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Interview with Noé Soulier by Alice Chauchat and Natasa Petresin-Bachelez (translated by David Pickering)
Alice Chauchat What in your work for Idéographie has changed since the beginning of the process?
Noé Soulier When I showed the first version of my work in late April, it was fascinating to see what wasn't how I had imagined it. Coming from an academic background, I thought the way I manipulate texts would seem strange, illogical even, but that didn't really happen. On the contrary, the spectators were able to make connections between very eclectic texts and construct a sort of overarching discourse. My problem was that they didn't seem to perceive the composition but rather to comprehend the whole as a homogenous flow. I had worked to produce a discourse that was itself composed of discourses of multiple origins, and in which these components were not easily identifiable, but the contradictions and relations between the texts struck me as important and they were poorly communicated during this presentation. Unlike in academic contexts, in the theater there is a great tolerance for contradiction. The audience is accustomed to making connections between elements that appear to have nothing to do with each other. Now I wonder how to make the composition itself perceptible. I realized that I had composed at the level of the sentence, gradually, without really considering the overall architecture of the piece, its sections and parts. That offers many possibilities and should make the work much more palpable. It should allow for a less didactic discourse that is more like a labyrinth. I went through several successive phases of deconstructing a logical discourse. I thought I had already come a long way, but now I realize that I can still go much further in a way that also becomes more and more interesting on a discursive level. For example, there can be grafts – enormous asides, short parenthetical statements within other parentheses, and so on. I now know that people can find their way. I established a certain clarity and I can use it to go further and create other relationships between the texts.
Nataša Petrešin-Bachelez What models do you use for the composition? For example, when you talk about parentheses or links between different texts?
NS The influences vary widely. Some types of manipulation come from narration. I'm thinking of Hitchcock and David Lynch, for example, for the flashbacks and parentheses. Other tools are more musical: echoes and repetitions, for example. I have introduced real repetitions that weren't present before — now I repeat exactly the same phrase in different places and it changes meaning depending on the context. I talked about making the composition visible, then I spoke of a change in approach within the composition itself. Broadly speaking, until now there have been three major parts: the first part dealt with the connection between consciousness and environment; the second, the connection between consciousness and language; and the third, the connection between consciousness and the body. These parts are now completely intertwined and that allows for transversal links between all of these aspects. Another aspect that strikes me as important is the fact that, while everything I've mentioned is present, the real trick is orienting the spectator's attention toward such and such an aspect of the body, space, language, dreams, etc. Then there is a real choreography of attention.
NPB What are you inviting your spectators to do with this proposition? It seems to me that your compositional method is more or less fixed but you reserve the possibility of improvising or including the spectator in your game, which allows for an easier individualization.
NS There is little improvisation as such. There is some openness to what might happen but mainly a transposition of the texts to the current situation — which can, moreover, truly transform the texts after a while. I never talk about the body in general, language in general, or space in general — I talk about this body here, my body, or the body of the person standing there, about the language I am using, about this space, etc. It's more direct, but also more matter-of-fact, more perceptible, and that is when it really becomes an experience.
For example, when the piece begins, I go back to Husserl's phenomenological reduction, which itself revisits the Cartesian cogito. But the Cartesian cogito is an experience. No matter how much we think we've understood it, if we don't rely exclusively on the knowledge we have of it, the experience of cogito is always an event. The idea is to bring together all of these texts I use as events or as experiments that can be carried out.
AC It seems essential to me that the experience take place within the spectator during the performance, and that our consciousness be the domain on which the piece acts.
NS The composition is written in relation to a potential reading or experiment. It is conceived in terms of rhythms, intensity, echo, refrain — and sometimes also in more narrative terms — flashbacks, stories-within-stories, digressions. In order to achieve this, I like to put myself in the spectator's shoes.
I see a closeness between philosophy and dance in the relationship each maintains to wonderment and the capacity to let oneself be surprised by things. Philosophy achieves this with questions that mostly seem self-evident, for example asking what it means to be.
Dance has the same quality. We have a body and there is something self-evident about that. We use it to do things. With dance, we can pay attention to activities that are usually very plain to see: breathing, walking, reaching out to grab something, the enjoyment we get from running. I think my work is at the intersection, or somewhere inside of this zone of amazement, of looking at things differently. That is where a choreography of attention becomes possible, a change in point of view.
Somatic techniques—for example the Feldenkreis or Alexander Methods — allow one to feel the very fact of standing up differently. Idéographie tries to change the way one perceives the fact of being, speaking, or language's connection to things. I try to place an emphasis on experiences that thought or theory can generate. They intrigue me a great deal, and I think that truly qualifies as choreography. There is another intersection where theory starts to talk about the body and lived experience. It's what phenomenology does for example, and it's also what I am working on with this composition and trying to make an experiment out of. We can work on the voice, posture, or the way of being on stage, to try to shift from an interesting discourse to an experience that becomes something else, that crosses a certain threshold.
NPB Do you also refer back to the moment when speech was incorporated into dance performances?
NS What I have in mind is more dance without speech. For example, Merce Cunningham or Trisha Brown. I find it extraordinary the way this kind of vocabulary changes our view of corporal movement. For example, it allows the body to be perceived as a geometric mobile. It can also happen through speech. Somatic techniques use it a great deal. I think that language can play an important role in such changes of perspective.
If you take Discourse on the Method seriously, you have to relive the experiment, you can't just read it superficially. You have to look out the window at the people in the street and think: "I can see coats and hats but I can't be sure there are people." Or to look at the hard candle and the melted wax and ask oneself: "How can I be sure they are the same thing?" These are experiences that have a sensory element, and dance is an experience that has an intellectual one.
In Phenomenology of Perception, Merleau-Ponty shows that the hand that touches is not the same as the hand that is touched — and that takes doing, it takes realizing. There is something unique about this sense of "realization" that escapes both theory and dance, but might be found at the intersection of the two. What interests me is using all the means at our disposal — the body, experimentation, language — to experience things. Language is an incredible tool for experience and not only for analyzing that experience. I think philosophy often produces experiences that should be lived ones.
AC The textual relationships and the use of the ideas contained within them that you develop through this project allow you to study them, though in a way that is not at all academic. You confer a type of comprehension unique to this capacity art has to make connections that are tangential, transversal, etc. out of "hard" material. Can you imagine that relationship being used to deal with other questions and maybe in forms other than a performance?
NS That particular aspect is quite cognitive, but another aspect I'm currently working on comes closer to actual experience; the quality of material elements such as voice, body and presence is very important. At the beginning of my work for Idéographie, I examined very varied texts, some of which were closely related to politics or the economy. I decided, for the current project, to concentrate on the elements directly present during the performance, and recently something else appeared in the work. I was working on the composition of two texts, one by Benveniste and one by Averroès, and I was talking about them in the same way, to the point of erasing any friction between them. To make these contrasts reappear I started to differentiate the use of my voice according to the text, in order to place markers, just as we might use colors or typographies in graphic design. That created a form of splitting, a multiple personality, and I find that important for Idéographie. The major questions of body, consciousness, and so on, may be tackled from very different angles (phenomenology, somatic approaches, anatomy, neuroscience), which are sometimes incompatible because their presuppositions are. At the same time, I face them, they all interest me and I can't imagine choosing between them. It is a difficult position that requires one to simultaneously hold antagonistic positions.
After creating the piece, I would like to tackle a similar problem that is all the more pressing in the political and economic realm. Because we are all, at one time or another, confronted with these choices, whether we are voting for a referendum, or for a political party. And, though I'm not a specialist of these questions, if I try look at them objectively, and to chose among the existing positions — of liberalism, communism, socialism, or sustainable degrowth by way of environmentalism, neo-liberalism or Malthusianism — they are all rather convincing despite their respective flaws.
AC I find it interesting that you leave out the question of convictions or values. Does everything become relative when we concentrate on the quality of the argumentation rather than the meaning?
NS If you ask the question of values rationally, you quickly get to a place where you don't have a clear-cut opinion. Some people rationally arrive at clear-cut positions, but this is not my case, and I think it's not the case for quite a few people, because positions are too complex — we don't have the theoretical means to say "someone is right, or someone else is wrong." Often, we make choices that come from our socio-cultural determinisms: the milieu where we grew up, the education we got, the ideology we feel closest to. But we can easily start to doubt, and when we start doubting, we feel lost — or at least I do.
Maybe there is something very contemporary about this. A certain number of big ideologies have suffered a loss of credibility, and we are in a sort of fog. We think to ourselves, there is something in the market economy that seems inevitable, and at the same time we would like it to be more just and less destructive. There are also problems of recognition, and so on. We have these clusters of values or convictions that we defend. It's not a question of relativism, the question is rather: how do we manage these values we defend, which are contradictory, and we don't have any idea how to reconcile? I'm not pretending to offer up a solution, on the other hand I am trying to accept or at least start with this situation of non-conviction.
AC What I'm hearing is really the desire to produce a space in which to contemplate this impossibility — but in an active way that is not throwing up your hands and saying "whatever, it's impossible," but insisting on staying in that moment of hesitation, in order to understand its elements, its components.
NS Yes. And that isn't easy because it means investigating different positions and probing deeply enough so that it gets interesting. It is an uncomfortable but inevitable situation.
Interview published in Le Journal des Laboratoires sept-dec. 2011
* Interview realized at Les Laboratoires d'Aubervilliers on June 16th, 2011


My team was researching SharePoint built-in lists like Calendar, Document Library etc. while developing new features for our product Documentation Toolkit for SharePoint (SPDocKit).
Not all of these lists support the same features. We were checking versioning and security settings for each list type and comparing them. Here is the matrix we compiled, maybe it could be useful for you too.


Coastal Direct Primary Care (Coastal DPC) is your home for family medicine, offering quality healthcare for patients of all ages. We use old-fashioned care and listening to provide you with the current best practices in medicine. We strive to provide outstanding healthcare when you need it and how you prefer it, taking advantage of modern technology to be easily accessible to you. While some patients prefer to come to the office for their care, others find it more convenient to call, text, email or use telemedicine to address their health needs. All of this is possible when we become your medical home. We even do house calls! At Coastal DPC we work directly for you, not for an insurance company, to provide the healthcare that best suits you.


19 years ago today my life forever changed in a wonderful, God designed way.
Happy anniversary to the most amazing, beautiful, patient, loving woman in the world!
Hey, you might want to check your blog or your server or something. Looks like you accidentally posted a picture of Mason and Kasey. Just a heads-up.
That so looks like Mason and Kacey. Happy Anniversary love birds!
Ha! I have my blog set to where I have to moderate the comments. You guys both wrote the same thing without knowing. Must be something to it….


As the holiday draws near, I find myself thinking a lot about my last Father's Day with Daddy. June 2010 - I'll never forget it. He was in the hospital... again. I made sure I stopped to pick up some flowers and a card before I went by. I always take my time choosing cards for people because I want them to say what I feel toward that person. I figured that Daddy wouldn't really read it, but I still took the time to get just the right card. I can't remember now exactly what it said, but I know it expressed my heart toward my father practically verbatim.
I walked into his room and I remember thinking, "Wow he looks more like himself than he has in a long while..." I handed him his card, showed him his flowers [I believe I am the only one who's given either of my parents flowers!], and went to put them in the vase in his room. Then I sat down in the chair and started talking with my mom.
I looked over and saw daddy looking at the card and turning it over in his hands. He studied the picture and ran his fingers over the raised writing on the front. I had never seen him do that before. I went back to talking to Ma and when I looked again he was reading the card. [Understand here that because of the dementia, Daddy didn't read much anymore. The disease affected his comprehension and so he simply avoided reading or he would sometimes pretend to read. The disease affected a lot of things...] I glanced over at him again and he was clearly reading.
He finished reading and a strange look came over his face. He motioned for me to come to him, he said he wanted to hug me. [Daddy was never a hugger or particularly affectionate, plus he was hooked up to the monitors and IVs and such which have always made me nervous] Still I went over to his bedside. The moment he put his arms around me, my father did the third thing that he'd never done before - he burst into tears! Not just tears running down his face kind of tears either. No ma'am, my daddy, the strongest man I knew, bawled like a baby. Mom and I were so unprepared for his reaction. His monitor started going crazy, his numbers were going up and down, mom rushed over to try and calm him down.
I was so affected by the depth of emotion from my dad. It was as though through that one act our love and understanding for one another was sealed... And not a moment too soon either since he was gone three months later. Like I said, I will never forget it and it is one of the many memories that feeds my soul and gives me strength and peace to get through the hard times.
Tomorrow is not promised to any of us, beloved. If you still have your dad with you, can I beg you to do something to make Sunday special for him. Treasure the time you have with him and don't let the past keep you distant. Pick up the phone, drop a note in the mail, shoot him an email or a text, but do reach out. You may never know how it will affect him... or you.
Happy Father's Day to all the strong wonderful men out there who refute society's stereotypes of fatherhood on a daily basis. You are appreciated!


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Fifty years later, suddenly in the end of june 2019 I've heard Mitch Ryder song again, from arena PA system, just before John Fogerty's very first concert in Poland. Sticks And Stones which is ranked number 66,151 in the overall greatest album chart with a total rank score of 4. The fact that Mitch Ryder … Stubborn Kind Of Fellow 4. Let Your Lovelight Shine McCarty also played with Rusty Day, Tim Bogert and Carmine Appice in the group Cactus. 2. 7. The band had its origins in Detroit in the early 1960s. Free shipping for many products! 8. Fee, fee, fi, fi, fo-fo, fum Look at Molly now [or look out once again, now], here she comes Mitch Ryder & the Detroit Wheels Song list. At this time, a young white singer by the name of William Levise, Jr., who was singing at a black soul club called The Village, met a rock & roll group which included McCarty, bassist Earl Elliot, and Badanjek. He has also been cited as a primary musical influence by Ted Nugent. Think (About the Good Things)"/"For the Love of a Stranger" (single, 1968 - Inferno I-5003). Ryder has influenced the music of such blue collar rock music artists as Bob Seger, John Mellencamp, and also Bruce Springsteen whose version of the song "Devil With a Blue Dress" was part of the No Nukes concert album in the early 1980s. 7. 13. 8. The Turtles have a few good songs but they talk a lot and it's some corny humor. There really isn't a whole lot to say here except this: "All Killer, No Filler." Nathaniel Peterson - Bass, backing vocals, Terry Emery - Keyboards, backing and lead vocals, Ted "T-Mel" Smith - Drums, backing and lead vocals, percussion, This page was last edited on 18 June 2020, at 16:16. Rock 'N' Roll 13. 7. The band had a number of top twenty hits in the mid-1960s before lead singer Ryder was enticed away by Bob Crewe with offers of a solo career, after which the group quickly dissolved. Sock It To Me - Baby! Breakout. [1] The band's line-up during this time is uncertain. 8. About Mitch Ryder & The Detroit Wheels One of the tightest and most hard-hitting blue-eyed soul acts of the 1960s, Mitch Ryder & the Detroit Wheels broke out of the Motor City to become major stars, racking up five Top 30 singles between January 1966 and May 1967. Mitch Ryder & The Detroit Wheels. The Detroit Wheels were an American rock band, formed in Detroit in 1964. Included in this medley are the songs, "Devi… 7. In addition, Rolling Stone Magazine has cited Mitch Ryder as one of the five most influential rock and roll singers to ever come from Detroit and has also published a special collector's issue entitled, "The Five Hundred Greatest Songs of All Time" which includes Mitch Ryder's "Devil With the Blue Dress / Good Golly Miss Molly"; which was cut during his short sting with the ever changing back-up group The Detroit Wheels. A Face In The Crowd Crewe then persuaded Ryder to quit the group and embark on a solo career. 8. I Need Help They served as Mitch Ryder's backup band from 1964–1967, and played on all his most successful records. Re-released on the Sundazed Music Inc. label, ASIN B000003GX4. 4. All Mitch Ryder Hits! Mitch Ryder And The Detroit Wheels - Rev Up The Best Of - CD. Let It Rock I Got You Ryder is noted for his gruff, wailing singing style and his dynamic stage performances. Ryder first appeared fronting a band called Billy Lee & The Rivieras, which had limited success until…. 8 more photos, Javascript is required to view shouts on this page. In an offshoot of the band called Detroit, there was: Mitch Ryder and the Detroit Wheels in 1966. Mitch Ryder & The Detroit Wheels song lyrics collection. Bill Hodgson died around 1983 shortly after having moved to New York. Devil With A Blue Dress On/Good Golly Miss Molly Mitch Ryder & Detroit Wheels: Rev Up - The Best of Mitch Ryder and the Detroit Wheels Cassette Tape Record label release, original audio cassette tapes were popular from the 80's through 2004. You Get Your Kicks We don't have any upcoming events for this artist right now. I'd Rather Go To Jail In The Midnight Hour Crewe renamed the group Mitch Ryder & The Detroit Wheels, and they recorded several hit records on his DynoVoice Records label in the mid to late 1960s, most notably…, Mitch Ryder (born William S. Levise Jr., February 26, 1945, in Hamtramck, Michigan) is an American musician. 6. The Detroit Wheels William S. Levise, Jr., better known by his stage name Mitch Ryder, is an American musician who has recorded over two dozen … 9. Unit price / per . Around this period they also recorded a number of albums, largely composed of reworked R&B classics, along with a smattering of original compositions. Learn how and when to remove this template message, Mitch Ryder & The Detroit Wheels performing "Jenny Take a Ride", https://en.wikipedia.org/w/index.php?title=The_Detroit_Wheels&oldid=963224467, Articles needing additional references from August 2015, All articles needing additional references, Wikipedia articles with MusicBrainz identifiers, Creative Commons Attribution-ShareAlike License. " Devil with a Blue Dress On Lyrics. Ryder is noted for his gruff, wailing singing style, much influenced by Little Richard, and his dynamic stage performances, influenced by James Brown. Sticks And Stones 11. One of the more underrated rock bands to come out of the Detroit area in the 1960's Mitch Ryder And The Detroit Wheels released a series of hit singles and three albums in the mid to late 1960's led by the vocals of Ryder and featuring the incredible work of future Cactus founder guitarist Jim McCarty and drummer John Badnajek. 2. Too Many Fish in the Sea & Three Little Fishes Backed by the peerless Detroit Wheels-- originally guitarists James McCarty and Joe Cubert, bassist Earl Elliot, and drummer Johnny "Bee" Badanjek-- Ryder reached the Top Ten in early 1966 with "Jenny Take a Ride"; the single, a frenzied combination of Little Richard's "Jenny Jenny" and Chuck Willis' "C.C. Takin' All I Can Get Ryder's solo career, meantime, had been mishandled and failed to take off. 6. In 1972, Badanjek and former Wheels guitarist McCarty reunited to form the nucleus of a new group called The Rockets, which recorded a number of albums through the 1970s and 1980s. Ryder first appeared fronting a b…, Mitch Ryder (born William S. Levise Jr., February 26, 1945, in Hamtramck, Michigan) is an American musician. Profile: Rock and Soul band from Detroit, Michigan, USA, formed in 1964. Tracks 1, 12: from Mitch Ryder And The Detroit Wheels* - Jenny Take A Ride! Leave feedback, Mitch Ryder (born William S. 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Los Angeles Newborn Photographer – Adalynn's Newborn Portraits!
Downtown Fullerton Family Photographer – Harrison is 1 year old!
La Mirada Newborn Photographer – Sweet little Charlotte!
Orange County Photographer – Eli at the Tanaka Farms Pumpkin Patch!
Orange County Family Photographer – The Negrete Family!
Orange County Children Photographer – Little Mr. Bow Ties!
Orange County Family Photographer – Eli is 6 months old!!
Orange County Wedding Photographer – Nick & Melody : Engaged!!
Two Bright Lights Editors' Choice Award winner!!!


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Conch Republic Independence Celebration - 37th Annual - 2020
2020 Event has been canceled.
Key West's Conch Republic Independence Celebration is a fun annual event that honors our eccentric community with 10 days of fun races and parties. Every April, people come from all over to celebrate the independence of Key West and the entire Florida Keys.
The Key West Songwriters Festival 2020
Due to the rapidly evolving effects of COVID-19, the Key West Songwriters Festival will be postponed.
The Key West Songwriters Festival is one of the largest songwriting events in the world. Every May, for over 20 years, music fans, performers, and Key West locals have gathered together to enjoy music at many of Key West's most popular beaches, boats, bars, resorts, and Historic Theatres.
Key West Pride Week 2020
Key West Pride 2020 brings downtown Key West to life for five days in June. In just one week, you will experience fun talent shows, pool parties, plays, a street fair, and a big parade.
Key West 4th of July 2020
Key West 4th of July offers exciting events for the entire family. Celebrate Independence Day in Key West with a tour of historic Old Town all dolled up in American decorations, indulging in key lime pie, and, of course, watching a spectacular fireworks display. Whether you're interested in viewing from land or water, Key West is one of the best places to celebrate the 4th of July.
Key West Fishing Tournament
Founded in 1965, the Key West Fishing Tournament is an annual fishing competition that runs from January to August. Throughout 2020, anglers will compete from boats, land, piers, and bridges around Key West. Special attention is paid to the size and species of fish.
The 40th Annual Hemingway Days 2020
Hemingway Days in Key West celebrates the literary success and lifestyle of Ernest Hemingway, one of America's most famous writers. Every year, to honor Hemingway's birthday, Key West comes to life with lively literary events.
Key West Lobsterfest 2020
The Key West Lobsterfest is a fun annual event that marks the beginning of Lobster Season on Key West. Lobster lovers from all over the world come to Key West to celebrate lobster with free concerts, great food, and the biggest party of the summer.
Key West Fantasy Fest 2020
Key West Fantasy Fest is an exciting annual event that takes place in October. Every fall, the streets of Key West come to life for 10 days of unbelievable costumes, parades, and parties. Since its inception in 1979, The Key West Fantasy Fest has become one of the biggest events in Key West.
Meeting of the Minds 2020 - 29th Annual
The Meeting of Minds, also called Parrot Heads Week, is a classic Key West event that celebrates the music of Jimmy Buffett, our beloved island singer and songwriter who created the idea of Margaritaville. Every fall, Parrot Heads from all over the world come to Key West for a week of dancing, fun-loving parties, and island pirate celebrations.
40th Annual Key West World Championships - 2020
Every fall, the beautiful water off of the coast of Key West is a proving ground where professional boat racers push the limits. With three days of racing and seven full days of events, the Key West World Championships is a fun time to be on our special island.
Key West Thanksgiving 2020
Thanksgiving on Key West will be extra special this year. On Key West, we have a lot to be thankful for, and we're happy to share this gratitude with our guests.
Key West Christmas 2020
Key West is a special place to enjoy the Christmas season. During the holidays, Key West lights up with fun festivities and offers a unique atmosphere to celebrate this exciting time of year. If you're looking to escape the cold, and enjoy a Christmas holiday full of sun and artistic events, Key West is the perfect place.
Key West Food and Wine Festival 2021
January 26 to Sunday, February 2, 2021
Experience the 2021 Key West Food & Wine Festival! Held from Wednesday, January 26 to Sunday, February 2, 2021, the Key West Food and Wine Festival is a sequence of wine and food themed events, showcasing a varied range of wines and creative cuisine.
Key West Spring Break
March to April
Spring break is a special time of year to visit Key West. Because Key West is great for people who are looking for a different spring break experience, there's a nice mix of travelers. From fisherman to artists to families, there's something for everyone on Key West.
Book Your Trip to Key West


Monasteries of Ladakh are finest destinations of turmoil in relation to adventure, thrill and determination. They are open to vast expanse with the Buddhist Culture, thereby providing an chance of a associated with adventure fun-filled activities. Vivid colors of the Our mother earth can be seen in the Barren Land of Leh Ladakh. Moreover, the colors of the nature, lakes, rivers and Buddhist culture, give a panoramic view to holidaymakers.
If you go in winter, you are designed to take in a spot of skiing. Snow is plentiful and powdery which makes ideal skiing conditions. Be sure you wear several layers of clothing although it can end up with cold in the winter months. The highs in summer will around 6 degrees but nights will the temperature plunge to -7.
Renting a vehicular and driving to Grand Canyon West is a choice. However, because tour prices in Las Vegas are hyper-competitive, you'll probably save money and have a much more enjoyable trip are usually book a bus tour. Standard packages include hotel pick up and drop off, park entry fee, and multiple stops, including Hoover Dam, Grand Wash Cliffs, Eagle and Guano Point, and more. In most cases, Skywalk ticket fees are developing addition to the bus arrangement. The West Rim is the only place within Grand Canyon where it is possible to helicopter to the bottom within the Canyon. Pricing for provide you . additional towards the basic bus komodo tour package. Tour takes the general day normally has you back from your hotel around 6 signifiant.m.
Another regarding bus tours is price of. When you're intending a vacation the traditional way, each move is expensive. When you book your flights — money. However make hotel reservations — money. A few take cabs to the six tourist spots you wish to see today — money!
With beaches in every direction you turn, Bali offers its visitors a myriad of sandy fun for your whole friends. On a honeymoon? There are perfect activities for couples too!
Iv. Do not pack heavy: It is advisable a person simply do not stuff too much clothing with your trunks! At Bangkok, there are some cheap markets what your can buy clothes at literally throwaway prices.
Leh Royal Palace: Leh Ladakh tour package almost always comes with a trip to Leh Royal Palace. It a palace which also doubles as a temple these time. It has some historic value and was in the past home to be able to royal family members members. Now, it is exactly a tourist spot it's charm and sweetness refuse to wane. https://www.komodo-toptours.com may have was a partial ruin, on the is still one belonging to the most photogenic landmarks your past state. Will need to not away on this attraction at any cost.
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DUI Arrests, DMV Admin Per Se Hearings, and the Denial of Due Process Amidst the COVID-19 Outbreak
Overview of DMV Administrative Per Se Hearings Following a DUI Arrest
When a driver is arrested for a DUI, within 10 days they may request what is called an "Administrative Per Se" (APS) hearing with the California DMV to challenge the legitimacy of the detention and arrest for DUI. If the APS hearing is not requested within the 10 days of arrest, the driver's license will automatically be suspended after 30 days of the arrest. (Cal Vehicle Code §§ 13353.3(a), 13358(b)). If an APS hearing is requested within the 10 day timeframe, however, a temporary license will remain valid until the hearing has been completed or cancelled, which is generally longer than the 30 days from the date of arrest.
After the APS hearing is requested, the DMV will send the driver or their attorney a copy of the police report, chemical test results, and copy of driving record, amongst other discovery items. More often than not, the detention and arrest for DUI will pass the lower standard of proof required at the APS hearing of a preponderance of evidence – meaning "more likely than not" – that the detention and arrest of the driver for DUI was justified. (See Cal. Vehicle Code § 13357(b)).The APS hearings are conducted by a DMV employee called a "Hearing Officer" who generally has no formal legal training other than on-the-job training provided by the DMV. If the driver "loses", or cancels, the APS hearing, the DMV will issue a written letter that indicates that the driver's license will be suspended.
For first-time DUI offenders, the APS suspension will be in place for four months. (Cal. Vehicle Code § 13353.3(b)(1)(A)). For second-time offenders, the APS suspension period is one year. (Cal. Vehicle Code § 13353.3(b)(2)(A)). Longer suspension periods apply to those offenders with a higher number of prior DUI convictions or those who were found to refuse chemical testing under Vehicle Code section 13353.1.
Despite these delineated suspension periods for DUI arrests, the Vehicle Code has mandated a means of obtaining a restricted license without suffering an actual period of suspension, as we will see in the next section.
Obtaining a Restricted License after DUI Arrest or Canceling/Losing APS Hearing
First-time DUI offenders are those offenders who have not suffered a prior DUI conviction or arrest within the preceding 10 years. If a first-time offender either does not request an APS hearing within 10 days, or loses/cancels the APS hearing, the four-month suspension period will go into effect unless the driver takes advantage of either one of the two means to obtain a restricted license.
Under Vehicle Code section 13353.7, a driver may obtain a restricted license to drive to and from work/school/DUI program only, if the following criteria are met:
Completion of 30 days of actual suspension
Enrollment in the 90-day first offender DUI program;
Filing of SR-22 insurance certificate from insurance provider;
Payment of reissue fees to the DMV. (See Cal. Vehicle Code § 13353.7(a)).
To obtain this version of the first-offender's restricted license, the driver must appear at the DMV in-person and submit proof of the required documents, after which the DMV "shall" issue the restricted license, assuming all of the above requirements are met. (Cal. Vehicle Code § 13353.7(a)).
Another option also exists under Vehicle Code section 13353.6 for first-offenders that allows for driving anywhere for any reason, and does not require any period of actual suspension, if the driver does the following:
Installation of a certified Ignition Interlock Device;
An Ignition Interlock Device is an in-vehicle breathalyzer device that will prevent the vehicle from starting if alcohol is detected by the driver. This option is preferred by most drivers as it allows parties to avoid the 30-day suspension period of the other option and provides more freedom as to where the driver is permitted to operate their vehicle.
Similarly to Vehicle Code section 13353.6, for second-time offenders whose license has been ordered suspended after a new DUI arrest, the DMV has authorized the issuance of a restricted license if the second-time offender does the following:
Enrollment in the 18-month multiple offender DUI program;
Payment of reissue fees to the DMV. (See Cal. Vehicle Code § 13353.75(a)).
Thus, even for second-time offenders, the Vehicle Code has created an avenue to ensure that a restricted license can be obtained so long as the driver has met the strict requirements designed to enhance public safety delineated in the statute.
While the statutorily-provided availability of restricted licenses for first and second-time DUI offenders whose licenses were suspend after arrest or APS hearing as listed above is beyond dispute, the recent crisis created by the COVID-19 outbreak has created an effective denial of the rights provided for in these statutes.
COVID-19, Limited DMV Hours, and the Persistence of APS Hearings despite the Current Health Crisis
On Wednesday March 18, 2020, the DMV announced that due to the risks and concerns for public health in light of COVID-19 outbreak, that while DMV offices would remain open, they would only remain open to those with an appointment and only for DMV activities requiring in-person service, such as driver's license renewal. This meant that individuals seeking to obtain a restricted license as described above would only be able to obtain the statutorily-mandated restricted licenses if they had an appointment at DMV for that purpose. As of today's date (March 25, 2020), the DMV announced on its website that that it is no longer scheduling appointments:
California is in a State of Emergency, use other service options to complete your DMV transactions. DMV allows customers to avoid coming to a DMV office through May 15, 2020, and is taking additional steps to protect the health and safety of customers and employees.
Effective immediately, customers whose transactions require an in-office visit will be served on an appointment-only basis. Due to customer demand, there are currently no appointments available.
Source: https://www.dmv.ca.gov/portal/dmv
This announcement functionally eviscerates the statutory guarantees that restricted licenses will be issued to DUI offenders who comply with the listed requirements, as applications for restricted licenses can only be accomplished by in-person DMV visits.
The bad news is that, until the DMV either reopens completely or begins to allow appointments again, if you did not request an APS hearing and your license is set to expire at the 30-day mark after arrest, or if you cancel or lose a DMV hearing and are subject to a suspension of your license, you will have no means of obtaining a restricted license from the DMV. If you continue to drive while your license is suspended, you are committing the crime of Driving on a Suspended license, which is a misdemeanor carrying a maximum punishment of six months in the County Jail and significant fines. (See Cal. Vehicle Code § 14601.5).
The DMV is further exacerbating this problem by continuing to insist that DMV Administrative Per Se hearings go forward as scheduled, and DMV Hearing Officers are unsympathetic to the current crisis and reluctant to continue the APS hearings without independent good cause. The DMV is thus adding to the State crisis through policies that give hardworking Californians – some of which work in vital industries such as health care – the unsavory choice of either being unable to drive due to the lack of opportunity to obtain a restricted license after suspension, or to become criminals by continuing to drive after the suspension becomes effective. This situation is a complete denial of Due Process highlighting the unacceptable lack of leadership contributing the severity of the COVID-19 crisis at this time.
Honeychurch & Boyd calls on Governor Newsom to solve this denial of Due Process and fundamental fairness by considering an Executive Order that could ameliorate this problem. This could be accomplished by declaring that all APS hearings and automatic 30-day suspensions after DUI arrests should be continued or stayed until DMV offices are equipped to continue to serve the public, or, more crucially, ordering that violations of Driving on a Suspended License for license suspensions that went into effect after the DMV suspended most services on Wednesday March 18, 2020 will not be enforced, until the DMV is able to again serve the public.
While arrests for DUI can be extremely stressful and disorientating in a normal climate, the current confusion and lack of government leadership created by the COVID-19 crisis has created an unprecedented hostile environment that requires the attention of an experienced criminal defense team to navigate and advocate on your behalf. If you or a person you know has been arrested for a DUI in Solano, Napa, or Yolo County, do not hesitate to call Honeychurch & Boyd today at 707-429-3111 for a free consultation with one of our experienced attorneys to determine how we can best assist you in these difficult times.
Drunk Driving & Other DUI Offenses
New Interlock Requirements to Take Effect January 2019 in DUI Cases – The Good News and Bad News
Limits on DUI Checkpoints and the Fourth Amendment
Categories: Drunk Driving
| Tags: Adminstrative Per Se, California DMV, DMV, Drunk Driving, DUI, Restricted Licenses
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New Law Reduces Standard Lengths of Probation in Felony & Misdemeanor Cases as of January 1, 2021 – AB 1950 →
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FOOTBALL NIGHT IN AMERICA – WEEK 8 NOTES & QUOTES
"Don't ever doubt the greatest kicker of all time." – Rodney Harrison on Adam Vinatieri's game-winning kick
"They're just going to get better as the season goes on." – Tony Dungy on the Patriots
"I'm told to watch the Eagles, they may be looking to do something fun now that they're 4-4 and they're in the mix." – Mike Florio on the trade deadline
STAMFORD, Conn. – Oct. 27, 2019 – Mike Tirico hosted the Week 8 edition of Football Night in America tonight from NBC Sports' International Broadcast Center in Stamford, Conn., in advance of the Sunday Night Football matchup between the Green Bay Packers and the Kansas City Chiefs. Tirico was joined on the set by analysts Tony Dungy, Rodney Harrison, and Chris Simms, as well as NFL Insider Mike Florio.
Liam McHugh co-hosted Football Night in America from an outdoor set outside Arrowhead Stadium in Kansas City, Missouri. He was joined by SNF analyst Cris Collinsworth, with Al Michaels and Michele Tafoya also reporting from inside the stadium.
McHugh interviewed Chiefs CEO and co-owner Clark Hunt from outside Arrowhead Stadium. Tirico also interviewed Rodgers earlier in the week, which can be seen in full on NBCSports.com.
FNIA also included highlights, analysis, and news from around the league.
Following are highlights from Football Night in America on NBC:
ON CHIEFS
Collinsworth on Matt Moore's receivers Tyreek Hill and Sammy Watkins: "Just get it to Michael Jordan or Scottie Pippen, right? You've got some of the great athletes in the history of the National Football League out there running on the outside…Just get them the ball and let them go."
Tafoya on Mahomes' injury: "Moments ago (Mahomes) told me if tonight was a playoff game, he would definitely be playing. But he understands the Chiefs need to take a more conservative approach."
Dungy on Chiefs ruling Mahomes out: "They're doing the right thing. Be safe with him."
ON PACKERS
Collinsworth on new Packers offense: "We see a little traditional and then you always see a little flair off it…They're able to stay within the system but there also is that Aaron Rodgers flair that still exists."
Simms on Aaron Rodgers: "Unreal to throw the ball like that…I wish I could throw the ball like that. I wouldn't be hanging out with you guys, if I could throw the ball like that."
Harrison on Rodgers: "He looks so happy. It's not like he's stressed out. He doesn't feel like he has to do everything, and it's a great job by him after the game always giving credit to his teammates."
ON PACKERS-CHIEFS MATCHUP
Michaels: "I was at Super Bowl I (between the Packers and Chiefs)…The AFL had never met the NFL even in a preseason game. Could they hang in there? And the Chiefs did…The average ticket price for that game, $12. We sat on the 50-yard line. They tell me the average ticket price for the next Super Bowl in Miami in February will be $5,000."
ON PATRIOTS
Harrison: "The offensive line is still a problem. Tom Brady didn't play great today. But like coach (Bill) Belichick says, a win is a win."
Dungy: "We're used to seeing these guys lose a couple of games early in the season when they aren't playing great. I think they're just going to get better as the season goes on."
ON 49ERS
Dungy: "I've been all over their defense, but their offense today really impressed me. Very diversified. They took apart a very good Carolina defense."
Tirico: "The 49ers have outscored their name. The 49ers have 51 (points)."
Simms: "It's the whole run scheme…They come at you in so many different ways. (Kyle) Shanahan has it rolling on the offensive side of the ball right now."
ON SAINTS
Tirico: "Drew Brees, 'Boy, maybe he shouldn't have played.' Did you hear all that talk? Shh…That thumb is fine."
Florio on Michael Thomas: "Thomas told me after the game that he's never going to take for granted being in the huddle with a Hall of Fame quarterback. But he said there's no difference between Drew Brees and Teddy Bridgewater. This team is focused in every phase."
Harrison on Thomas: "I think he's the best wide receiver in the National Football League. He's not the fastest, but he's very consistent and he produces every single week."
ON RAMS
Dungy on Cooper Kupp: "We forget what a difference he makes in this offense. He does so much and Jared Goff really loves to throw the ball to him."
Harrison on Kupp: "Just good to see him back coming off that ACL. I mean he's back, he's playing 100% and he's unstoppable."
Florio on Brandin Cooks: "This is the fourth concussion he's had since Super Bowl LII when he was with the Patriots…Concussion number four in less than two years…He's getting up into a range where we have to be concerned about his ability to recover and contribute."
ON COLTS
Harrison on Adam Vinatieri's game-winning field goal: "Don't ever doubt the greatest kicker of all time."
Dungy: "I'm giving about 10 game balls to Adam Vinatieri, for sure."
Harrison on Jacoby Brissett: "I think we underestimate how athletic this guy is."
ON NFC TEAMS
Tirico: "There is a super seven teams in the NFC. They have separated from the rest of the bunch here, and it's going to be a great second half to the season."
ON LIONS
Tirico: "Matthew Stafford is having the best first half of a season in his 11-year career."
Simms: "We only talk about Matt Stafford when things are bad…but he's playing really good football."
ON EAGLES
Simms on Eagles running game: "Big difference-maker (today)…This is when the Eagles were at their best in 2017 when they were on a Super Bowl run…They came at you with their big offensive line. They overpowered the line of scrimmage."
Dungy: "This was their formula in their Super Bowl year…They got back to it today and it paid dividends."
Florio on trade deadline: "I'm told to watch the Eagles, they may be looking to do something fun now that they're 4-4 and they're in the mix… They tried to get Jalen Ramsey…the Eagles may have something cooking now that they're at .500."
ON BEARS
Harrison on Matt Nagy's decision to kneel before game-winning field attempt: "How do you settle for something like that when you've had so many problems with the field goal kickers this year?"
Dungy: "Matt Nagy, have some confidence in your run game. You might not score, but you'll get closer. Don't rely on your field goal kicker."
Simms: "Their offense has been the downfall of the team this year…It's been too much pressure on the defense. (Mitchell) Trubisky has to be better. Nagy has to be better. The run game has to be better."
Harrison: "All the gimmicks and trick plays are fine, but sometimes you have to line up and you've got to hit somebody in the mouth."
ON JAGUARS
Simms: "Leonard Fournette is the MVP of the team…They run the ball, their defense is really good. I don't know what they'll do at quarterback when Nick Foles comes back, but don't forget about Jacksonville."
Simms on Jaguars defense: "This was really the story of the day. The Jacksonville defense, 'Sacksonville' as they say, was all over (Sam Darnold) and giving him issues."
ON TITANS
Dungy on Ryan Tannehill: "He gave them some confidence and made some good throws today."
Harrison on Tannehill: "He's not losing games for them and he's giving them an opportunity to win games in the fourth quarter."
ON CHARGERS
Harrison: "Austin Ekeler, I don't know why they take him out and put Melvin Gordon in. I just don't get it."


It is the beginning of another school year. It looks a little different this year as this time, we have two in high school and the younger two are 5th and 7th grade.
Barring any arguments about what or how school will be done, we should conquer all and learn this year once again.
We are using My Father's World- Exploring Cultures and Countries, Ancient History and Literature as well as US history. This will be our 6th year using My Father's World.
I am working hard to keep things very simple and focusing on learning, but yet, not stress about it to an extreme.
It seems there has to be a good balance between overloading students and lacking discipline.
Grade 12 books that do not have a home yet and are still sitting in the living room on the bench.
Grade 9 Book Basket – Ben Hur is one of the extra reads we are going to try for as well. I also bought an Usborne Encyclopedia as I am going to work on some the ECC geography with my 9th grader as well.
My organized shelf in my room with binders, extra books we are not using, pencils, glue, crayons, scissors etc.
My main basket… stored in the living room.
I feel very unprepared this year, but am going slowly, but surely forward!
This book has a beautiful cover and an alternative writing style that will appeal to many teens that do not read a ton. The chopped clipped sentences were unusual for me. I enjoy a more in depth literature with well thought out vocabulary normally, but also love young adult reads on harder topics. This book is written in more a journal type style, with slang and not a lot of detail. It works hard to address some topics that many teen girls may face, abuse, weight, bullying, rejection and issues with parents. The book, like others from this publisher, only takes place over a week. I felt as if I knew the girls about as well as I would know a new neighbor that I have known for a week. I was mildly interested, felt sorry for them, but was not invested enough to care too much what happened.
I think the author did a good job with writing a book to engage readers that struggle with deeper books, but still need to read about hard topics. She failed in engaging readers in any kind of redeeming quality. There was even some unhealthy behavior that was not addressed at all by any of the adults. The reader would be left wondering what was the right thing.
Depression, angst and humiliation is throughout the story without many redeeming qualities.
However, this book, for the intended audience will likely cause some young women to think. It would be one that you could hand a non-Christian friend, as there is no mention of anything Christian in this book.
When you are a homeschooler, you end up realizing pretty quickly that school ends up being a way of life.
One thing that I found was that you can find some great resources to help you teach practical skills, while getting your errands done with a little planning.
Grocery Cart Math is a great resource that can be good for 3rd-6th graders to not only keep the kids busy in the grocery store, but also fulfill an extra math assignment. You can write in the book, but also, I believe this one is reproducible in your own family. Make sure to check the copyrights in the front though.
There are many other links to ideas to help incorporate real life skills into our children. Math often sometimes seems hard to use for children in the classroom or at the kitchen table. For boys, especially, that love to eat, making it a practical application can really help excite them. They can see the reality of how it is useful!
Check out a few of these other links for ideas you can use. Some of them were made for classrooms, so change and make them work for you.
All in all, keep it simple. If you don't have time before the grocery store run, do something simple. Hand your child a calculator. Everything you put in the cart, have them keep track of it. As you shop, ask for the running total. If you have coupons, let them keep track of them and show them how to figure if it is really saving you money.
As they get older, involve them in meal planning, shopping, cooking and figuring out how to stick to a budget. Often we teach our high schoolers Algebra, Geometry, Biology, and Chemistry and they leave home and go into debt over groceries. Those subjects are important, but start with the small stuff when they are young too.
I have throughly enjoyed all of Sarah Sundin's books, I mean, what is not to like? Beautiful covers, flawed characters, World War 2 fiction? All of my favorite things!
This one is a little different than her others, which threw me for a loop at first and I realized that I wanted to sit down and concentrate on it. I usually do a fly by reading, which means I read in very short segments. My life has been busy, so it has been more 5 minutes here and 10 minutes there, than anything else for reading. It is not terribly satisfying, but better than nothing.
However, for this book, I highly recommend giving it your full attention. It starts out slow, but pulls you in with the subtle mystery surrounding events that take place before WW2. Sarah's ability to create pretty characters with distinct flaws is no different in this book. I loved seeing the characters grow and change throughout the story.
I will also say this, if you love 1940's fashion, you will adore this book! Check out Sarah's Pinterest board for pictures, but this book describes the dresses in such good detail, I felt like I could go and buy it at the store and I knew what it looked like already!
While this book surprised me with the more mystery bent of it, I throughly enjoyed it and will look forward to the rest of this series! I already bought a second copy to lend/give away of this one and I suggest you do the same!


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Cobra Club Forums > Tech Tips > Ram Forum > Finally Pictures!
View Full Version : Finally Pictures!
I have finally uploaded a few photos of my Rams build, and the finished article.
They are not vary informative technicnally speaking, but it's a start!
If anyone wants any particular shots (esp.Danny), just let me know.
nice work on the roll hoop mod, why did you raise it and was it harder getting the body on afterwards?
The other thing i noticed was the connecting peice from the rear hub to the 2 rear shocks, i dont have those. Is it an addition from you or part of the original kit?
I raised it cos the mounting points for SVAable harnesses needed to be solid and triangulated.
The boy went on fine afterwards, I had measured the distance to the body and extended by a little less.
Not sure which piece you mean,, but the unfinished kit came like that, so I left it as.
I did fit traction control pick ups there for traction control??
ya maybe thats it , it goes from the bottom of the hub to the mounting point for the rear shock.
I noticed those brackets too. They're not a Ram part but maybe they might be Jag and most people don't used them. I can't quite see what they do.
I re-fitted them as I thought they can do no harm and I had them. My guess though is they are nothing more than a tie down point for transporting the car from the factory on a flat bed trailer.
Sounds like a pretty good guess to me; I can't see what else they'd do.
If they are just a tie down then surely it would be better to remove them , as they could restrict movement?
They won't restrict anything as they move with the suspension and there's nothing in the way for them to bump into.
Their not doing any harm so I'll leave them there.
Another thought is they were supports for the cradle the car sits on when travelling down the production line when the car was being built?
Had a close look at the Ram build manual, and it's very difficult to make out, but I don't think they are shown.
They're 'go faster' bits then.
The attachment identifies it as a tie down bracket, Craggle take a bow.
Terry Having just trawled every pdf catalogue from SNG Barrett! I make you right Terry (and Craig) It seems to only appear on the XJS as "Rear Tie Down Bracket"
Jaguar must have had words with the AA!
Planning ahead, I like it, however it is also still obvious that they make my car go faster.
Weirdly enough I only had one of those brackets left when I built my car. My mate who was supervising the build (he built rally cars for a living) didnt think they were important and we proceeded with 1 with a view to getting another.
I got it on the road and eagerly test drove before painting the body etcc..
After 1 long run (150 miles) I noticed there was something not right with the suspension - it was clonking on compression and didnt feel right. On inspection the shock absorber that didnt have the bracket had 'walked off' the bush and was mangling the retaining washer. I fitted another bracket with one from a scrap yard and have had no problem with it since.
I think the problem you are describing is more to do with Spax shocks - it usually happens on the front where there were no washers on the inside of the lower wish bones to stop it.


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The grimy image of a HDB flat lit by spartan flourescent light tubes opens up a landmark film in Singapore's film history - 12 Storeys. The soft billowing of army camouflage uniforms and neighbourhood shop underwears on poles under the afternoon sun sets the scene for what looks like 'revisiting' 12 Storeys. But not quite. On a more neutral and clinical note, 'Invisible Children' by Brian Gothong Tan takes us on slightly distanced and wryly humorous look at a few lives who share something in common - a compelling need to run away.
There is a pair of brother-sister siblings who live in a home of quarelling parents and a despotic mum. The brother is helpless, a little wimpy and a lot lost. The sister has an unspoken magnetism and strength in her and her eyes ooze with determination, if not, adamance. Perhaps one of the more arresting characters in the film.
The other character that stood out (at least the the crowd at the Berlin Asian Hot Shots Film festival) was Lim Poh Huat. After having played so many inconsequential 'extra' roles in films, this was one kind of tailored made for him. With his crisply-ironed national-hygiene-board shirt wrapped around his lanky, sterile-looking frame, he keeps himself pre-occupied with cleaing his house and inspecting other people's houses.
At this point, it is amazing to think how there were still at least 3 other stories that involved about 4 other characters. Naturally, the depth of understanding the characters suffered a little due to this. There is an army officer who upholds the regimental practices in camp but yearns for a freer life overseas. In his own camp, there is a sluggish Private who has trouble keeping up with the rules and time. Despite getting punished by the officer, he feels a certain unspoken attachment to him. An expressway away from the camp, in the heart of CBD , is a fresh lawyer who is struggling hard to keep afloat in her job. Finally, and delightfully, out of nowhere struts in the MerlionAir Girl, a symbol a grace, modernity and supposedly a source of national pride. While she graces a (tongue-in-cheek) MerlionAir TV commercial, her personal life is hollow.
Brian's previous works have been distinguished by their use of iconoclastic visual imagery. And many references are made to national icons and symbols in a tongue-in-cheek manner. Having first established himself as a video artist, the 'installation' look is apparent. In a more subtle way, 'Invisible Children' presents a series of troubled lives in 'boxed-up', clean and slightly-stylised kind of setting. Except for the army bunk, there are plenty of white walls and sterilised settings. Singapore looks like a santitised, inhumane, almost surreal kind of place. Many characters wear white or plain off-white clothing. Either that, or uniforms - there were at least 4 ..... army boys, school students, policemen and an air stewardess. If this is all starting to sound like a visual statement, it probably is. Watching this in Berlin in front of a foreign audience, I began to worry if the Germans would view us as people from another planet.
I was actually watching it for the third time. The more I watch, the more the intellectual and conceptual marks of the film speak to me. Lim Poh Huat's character drew consistent laughter from the German audience. Perhaps it speaks to their disciplined nature. But I felt it made a huge and hilarious statement in the film, be it overseas audience or not. Then there was surrealistic disappearing scene which helped the kids escape for 2 stoogey policemen. However, the scene that takes the cake involves Yeo Yann Yann playing a Chinese teacher who speaks teached healthy 'Asian' values. Lol!
On the downside, the emotional aspects speak less and less. Perhaps, this is because not all the characters were defined adequately. A number of characters did seem like token symbols of a larger group of people. This included the stewardess and the lawyer. But the treatment of the 2 army characters and the mother-children trio gave the film more depth and irony. In fact, the film concluded an ambiguous shot of the mum's reaction to seeing something epiphanic, after grieving over the disappearance of her children. Karen Tan locked in a nuanced and affecting performance. The camera holds on her close up as her funereal expression morphs into one that hopeful, yet a 'make-believe' kind of hopeful. This I felt, was probably the emotional centre-gravity of the film (interesting that it is at the end).
Many of Brian's previous works are actually watchable from YouTube. Check out the following titles : Waking the Fluorescent Lion, Imelda Goes to Singapore, Sublime Monsters and Virtual Children, Across Asia.
Written by Jeremy Sing
A charming tale about love and imagination, BRIGHT tells the story of Abby, a quick-witted, inquisitive 9-year-old from a remote fishing village, who is gifted with a visual impairment that enriches her vivid imagination. She is lured to Singapore by her inventive father, under the pretense that that's where her pet whale, Atari, is headed. When Abby discovers her father's real intentions for their trip, and her reality is threatened by the dissolution of her fantasy, she discovers that seeing the world in different shades is the greatest part of the journey. *The film will mix film and animation, created by Xu Yiran (NYU).
Locked in a warehouse under construction, women shipped to Singapore from the Philippines and Indonesia wear bright orange uniforms and learn how to be good maids - this is the world of M-Zone. For two of the women, Alma and Maria, friendship is the only tool they have to navigate the hardships of their stifling confines, where they are stripped of their homeland, their individuality, and their power. The story focuses on their last day together in the Singaporean maid training centre before Maria is sent to an employer, leaving Alma to cope on her own. The two best friends release the aggression they have towards Ma'am, the maid training leader, by dressing up as Ma'am and a maid and pretending to execute their revenge on her. Through this ritual, Alma and Maria attempt to come to terms with their inevitable separation, but are unable to stop their spiral into hyperreality. With captivating performances from non-actors Marilon Gacuya and Romalyn Yaranon and Tagalog script translation by acclaimed Filipino director Carlos Siguion-Reyna, the intense relationships and embellished world of M-Zone makes it a small film you won't want to miss.
Jeremy (J): How was the idea for your film conceived? What inspired you?
K (Kiran): For a few years now I have been really intrigued by the premise of Jean Genet's 1947 play "The Maids" and I have wanted to do something related to the issues it deals with, but in a more current scenario. I was talking to a friend one day who mentioned that she used to volunteer with the organization HOME, doing drama with women who came to Singapore to work as maids but then ran away to HOME's shelter after suffering a variety of grievances. Hearing the stories she told me, and remembering sights of maid agencies in places like Bukit Timah Shopping Centre, where women are put on display to be sold like commodities, I realized I could tie together the ideas of "The Maids" with the unfortunate circumstances that face some of the domestic helpers here in Singapore. To gain firsthand knowledge of the issues I was writing about, I began volunteering at HOME, helping the women put together a drama performance for an upcoming presentation they had planned. Through the relationships forged during this time, I continued to hold weekly drama rehearsals. Additionally, I decided that instead of casting actors, I would cast the women of the shelter in my fictionalized story, which was filled with moments from the experiences they told me about.
J: How many short films have you made previously?
K: 5 or so, both fiction and documentary.
J : Where are you from?
K : New Mexico, USA.
J : What are your sources of inspiration for film? Any particular person? trend? style? issue?
K : I am inspired to make film because I believe that there are innumerable social and political issues throughout the world that few people know about. Documentaries may be made about such things, but often those who see them are already interested in the topics at hand. However, there is always a desire for entertainment. If fictional films are made about real issues, perhaps using real people, but with a surreal flare and cinematic visual style, then there is the potential to educate viewers about world issues while they simply enjoy a trip to the movies.
J : What do you find intriguing in Singapore that you would like to feature in your films?
K : The distinct cultural and social relationships that exist between the various groups comprising Singapore's population.
J : Is it difficult shooting in Singapore? Name a few challenges or even peeves.
K : Sometimes communicating exactly what I want and need in a way that is understandable to local businesses and people can be frustrating, but with some patience and creative phrasing, it usually works out.
J: Any feature film ideas in mind currently?
K : I am interested in doing a project related to farmers in the Indian state of Maharashtra and the consequences of genetically modified crops.
This is like a story from one of those school-themed movies. An off-the-mill kind of teacher rounds up a group of eager students to change something. Mr Adrian Lim is one such character. He teahes at Canberra Secondary School and runs the A.I. Club. A.I. stands for Arts and Innovation and not Artifical Intelligence. However, it seems film and video making is hijacking what Arts and Innovation might refer to in Canberra. His students (and himself) have come a long way from knowing how to operate cameras. They have emerged champions in the School Video Awards for many years, virtually a huge cut above the rest. And they had an early start, and already enjoyed considerable success in the same time as when Royston Tan's short films and '15' were making huge waves.
The Canberra Secondary School Special is programme solely dedicated to the films they have made. Though the films were a little old, I found it difficult where to place them in a time dimension. The themes were universal and somehow evergreen. They covered poverty, freedom, violence, religion and sexuality. And not only do they have their fingers in these pies, the films do challenge you and disturb you. Sitting through them, I often forget these socially-conscious films were born out of the minds of secondary school students. Though they reflected a highly idealistic view of the world, they were neither overly-judgemental nor paying 'lip-service' to issues. If you put 'Reel Revolution' (video contest by Substation) and 'Fly-by-night' together, this is what you might get. Socially-conscious videos with some fun and flair.
Of the films screened the 'Canberra Special' at Sinema Old School, Promises, their flagship piece stood out naturally. Unlike the rest which were mostly documentaries, this is a narrative short film. It uses reverse storytelling to reveal the truth behind the appearance of a ghost at the start of the film. A man drives along a spooky deserted road. He spots a girl and gives her a lift. Looking a little ravenous, he tries to take a advantage but was nowhere prepared for a supernatural twist. My first impression was, the 'red-cloth-encircling-the-car-effect' was executed impeccably!
The story itself was quite grim. So a large part of me was disturbed at how young school students could deal with these at such extents. Watching on, I could not help but feel the maturity in the treatment of the content. In fact, I only wished the story was less linear than it appeared. This is a story of an orphaned girl who is betrayed but the one person she trusted most. The story sounds like a trap for melodrama but it more objective and thought-provoking than anything else.
I had a chance to get in closer touch with Mr Lim and some of his students to understand this 'ECA' a bit better. More to come!
Easily the crowd-tickler of the night, 'Urban Invasion' is a quirky look at the different disturbances that can bother us living in the city of Singapore. The treatment and shots are straightforward and to the point. A boy faces a spate of harrassments from his walk outside Ngee Ann City all the way to his home. There is a flag-day donation volunteer, a shoulder-leaning sleepy stranger on the bus, a door-to-door saleswoman and some heard-but-not-seen sources of disturbances. Guess what? They are all women! Though I think it is just coincidental, it provokes a thought that the director is female herself. While the film draws our attention to a set of familiar occurences without too much fuss and intellectualisation, it borders on being a like a prematurely-short drive in a car. Given some hopelessly hilarious moments and directions from Grace, I wished there was also something beyond the physical comedy.
If this was a film done by a Japanese filmmaker (supposedly young), it would be a bland TV fare. If it was done by a Singaporean, it would be utterly pretentious. This film was actually made as a brave attempt by a Singaporean filmmaker write and direct something totally foreign. So this makes it an incredibly impeccable attempt. Kenny Tan enjoyed some fame with Lorong 27, now apparently a local short film classic, often screened at some retrospectives. And he 's also gone on to make some rather sleek and polished looking shorts and music videos. So the immaculate look of this film is of no surprise. Graded with candy colours, this is a feel-good teeny-bopper piece that looks good in your home if you play it on the screen and sit beside a few Hello Kitty, Totoro and Pikachu soft toys. 17 year-old Midori (isn't that the name of a cartoon character?) tries to settle down in Singapore, a place new to her. A chatty Reiko rides her along and enters her life, making her assimilation into life here more bearable. They play, eat, take cutesy photos, paint and get emo together. A focal point of the relationship also involves an abandoned hangar where they err.... 'hang-out'.
Thanks to the reverse story-telling structure, their eventual separation is anticipated. While the whimsical images and floaty music add to the sadness of the separation, it was actually quite hard to find something poignant enough abot it. Perhaps the fact that Reiko eventually injured her leg back in Japan was meant to be a point of poignancy, but the severity of it was not established well. It made amuch of Midori's memories feel somewhat strenuous. Honestly, Midori was as bland as a paper cut-out, but Reiko gave life to much of the story with her more varied states of behaviour and existence. Her injury was a interesting pivot in the story though not fully explored. At the end of it all, if we go back to Kenny's intention of recreating a genre, it can best be descrived as exquisite! As exquisite as the wriggling feet shots - showcasing the cutesy knee-length socks that female Japanese students wear) - dotted throughout the film.
Chua is better known for writing crime/thriller screenplays. So this filmlet is an off-tangent romantic 'getting-of-the-chest' exercise for him. Shot in simple straight-on framing-, we observe a solitary young man sitting in a bus, swathing himself in a sad memory. He prays in his mind for a an imaginary loved one in the future. The image is somewhat blurry, bleak and shakey (though it might just be the movement of the bus). But the words of the prayer fade in and out in a solemn yet graceful manner. To see it as a film is a tad empty but it echoes an subtly emotional side of Chua. According to him, he once wrote an email to himself in the future that he needed to make this film. The 'future' email can be composed via a website called http://www.futureme.org/ While it is a romantic tool, it is also scary for it seems like a self-fulfilling prophecy.
There is a certain novelty factor in watching a film shot by a film buff. Though the visuals, as seen from the stills, are not inspiring, I suspected it would be a film that would tickle your mind. A couple breaks up and gets interviewed separately. It juxtaposes documentary style interviewing with re-enactments. The added touch is the interviewer's voice which I presume is also the filmmaker's voice. While they relate their biased perspectives of the events leading to the breakup, the interviewer occasionally steps in to question their points of view. While a lot more could be achieved with stage actors who sometimes appear in films, it was quite entertaining to see a Straits Times Film correspondent (Boon Chan) act!
Given the brevity of it, what Mark shared during the Q & A spoke a lot more than his film. A lot of it was very discerning though a bit hammering the point home too much. Apart from sharing his background as a huge film watcher, he had a very fervent theory about making films. He gave the audience the word of the evening - structure. That 1% was the idea and 99% was the structure. Okay, I think he was exaggerating it a bit to prove a point but looking at the sordid 'progress' I made in my own script, I am inclined to believe him.
"We are final year students in Ngee Ann Polytechnic. Synopsis aside Love Song The Musical has been a common goal for the team throughout our 3 years of education in polytechnic. There were heaps of arguments during the conceptualizing. Scripts were written for neo-noirs, dramas and suspense thrillers. But in our final moment right before the end of the deliberation period. Calvin, the director finally broke to me his genuine interest for this project. "I always wanted to do a musical" he said. I went like "What the fuck!?" (pls dont quote me on this) But he describe one scene that he always have in mind. And I bought it completely. So with no script, no story, no time. We embarked on a musical. That was how Love Song started.
The inspiration of the film came when he shares with us his observation and memories on moments where things are more pure and innocent. The magical moments of first love and the courage to be vulnerable. So that became the story. Our hopes for it, is to tell something simple and genuine. But of course, we want to tell it as beautifully as we can. Looking back, it has been an exhilarating experience with majority disappointments and crashes. But I remember the first moment we see our original story and song acted and sang aloud by our lead actor, Rayve, we applauded in unison. And that became the moment we choose remember above everything else. "
Chian Sing Wei, Producer of Love Song
Jeremy (J): do you like musicals or you just wanted the challenge?
Calvin (C): I love musicals. Moulin Rougue was my first musical actually. I watched it and I fell in love with it
J : Can you share a little more? Like what musicals you like
C: After Moulin Rouge, I went out and watched a couple more, such as Rent, Chicago and of course, 881. There's just something in musicals which I can't really explain..being a lover of music and movies, it satisfies me in both aspects. My favourite musical is still Moulin Rouge, though Rent comes in close. (Pause) Yeah..basically, we just plunged into producing Love Song without any experience with Musicals, without any real knowledge on how to create songs and such.
J : You mentioned you started this production from scratch.... that must be daunting. Where was your starting point in this production? C : The starting point was actually a joke! We were shooting a video for National Day and I jokingly sang this song about FSV, our course. We then joked that we should shoot a musical for our final year project and it got me going. I wasn't really sure if anyone else wanted to do it though
J : With no background in music, how did you get the music created? C : I met our music composer, Bevlyn Khoo, through a classmate when she came and helped us with one of our school projects…and I loved her songs. So when it was decided that we were going to do a Musical, we contacted her immediately for help
J : She is quite famous, I have heard of her.
C : Yes..she is..and she's very very nice. Of course, there's also Jean, our arranger who has been doing a great job. These 2 ladies have been exceptional in this field
J : So please describe the what kind of a repertoire you ended up with?
C : Basically, we have 2 songs. Both of which Singwei has written lyrics for, before Bevlyn composed the music and Jean arranged. They're just simple, romantic songs. But to me, I love these songs as we really enjoy listening to them. First time we heard it, we kept looping them and it got stuck in our heads for quite some time
J : Okay.... I guess designing the cinematography for a musical must be fun! I am interested to know what funky shots you had? C : Hmm..for me, we wanted something simple for the cinematography, but at the same time, we wanted it to look amazing. We wanted it to be like..each shot was a picture by itself, which which link to the whole story. Every ounce of effort was spent on making sure it was well lit, movement done smoothly and understandable (Pause) We did have a couple of challenging shots……….We had to do a shot, tilting down, dollying back and jibbing down at the same time…..that was our most challenging shot. Why we needed that shot was to establish the location where Zai, our main character, lives and establish him as well. (Pause) Another funky shot we had was a 360 degree pan and jib shot.
J : I see. Wicked! (pause) Can the actors really sing? Or are you using dubbing?
and I insisted on using simple shots.
C : YES! Both Rayve and Joanne-Marie were selected not only for their acting skills, but also their ability to sing!
J : Where did you find them? C : We made them sing during shoot, but we will also polish it up later on with a studio recording. Joanne-Marie responded to our casting call, but I wasn't around at that time. So when I saw the recording of the audition, I knew I had found the perfect person for the role of Vicky. As for Rayve, we were introduced to him by Kenneth Lyen. then Singwei went down to see his performance in a play. After that, we met up!
J : So................. er..... is it an expensive production? C : Hmm..compared to the many short films done here, I wouldn't say that it's REALLY expensive. Afterall, with the way the film has turned out to be, every single cent spent was well worth it. And last I heard, we're actually spending just a bit more or the same amount as the other groups…. and we've gotten support from MDA and school
J : That's a happy ending! All the best then!
Check out http://lovesongthemusical.wordpress.com/ for more information!
'Invisible Children' by Brian Gothong Tan (in Berlin)
In Production - 'BRIGHT' by Alex Caravia
In Production - 'M-Zone' by Kiran Chitanvis
Mr Keating in Dead Poet's Society
First Takes - 'Urban Invasion' by Grace Teng
First Takes - 'Our Last Day' by Kenny Tan
First Takes - 'A Soft Prayer for the One' by Chua ...
First Takes - 'Scenes from a Break Up' by Mark Kwan
In Production - 'Love Song' by Calvin Choo