the play is based on relevant chapters from the 14th century novel "Romance of the Three Kingdoms" by Luo Guanzhong.


Il trovatore discography

This is a partial discography of Giuseppe Verdi's opera "Il trovatore" ("The Troubadour") and "Le trouvère" (the revised version in French translation). At least 83 recordings exist of the opera as a whole, made between 1912 and 2011, although not all of them are absolutely complete. Of these, 45 are live audio recordings, 22 are studio audio recordings, and 16 are videos or movies. "Il trovatore" was first performed at the Teatro Apollo, Rome on 19 January 1853. "Le trouvère" was first presented on 12 January 1857.
References.
Notes
Sources


Antonio Guarnieri

Antonio Guarnieri (Venice, Italy, 1 February 1880 — Milan, Italy, 25 November 1952) was an Italian conductor and cellist.
After playing cello in the Martucci string quartet he turned to conducting in 1904, being engaged by the Vienna Court Opera in 1912.
He succeeded Arturo Toscanini at La Scala in 1929 and stayed there until shortly before his death. A highly regarded technician at the podium, he conducted many important world premières, Ottorino Respighi's "Belfagor", for instance.
It was hearing Guarnieri's conducting of Claude Debussy's "Nocturnes" that caused Claudio Abbado to resolve to become a conductor.


Supertalent in Vlaanderen

Supertalent in Vlaanderen was the Dutch language format of the Got Talent series created by Simon Cowell. It premiered on 15 March 2007 on the Dutch language channel VIER. It was hosted by Dré Steemans and Ann Van Elsen. The judges of the series were Paul Jambers, Martine Prenen and Gert Verhulst. The winners of the series were Triple E who are the singing trio sisters.


Taegeuk (taekwondo)

In taekwondo, taegeuk is a set of "Pumsae" (also known as "Poomsae" or "Poomse"), or defined pattern of defense-and-attack forms used to teach taekwondo.
Between 1967 and 1971 Kukkiwon-style taekwondo made use of an older set of forms called the "palgwae" forms developed by the Korea Taekwondo Association (KTA) with input from some of the original nine "kwans" of taekwondo. By 1970 additional kwans had joined the KTA so the newer set of taegeuk forms was developed to better represent inputs from all the participating kwans. By 1971 the palgwae forms were considered to be deprecated in favor of the newer taegeuk forms, though some schools still teach palgwae forms as well. All World Taekwondo Federation (WTF) Pumsae competitions use the taegeuk pumsae, along with 8 of the black belt Pumsae.
To gain a black belt, a student generally must know all eight Taegeuk Poomsae and also be able to perform all of them consecutively with no breaks in between.
Each Taegeuk form symbolizes a specific state thought to be indicative of the belt the student currently holds, and is represented in WTF Taekwondo by trigrams (originally derived from the I-Ching) similar to those found in the four corners of the South Korean flag.
Taegeuk Poomsae.
Many schools require that form practice begin with a bow to the flag and/or instructor, but the motions of the forms themselves do not require the bow, nor is it necessary in personal practice.


Love Changes Everything (song)

"Love Changes Everything" is a song from the musical "Aspects of Love", composed by Andrew Lloyd Webber, with a lyric written by Charles Hart and Don Black. It is first sung in the musical by the character Alex Dillingham, which was originated by Michael Ball in both the London and Broadway casts. The song was released as a single in 1989, also sung by Ball, and stayed in the UK singles chart for 14 weeks, peaking at #2 and becoming Ball's signature tune. The song was later featured on Ball's 1992 self-titled debut album and "Love Changes Everything: The Collection".
In the prologue to "Aspects of Love", a young Englishman, Alex, is lovestruck by a French actress, Rose. This upends his world, and he sings that "Love changes everything ... How you live and / How you die" for better or for worse. He notes that love "Makes fools of everyone" and concludes that, once love strikes, "Nothing in the / World will ever / Be the same." Musically, it is a "simple, effective three-chord piano-accompanied anthem". The song became the best-known number from "Aspects of Love" and it "delivered yet more proof that Andrew Lloyd Webber could deliver soaring, anthemic ballads".
The song was featured at the 44th Tony Awards.
The 2018 compilation album, "Andrew Lloyd Webber Unmasked: The Platinum Collection", included a remixed version of the 1989 single recording.
Other versions.
Artists who have covered it include
The Off-Broadway spoof revue "Forbidden Broadway" picked up on the bed-hopping aspect of "Aspects of Love", changing the song to "We Sleep with Everyone".


Malagasy weaving

Malagasy weaving flourished until around 1950. Due to varied ecology in Madagascar, many different materials were used to weave with and formed various styles of mainly striped cloth.
Cultural impact.
Textiles were an essential part Malagasy social and ethnic identity. Some types of cloth were imbued with supernatural powers. The Sakalava, Mahafaly, and Merina were three Malagasy cultures for which textiles played an important role in statecraft and metaphysical belief systems. Malagasy weaving was associated with women and the female identity. The relationships between weaving, the ancestors, and reburial are issues that reflect a dynamic world of
spiritual power, social importance, and symbolism. A Madagascar-wise tale stated that the original union of a man and a woman, the wife brought the cloth and a mat, while the husband provided house building and agriculture. Hence, traditionally, a women's domestic skills, intelligence and industry were judged largely on her weaving.
Lamba.
Traditionally the primary article of clothing woven by Malagasy women was the lamba. Lamba is the term that the highlanders used, other colloquial names exist). It was created by sewing together two pieces to form a rectangle measuring around 2 m x 2.5 m. Warp created stripes adorned this cloth, with the stripes running around the waist horizontally. The "Lamba" was worn differently depending on the emotional and physical needs of the wearer to: protect from cold, hide timidity, show action and determination, or indicate mourning. It also served as a: blanket, apron, scarf, belt, bedding, turban, kitchen cloth, bag/ suitcase, tent/ shelter, awning, baby carrier or cradle.
The Five Zones.
The differences in weaving can largely be divided by weaving materials, which were indigenous to different areas and create five different weaving zone or areas. Only in one part of the areas, in the central highlands was frequent trading to acquire different materials common.
The East and West Coast.
Raffia was the staple fibre of these peoples of this region who in present times are made up of the: Sihanaka, Tsimihety, Antakarana, northern Sakalava, and the Betsimisaraka. Different groups made different lengths and sizes of raffia garments, all of which were good in the rain, mud and constant humidity of the area
The Southeast.
"Voara" family of trees beaten bark, once used by most of the island by the 19th century was considered the specialty of the southeast, along with "Harefo" reeds that were plaited not woven on looms. The Tanala, Antemoro people, Antambahoaka, Tefasy, Tesaka, eastern Bara people and eastern Betsileo people are the current day residents of these lands
The Southeast Hinterland.
The spun bark associated the southeast could be made soft and as shimmery as silk. The "Hofotra" (Abutilon angulatum) species, particularly the Hafo-potsy variety, was used by the Zafimaniry and the eastern Betsileo people. This material was long process that included: fire drying the inner bark, several sessions of hours boiling bark, washing, sun drying, splitting it, tying it end to end, twisting it by rolling on the thigh, weaving it on a back strap loom and beating finished product to make it softer and shinier.
The South and West.
In the arid South and West of madagascar, cotton, the prime clothing material, and wild silk were the two main fibres. This area is the home of the Bara people, southern Sakalava people, Vezo people, Masikoro, Mahafaly, Tandroy and western Tanosy. The Malagasy define silk by the type of leaves the silk worms eat, which here was the "Afiafy" and "pisopiso" trees and well as the most coveted, the "tapia", in the Isalo region of Bara's territory.
The Central Highlands.
The historic home of the Betsileo was indigenous to three types of fibre: Hemp, Banana stem fibre and wild silk of the "Tapia" trees, however these fibres were of limited distribution. This area used trade to overcome their lack and emerged as one of the most important textile production centres of Madagascar. Through trade and eventually introduction to the local area, mulberry silk emerged as one of the prominent materials of this region along with non-indigenous cotton and pigeon pea silk. The Merina had no indigenous fiber in their area and its inhabitants were prone to famine, so monarchs made it a political strategy to develop trades, particularly weaving in the area.
Cocoons collected from the wild silkworm were unraveled than woven into valuable textiles called lambda mena, meaning “red silk' in the Merina kingdom. The name is a misnomer, referring to their "red" status that recalled royal prestige and ancestral authority, which in the Merina associated with the color red. These cloths were woven in many different color and pattern combinations. Worn by the aristocracy in life, these "red" textiles were also a focal point of burial, exhumation, and reburial ceremonies designed to free the dead person’s spirit from earthly death and decay.


Slamdance Film Festival

The Slamdance Film Festival is an annual film festival focused on emerging artists. The annual week-long festival takes place in Park City, Utah, in late January and is the main event organized by the year-round Slamdance organization, which also hosts a screenplay competition, workshops, screenings throughout the year and events with an emphasis on independent films with unverified budgets under $1 million USD.
History.
Founding.
The festival was founded in 1995 by Dan Mirvish, Jon Fitzgerald, Shane Kuhn, and Peter Baxter, along with Paul Rachman, after they had been unsuccessful in submitting films to the Sundance Film Festival. Baxter has been in charge of Slamdance since 1997.
Screenplay competition.
In addition to the festival, Slamdance's screenplay competition has discovered a number of talented screenwriters, including Joshua Marston ("Maria Full of Grace") and Steven Fechter and Nicole Kassell, co-writers of ("The Woodsman"). In 2008, Slamdance entered into an agreement with Upload Films to develop and produce "Drool", the winner of Slamdance's screenplay competition. Written and directed by Nancy Kissam, "Drool" premiered at the 2009 Festival and thereafter was acquired by Strand Releasing. Chad Crawford Kinkle's southern horror screenplay "Jug Face" won the 2011 Grand Prize. During the 2012 Festival, Modernciné producers Andrew van den Houten and Robert Tonino announced their production of "Jug Face" in Nashville, Tennessee.
In 2011, "Dead in the Room", written by Marjory Kaptanoglu (winner of Slamdance's 2010 Short Screenplay Competition) was directed by Academy Award–nominated filmmaker Adam Pertofsky. In 2012, "Harold's Bad Day", written by R.J. Buckley, was directed by Slamdance alum Jordan Brady. The 2011 Grand Prize winner "Jug Face", written by Chad Crawford Kinkle, premiered at the 2013 festival, where it was picked up for distribution by Gravitas Ventures.
The Slamdance 2013 Screenwriting Competition was presented by JuntoBox Films. Awards were given to the top three scripts in each category, with a Grand Prize of $10,000 cash that went to "Butterfly Children" by Melanie Schiele. The Short Screenplay winner "Think Ink" by Emily Hu was produced and premiered at the 2015 Festival, as part of the Special Screenings section.
The 2014 Screenplay Competition saw an original teleplay ("Search for Life" by Andrea Janakas) take home the Grand Prize. "Search for Life" was also given the award for Best Original Teleplay, the Best Narrative Feature was given to HF Crum's "The 3 Faces of Hunger & Thirst", the Best Horror Screenplay was given to Sean Patrick Geraghty's "The Hounds of House Rearden", and the Best Short Screenplay was given to David Shushan's "Over the Line (And Far Away)". The awards were given at the Writers Guild of America West in Los Angeles.
The 2015 Screenplay Competition received a record-breaking 50% increase in submissions, with nearly 3,500 total submissions. Narrative Feature script "The Delegation" by Shane Andries was awarded the Best Narrative Feature and Grand Prize Award, Best Horror Screenplay was awarded to "Speak of the Devil" by Jesse J. Cook, Best Short Screenplay was awarded to "Deep Storage" by Susan Earl, and the Best Teleplay was awarded to "Castle Rock" by Jamie King. The awards were given at the Writers Guild of America West in Los Angeles for the second time.
The 2016 Screenplay Competition received a record-breaking number of submissions, with 3,600 total scripts submitted. Narrative Feature script "Great White Shark" by Andrew Kightlinger was awarded the Best Narrative Feature and Grand Prize Award, Best Horror Screenplay was awarded to "The Housesitter" by Suju Vijayan, Best Short Screenplay was awarded to "Conviction" by Anju Andre-Bergmann, and Best Teleplay was awarded to "Feral" by Bryan Kett. The awards were given at the Writers Guild of America West in Los Angeles for the third time. Andrew Kightlinger has received representation from Principato-Young Entertainment and is currently in development on a new narrative feature which focuses on sex trafficking.
The 2017 Screenplay Competition received over 3,000 submissions. Horror Feature "Day Shift" by Tyler Tice was awarded $2,000 for Best Horror Screenplay and $8,000 for the Grand Prize Award. Best Narrative Feature was awarded to "Escher" by Jason Kessler, Best Short Screenplay was awarded to "The Clown-Faced Plumber" by Frederick Jones, and Best Teleplay to "Jackrabbit" by David Schlow. The awards were given at the Writers Guild of America West in Los Angeles for the fourth time.
Slamdance on the Road.
The Slamdance organization has established Slamdance on the Road, a traveling showcase supported by the festival and its filmmakers. On the Road brings popular Slamdance films to audiences that otherwise would not have the chance to see them and provide theatrical venues with an alternative film program experience. On the Road events usually take place in U.S. cities such as New York, Los Angeles, Austin, and Detroit, but have also traveled to countries like Canada, China, Poland, France, and Chile.
Slamdance Cinema Club.
In 2015, as a further development of its theatrical distribution efforts, Slamdance announced a partnership with ArcLight Hollywood to produce and promote the Slamdance Cinema Club, which features two Slamdance films a month for the first three quarters of 2015.
Slamdance Presents.
In January 2010, Slamdance and Microsoft announced its partnership of year-round Slamdance Film programming on Xbox and Zune.
Slamdance president and co-founder Peter Baxter said, “Slamdance has a true independent identity and proven track record of unearthing great films. It's time now to be progressive and unleash our film programs outside of the festival and directly help filmmakers find popular, worldwide audiences. The standard of Slamdance films deserve this much and we believe the audience will respond.”
As of opening day at the 2011 Festival, select Competition Feature Films were made available via Zune Video Marketplace as part of this year's Festival and VOD Showcase for the duration of the festival, January 20–27. Select films included narrative features "Modern Imbecile's Planet World", "Snow on tha Bluff" by Damon Russell, and "The Beast Pageant" by Albert Birney & Jon Moses; documentary features "Road Dogs" and "Scrapper", as well as films from previous years’ festivals.
In 2013, Slamdance expanded its VOD business onto iTunes, Amazon, Google, Vudu, and PlayStation. Slamdance Studios acquired and released four Slamdance favorites and award winners through Cinedigm/New Video, including Monteith McCollum's "Hybrid", Ron Eyal and Eleanor Burke's "Stranger Things", Rudd Simmons' "The First Season", and Daniel Martinico's "OK, Good".
Also in 2013, "The Slam Collective" made Slamdance's first collaborative feature film called "I Want to Be an American". In the spirit of the surrealist parlor game of chance Exquisite Corpse, 7 Slamdance filmmakers each made a documentary short film based on imagery forwarded on by the previous filmmaker in the chain.
In January 2015, Slamdance Studios launched a streaming program on Hulu that includes Slamdance favorites and independent classics including Marc Levin's "Slam", Cullen Hoback's "Terms and Conditions May Apply", and Gerard Johnson's "Tony". The Slamdance-produced short film "D.I.Y.", featuring conversations with prominent Slamdance alumni Christopher Nolan, Penelope Spheeris, and the Russo brothers also premiered on the platform.
In 2015, Slamdance partnered with filmmakers Steve Yu and Diamond Dallas Page for a theatrical release of "The Resurrection of Jake the Snake" as the first title for Slamdance Presents, a distribution enterprise dedicated to creating theatrical and other commercial opportunities for independent filmmakers. "The Resurrection Of Jake The Snake" documents the rehabilitation of Jake Roberts and Scott Hall. The film played in markets in the United States and Canada, including Los Angeles, New York City, Chicago, Atlanta, Philadelphia, and Baltimore. Upon its subsequent VOD release, "The Resurrection Of Jake The Snake" became the number one documentary on iTunes.
In 2017, Slamdance Presents acquired four award-winning and critically acclaimed films now available on VOD: "Driftwood" by Paul Taylor, "Dead Hands Dig Deep" by Jai Love, "Without" by Mark Jackson, and "The Ground We Won" by Christopher Pryor.
Slamdance Digital, Interactive & Gaming.
In 2015, Slamdance integrated digital, interactive, and immersive art into its program with the launch of DIG. DIG opened at Big Pictures Los Angeles on December 4, 2015, and showcased cutting-edge works in the field of digital storytelling.
Featured projects included "Pry" by Tender Claws; "The Visitor" by James Kaelan, Eve M. Cohen, and Blessing Yen; "Sleighting" by Rachel Ho; "Woman Without Mandolin" by Fabiano Mixo; "Simulacra" by Theo Tagholm; "Thumper" by Drool; "Memory of a Broken Dimension" by XRA; "Apoptosis" by Kytten Janae; "Line Wobbler" by Robin Baumgarten; and "TL;DR [the shape of the internet (Orgy)]" by Theo Triantafyllidis.
In 2016, Slamdance DIG continued into its second iteration, expanding its program with the creative input of Dekker Dreyer and virtual reality network Littlstar. Featured projects included "(THREE² x 3P2:VR)" by Float (Kate Parsons & Ben Vance); "Bad News" by Expressive Intelligence Studio ([James Ryan, Ben Samuel, & Adam Summerville); "Infinit-O" by Corazon Del Sol; "Manifold Garden" by William Chyr; "Natural History" by Lillian Mehrel; "Soundstage" by Logan Olson; "The Magic Dance Mirror" by Kyle Ruddick; and "You Must Be 18 or Older to Enter" by Seemingly Pointless. DIG opened at Big Pictures Los Angeles on December 2, 2016, and then again at the Slamdance Film Festival in January 2017.
In 2017, Slamdance DIG featured artists from South Africa, Poland, and beyond. Projects included "Brief Excursion" by Aaron Oldenburg; "BVOVB: Bruising Vengeance of the Vintage Boxer" by Michal Rostocki; "Dujanah" by Jack King-Spooner; "Everything is going to be OK" by alienmelon (Nathalie Lawhead); "F.L.O.W. (Future Ladies of Wrestling)" by Jennifer Juniper Stratford of Telefantasy Studios; "Laser Non Laser" by Jeanette Bonds of GLAS Animation; "Nour" by Terrifying Jellyfish (aka TJ Hughes); "Semblance" by Nyamakop (Cukia Kimani and Ben Myres); "Sundays with Absalon" by John Vanderhoef; "Super Void" by Sam Weiss (Shnabubula) and John Donohue Bell (Lazy Brain Games); "The Game: The Game" by Angela Washko; "ULTRA ADHD (Amazing Death and Huge Destruction)" by Alon “DancingEngie” Karmi. DIG opened at Big Pictures Los Angeles, December 1, 2017.
Select projects, including "The Game: The Game", "BVOB: Bruising Vengeance of the Vintage Boxer", and "[The (De)escalation Room" by Columbia University's Digital Storytelling Lan with Lance Weiler and Nicholas Fortugno was featured at the 2018 Slamdance Film Festival in Park City, Utah.
Guerrilla Games Competition controversy.
The festival used to host a computer and video game competition called Slamdance Guerrilla Games Competition. In January 2007, the festival for the first time dropped a finalist. The game "Super Columbine Massacre RPG!" was announced as a finalist in late November 2006, but the controversial game was dropped by Slamdance founder Peter Baxter with no outside pressure as initially reported.
In response to this, six other finalists withdrew from the competition in protest, Jonathan Blow withdrew "Braid", thatgamecompany withdrew "Flow", Waking Games withdrew "Once Upon a Time", the developers for "Toblo" withdrew their game (however, on January 16 the college which they attend, the DigiPen Institute of Technology against their wishes "overwrote our decision and readmitted Toblo to the Slamdance Festival", because the developers did not consult the college prior to their withdrawal decision), Queasy Games withdrew "Everyday Shooter", Nick Montfort withdrew "Book and Volume", and The Behemoth withdrew "Castle Crashers". The University of Southern California has also withdrawn its sponsorship of Slamdance over this controversy.
On January 26, 2007, the date the game awards were to be presented, a panel discussion with the remaining finalists resulted in the withdrawal of the Official Jury Selection for all finalists, and no awards were handed out. The competition has not been held since.
In popular culture.
Slamdance was referenced in the season 19 episode of "The Simpsons" titled "Any Given Sundance", and also referenced in the series finale of "Glee" on March 20, 2015. In 2017, Slamdance was referenced in the season 6 episode of "Girls" entitled "Gummies" by alum Lena Dunham.