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Review by Matt Finley
When Christopher Nolan released INCEPTION in 2010 there was some rightful, if overblown, fervor around the fact that a studio had trusted a blockbuster director with an indie film ethos to realize his own multi-million-dollar vision. It was neither a comic book adaptation nor nostalgic remake nor by-committee studio script, and it totally crushed at the box office.
Fast forward several years, and it turns out the film's success wasn't the game-changing industry bellwether some had hoped. Still, it got a lot of people very excited for Nolan's next original outing, and the potential of that future film to further nudge the line between boundary-pushing story concepts and crowd-pleasing action.
INTERSTELLAR has landed... and it's basically a James Cameron film, with all the taut, bombastic setpieces, over-engineered emotion, and token sci-fi ingenuity (not to mention epic runtime) that the comparison evokes.
That's not bad news - INTERSTELLAR's story of a last ditch space mission through a mysterious wormhole to find a habitable replacement for our dying Earth is a gorgeous, thrilling science fiction adventure. If the promise of stark alien landscapes, sassy robots and astronaut jargon all pumped full of cartoonish humanity by an over-sized heart get your thrusters firing, this is mandatory theatrical viewing.
If, on the other hand, none of these tropes prime your engine, INTERSTELLAR's sizable, equally enthusiastic flaws, including a third act revelation that's as utterly ludicrous as it is maddeningly predictable, ensure you don't have to worry about that space movie you skipped gaining the cultural cache or mandatory viewing status of a film like Kubrick's 2001: A SPACE ODYSSEY.
The impressive cast, which features A-listers and veteran character actors alike, is lead by Matthew McConaughey and Anne Hathaway as astronauts Cooper and Amelia, who lead the wormhole-bound space mission, with David Gyasi, Wes Bentley, and the voice of Bill Irwin rounding out the shuttle crew as Romilly, Doyle, and space-bot TARS, respectively. Michael Caine and Jessica Chastain play Professor Brand and Murph, two NASA scientists who remain on Earth to feverishly work out colonization plans should Cooper and pals find a viable planet. John Lithgow, Casey Affleck and Matt Damon round out the supporting cast.
Inspired by ideas from theoretical physicist (and CONTACT collaborator) Kip Thorne, INTERSTELLAR exchanges INCEPTION's level-descending subconscious maze for Einstein's theory of relativity. It's a pretty sweet example of how tension and human pathos can be effectively mined from a raw scientific concept: Astronaut Cooper's main concern is getting back to Earth in time to save his children, who, because of the realities of hypersleep and faster-than-light travel (the possibility of which the future-set film wisely regards with all the wonderment we'd afford a microwave oven), are aging almost exponentially faster than the ship's crew.
Nolan deftly leverages the time and distance between the astronauts and their languishing planet to build and sustain momentum, cutting increasingly swiftly between the two as the film builds toward its wild, dizzying climax.
Anyone who's ever questioned Nolan's fervor for shooting with IMAX film, or his insistence that viewers see his work in the theater, will find their skepticism roundly dwarfed by INTERSTELLAR's eye-popping cinematic scope and the gorgeous photography of cinematographer Hoyte van Hoytema (HER).
Starships hum over the infinite oceans and vast, frozen wastes of distant worlds as our own blue-and-green orb is turned into a modern dustbowl – let's call it Terrance Malick's Days of Hell - where rolling clouds of barren earth suffocate the dwindling cornfields and ramshackle farmhouses. All of this is pierced by suitably bombastic Hans Zimmer cues drenched in icy synthesizers that nod to classic sci-fi without abandoning the seat-rattling excess of the composer's INCEPTION score.
In short, the film's visual and thematic grandiosity, paired with propulsive action sequences, almost make up for how just plain goofy some of the its emotional arcs and plot contrivances feel.
As a generalization, films about space exploration, from INTERSTELLAR to GRAVITY to CONTACT, operate by presenting a thematic dichotomy - the physical, outward exploration of the cosmos and the psychological, inward probing of the human condition. INTERSTELLAR hews closer to GRAVITY in its deployment of emotional themes, drowning out any earned poignancy with lots of crying and shouting about capital-T Themes like love and self-sacrifice.
Where Nolan's past features have frequently held forthright emotion at arm's length, deploying love as more plot device than a character motivation (see the melodramatic train wreck of INCEPTION's Dom and Mal), INTERSTELLAR finds him reveling in teary moments and sodden-eyed schmaltz. This means that while human feeling certainly resonates through the film, the weepy bits with the swelling Zimmer still reek of the same screen-written calculation that dogs his entire filmography.
Story-wise, a ridiculous early scene in which NASA first asks Cooper to pilot the mission and a couple mundane plot twists eventually give way to the aforementioned third-act reveal, an almost certainly polarizing sequence that combines the kaleidoscopic space trippiness of 2001 with the crayon-blunt dumbness of Shyamalan's SIGNS.
Or maybe that's too cruel. Let's go back to my initial Cameron comparison and say it's on par with the end of THE ABYSS - a too-blatant tugging of the heart disguised as epiphany that sullies an otherwise entertaining science fiction procedural adventure.
And though I'm having a bit of hard time assigning stars in the single digits to a movie that offers entire swirling galaxies, there's one thing of which I'm certain - the only people who are going to annoy me more than the inevitable acolytes who hold up INTERSTELLAR as "one of the greatest science fiction movies of all time" will be the unavoidable grumps who jadedly dismiss it as one of the worst. This is a three-hour Christopher Nolan film, people. It has the time, commitment and energy to be both. (2 1/2 out of 4 Stars)
Posted by Matt Finley at 12:00 AM
Labels: Anne Hathaway, Christopher Nolan, Cleveland OH, Interstellar, Jessica Chastain, Matt Finley, Matthew McConaughey, Michael Caine, Movie Review, sci-fi, Wes Bentley


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The doors to the Food pantry are open at 8:00 am. We begin registering clients at 9:30 am. Clients must arrive before 11:00 am in order to be served that day. The calendar for the dates that we are open can be found on the reverse side of this notice. Unless there is an emergency situation, clients are expected to come only ONCE per month for food. Clients may come weekly to get bread and pastry. There Is no need to take a number; tell a volunteer that is what you need.
ALL CLIENTS are expected to read the notices on the bulletin board each and every time you come to the Food Pantry.
You MUST supply your own bags. Please bring additional plastic bags for us since you usually get more food than your bags will hold. If you are able, help others at the pantry that need assistance. The volunteers at the pantry lift and move at least 200 tons of food a year. We NEED your help and cooperation.
We are an all volunteer staff and as such, we do not have the capacity to make deliveries. If you can get to the pantry, but need a ride home, we will get you a ride home.
STORMY WEATHER: Please remember that the Pantry is NOT open WHEN school is cancelled or has a delayed start due to the weather.


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redpajama_set_name: RedPajamaStackExchange


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Vado: Cam'ron Protege' Speaks On Dipset Reunion
By Donovan | June 9, 2010 0 Comments
In an exclusive interview with Complex magazine, Harlem's up and coming rapper Vado, shares his feeling on the Diplomats reunion, linking up with Cam'ron, "Large In The Street," his solo album Slime Flu, Gunz N' Butta and much more.
Complex: When did you actually link up with Cam'ron?
Vado: Last year. By the time I came up, he was already established. We know the same people in the 'hood so I reached out to that mutual friend and he gave some music to Cam. He passed him my demo, just a few tracks I had laid. I was working with the same people I work with now, my in-house crew Factory Media. On my birthday, March 13th, he invited me into the studio. I went to the studio, he was pulling out wild beats, and I asked if I could jump on 'em. I jumped on 'em, and he was feeling it. We was just recording and gettin' it in and it's been history ever since. I'm signed to Cam.
Complex: You shout out Dip Set and U.N. Are you a part of both?
Vado: Yeah, you can say that. The [U.N.] album will be out in August called Gunz 'N' Butta.
Complex: How did you find out about the reunion with Cam and Jim?
Vado: Cam sat me down, he told me what's going on and what's about to happen and I felt it was a great look for Harlem. Then to top it off, you're adding a new artist to it, you feel me? So I told Cam it sounded like a great look and we about to take over. I'm behind whatever Cam do, no homo, 'cause if it wasn't for him, I wouldn't be here.
Complex: When did he sit you down and talk to you?
Vado: Like a week before Miss Info had put it out. I was hearing it through the grapevine but me and him never spoke on it. One day he asked me to come to his house because he lives down the road from me in Edgewater. So I went to his crib, we sat and he asked me how I felt about it and I said that's a good look. I mean me being from Harlem, I want to do this music right. I want to big up my borough. I want to be with cats from my town that could solidify me. That's why I wanted to come up with Millz but when it didn't happen with Millz. I didn't really take it serious. But then I was like, "You know what? I'm nice." To keep it 100 with you, I was like that dude in the 'hood that was nice on the court, but never played in the league, never played college ball, but everybody in the streets knows he's nice and they pump him up.
Complex: Did Cam say what changed his mind? For a while Cam said he wasn't going to reunite with Jim again.
Vado: Nah, and I didn't ask. I just figured it was family.
Complex: Now that Dip Set is coming back together, have you been building with Jim Jones or Juelz at all?
Vado: Nah, I haven't kicked it with Juelz. I've seen Jim a couple times and we've said "What up" and everybody's cool. Hell Rell, I've seen him; I mean, niggas fuck with me. There is no bad blood.
Complex: When they do the Diplomatic Immunity 3, you'll be a part of that, right?
Vado: Yeah most likely. [Vado stops the interview to holler at some chicks] I want to take y'all out. I'm not from here, this is new to me. Y'all pretty so that's good enough. [Back to Complex] Hello? [Laughs.] My fault, slime. [He goes back to talking to the girls.] I'm with Cam, y'all can introduce yourselves.
Vado "Large On The Streets"
[youtube=http://www.youtube.com/watch?v=oLiqZSp303Q]
Interview Credit: Complex
NEXT PAGE: FULL INTERVIEW
Complex: How did "Large On The Streets" come about?
Vado: V Don brought me the beat with the sample; honestly, I was sittin' on it. He gave it to me in November and I didn't record it until January. We knew the sample was going to be hard to clear. That's why "Large On The Streets" has turned into a street record, 'cause we already changed the hook and everything.
Complex: You changed the hook from what's in the video?
Vado: It's a sample of one of my bars: "Niggas got no Morals, Values or Principles" [from "Ric Flair"]. The hook is now from "MVP," I'm still givin' a shout out to Big L. It's just like the sample with Big L sayin', "Large On The Streets." It's going to sound like that. It's still gonna be good money 'cause that's one of my popular quotes.
Complex: So you guys tried to clear it and couldn't?
Vado: Yeah, so it was a choice we had to do.
Complex: What was Sony asking for?
Vado: Shit, let's just put it like this: A mansion, a Phantom, and a jet flight. They asked for too much. So we had to change it up for BET and MTV.
Complex: What made you decide to re-do "Ebonics" on the third verse?
Vado: The sample. I wanted to show my respect 'cause "Ebonics" sounded crazy anyway. That was another '90s thing nobody ever did again so I felt that was something that would show my skills lyrically. A lot people were shaky on my lyrics and me being a new artist, a lot of people weren't tryin' to hear me at first. I just thought of something I could do different that other artists aren't doing. This is a new era and I should have done a whole song on it. Drake put the video on his blog. So that was definitely love. Shout out to Drake.
Complex: Has that record done a lot for you in terms of showing people your viability as a solo artist?
Vado: Yeah, that's why I had to go hard as far as putting out my solos. A lot of people were saying, "Oh, he's only getting that buzz 'cause he's with Cam and people want to hear how his new artist sound." You know they was in denial. [Laughs.] They wasn't tryin' to realize that I was nice. Then they start comparing me to Juelz. Why can't I just be nice? You gotta understand, I'm from Harlem too, so you can say I look like anybody or rap like anybody because I'm from the same borough. So if a nigga ask me who I look like, I say Harlem. If you come to Harlem, you see a thousand of us walkin' around lookin' like they rappers.
Complex: Has anyone ever told you that you look like Shyne?
Vado: Ah, man, if I were to get a dollar for that every time I heard it, I would be a millionaire. That was one of the first things people used to say.
Complex: You've said before your style is more '90s and the way you rap people can tell you still listen to Illmatic and It Was Written. What made you want to go in that direction?
Vado: I'm young with an old soul. I know music where every song is concepts. Every verse you have to talk about something. Paint some type of picture and make a person interested and if you not painting a picture, at least explain yourself. Like how you livin'? What you wear? What type of girls you like? What kind of cars you want to drive? That's from the '90s era. You know when Big, Cam, Pac and all those artist were spittin', they was always talking about something. So that's my style—and my clothing style is new, but it's different.
Complex: Yeah, I noticed you wear Polo a lot.
Vado: Yeah I was a boat head, like a Nautica head. Then I started fuckin' with Polo in 2000. My man put me on to the Rugby and I know a lot of people ain't know about that because there is only one store in New York. Rugby is a clothing line where you can make your own clothes. You pick up a shirt and they give you patches and you make it hot so I started runnin' with that and it stood out.
Complex: How old were you when you started to rap?
Vado: When I started to pick up the pen and take it serious, I was about 19. But I started rapping when I was 16.
Complex: When did it actually become something in your mind like "I'm going to try and do this?"
Vado: When I was doing this popular public access show in New York called Mad Ciphers. It only plays in Manhattan and the Bronx. I was about 18 and I just put some bars together and went up there with Jae Millz and I started grabbing attention. People started diggin' me, so that's when I started to take it serious. When I was taking it serious, Millz had got on in '03 to Warner Bros. so I started runnin' around with Millz.
Complex: Being close to Millz, was he the first one who said you can make it in rap?
Vado: Exactly. I spit something for him and the first thing he said was, "You ain't write that." I was like, "I wrote that." Millz said, "That shit is aight." It was about a year before he got signed and he said, "Yo, let's go on Mad Ciphers."
Complex: And before that he had no idea you spit?
Vado: Nah, we grew up together from like yay high. Bunk beds together, no homo. We grew up on the same block, literally together from the monkey bars. Millz was always spittin' since junior high. We used to play and be other rappers. He had a Playskool radio and a microphone and we used to record on the tape, but I didn't take it seriously. He always knew that was one of his talents. We were using our own rhymes. So once he got on, I was running with him, there were ups and downs. When he left SRC, I wasn't stepping up like "Yeah, I wanna be an artist, too." I was on a few mixtapes with him or did freestyles, but I really wasn't trying to take control of it. But when he went to Young Money , I knew that was the time I had to step up.
Complex: So during that time when you were jumping on records with him here and there, what was your role?
Vado: I was more like his hype man. When shit got shaky, I was back on the block. I was always on the block. I ain't never leave, but I just went harder with hustlin'. Then I got locked up. When I got locked up. I did eight months. Nothing crazy.
Complex: When did you get locked up?
Vado: I got locked up in 2005. I got caught with 10 bags of crack. That was my first offense, so they gave me probation; I violated probation when I got caught tryin' to bust a check, which led to eight months.
Complex: What year did you get out of jail?
Vado: 2006. Then I was like, "This is what I wanna do." I was gonna go home and go hard as far as working on myself and try to become a real artist and get on.
Complex: When Millz went to Young Money, there wasn't any talk of you going over there?
Vado: Yeah there was, but Millz never reached out to me and I never asked him. I didn't stress it. It was all love.
Complex: When Jae Millz said you should have been on the XXL cover, what did you think?
Vado: I make sure I tell people every chance I get, 'cause he's my brother. We're like how Cam and Mase was. I make sure I let people know off the bat. He was mad, I understand. We both was mad, but I wasn't mad enough for me to take away from the other artists. I didn't have beef with them. They made the cover because they earned it and worked for it. But him being my brother, he just wants to speak his mind.
Complex: Who from that cover are you a fan of?
Vado: J.Cole, Nipsey Hussle. Me and Donnis are very cool. I met him out in the A. It was so crazy 'cause I was listenin' to his music and I ain't even know it was him. I was listening to Sirius and they played "Gone" and then said it was Donnis and I was like, "Oh, this shit is fire!" So me and him started building. Started kickin' it and we got some shit in the works. So he's definitely one of my favorites. I respect J.Cole lyrically.
Complex: If Jae Millz was focused on rap from a young age but you weren't, what type of kid were you growing up?
Vado: Through high school I was one of those popular kids. One of those kids everyone knew from the block or knew from the 'hood and at the same time doing my thing as far as hustlin' goes. I was always one those kids that had a glow, that was special in some type of way and always had a presence wherever I went in Harlem. I was kind of the street person and Millz was the one who went to school, did art, and he was very talented. We like salt and pepper. I was just a cool dude who always wanted a big name in Harlem like the heads before me. I just didn't know it would go through music.
Complex: In previous interviews you mentioned seeing people come through Harlem like Jay-Z and Dame Dash.
Vado: All day. You know I'm from 142nd, so I seen them come through a lot. I've seen Cam'ron, Mase come through in the late '90s, that's how I grew up. I always had them big dreams. I was young, hustlin' on the block, and they would come through and show love to the big homies on the block. Probably the ones I was hustlin' for. [Laughs.] I always for some reason, not saying it was a good thing, idolized that lifestyle all day.
Complex: Being from Harlem, were you ever in contact with Max B?
Vado: Yeah, he reps 142nd, we from the same 'hood. That's why tradition, as far as talent, from my neighborhood goes on.
Complex: Were you guys cool before he went in?
Vado: Yeah, very.
Complex: Did you guys ever do records together?
Vado: Nah, we was cool though. It was more of him doing his thing and I'm not gonna be like, "Yo, son I need a track." I know he was charging an asshole full of cash to niggas. We was cool, so we just kept it like that and I know if he was home would have done something.
Complex: I know it started off as Movado, then you shortened it to Vado. When did you pick up your rap name?
Vado: I think around 17. Money Out of Violence And Drugs Only. It was originally Cree. I made up a meaning. [Laughs.] The meaning was Cute Real and Everything Else. It was just a tag name I had. I would spray it up on walls in junior high. Me and Millz did graffiti and used to tag up whatever. We was on some 'hood shit. We tried to, but we didn't have the heart to go everywhere and tag up and go on trains. But we wanted fame, so we had fame in our area. I was just taggin' that up and Millz was taggin' his up. One day when we was rhymin' and making up names and his name I think was Jarvis Milli-on and he said put "Movado on the end of that, Cree Movado." I thought it sounded cool so I started runnin' with it. Then I just took the Cree off and kept the Movado and then people just started callin' me Vado for short.
Complex: Given that you're thought of as a flashy Harlem dude, it's interesting how you've mentioned not being into wearing jewelry.
Vado: Yeah, I don't do the jewelry. Probably a nice little chain. Nothing big or crazy. Maybe a little diamond necklace and a good watch. I'm more into watches, I love watches. I started off wearin' G-Shocks and toy watches, but now I'm into Rolexes, Cartiers, Audemars. I'm just a watch fanatic. Right now my level is just icing out G-Shocks, toy watches, and all that, but in a minute I should be in the Cartiers and Franck Mullers.
Complex: What is your dream watch?
Vado: A Rolex GMT.
Complex: You went to school with Juelz?
Vado: Yeah, junior high. We knew each other. We were cool, had a couple classes together. I wasn't rappin' at all, he was.
Complex: Were you a little unsure talking about business with Cam after hearing all the issues he had with Jim Jones and Juelz Santana?
Vado: Not at all. One of the first things that Cam told me was when I got down with him was, "I'ma help get you some money." We from the same area and we know the same people, so we got tight quick. He was already schooling me to the game.
Complex: Being around Cam, you see a lot of crazy shit. What are some things you've seen him do?
Vado: The craziest. We be sleeping in the studio and he gets the cap gun and he starts bustin' off shots tryin' to wake niggas up. It's like five or six in the morning and you wake up quick 'cause it sounds like gunshots.
Complex: Why do you call yourself the most hated Diplomat?
Vado: Because before I got with U.N., I already had a team called Most Hated. It was something me and Millz invented. We were always reppin' Most Hated regardless. So I just brought that to the table with me.
Complex: What's your label situation?
Vado: I got offers on the table and everything, just waiting for things to take place. Trying to make the buzz bigger and the check bigger.
Complex: What was the turning point when people really started noticing you and record labels started approaching you about deals?
Vado: I think when we started putting out the Drama mixtapes, they started loving us crazy. Cam already knew what flea could do, so it gave me an opportunity to show my ass. He gave me the opportunity to go off and he set it up right. He gave me the opportunity to record with Gucci Mane, Rick Ross, Kid Cudi, and producers like Alchemist, so it's definitely a blessing.
Chicks: We're kind of in a rush.
Vado: Well, just give me your number.
Chicks: [Laughs.] Gimme yours.
Vado: 917… the name is Vado. V-A-D-O.
Complex: Tell her what it stands for.
Vado: [Laughs.]
Vado's friend in the background: Her ass was fat!
Vado: I know, that's the one I wanted.
Vado's friend in the background: Why you ain't holla at her?
Vado: Because I'm on the phone; they thirsty, though, so I'ma set it up. Hello? My fault, little shorty was bad. I mean we doin' a U.N. project first. His album, my album, my mixtape, so we still workin' on the U.N. the same way Byrd Gang and Skull Gang are all workin' but at the end of the day everybody's back at the round table. It's like the Mafia. The five families are back sitting together.
Cam'ron Gives Status On Dipset
New Music: Dipset "Salute" Remix Ft Vado
New Video: Vado Speaks On Cam'ron, Juelz, Mase, Harlem & More
Harlem's Dipset Shuts Down The City, With Concert In Times Squares
The Harlem Diplomats Concert In NYC [Pictorial]
The Harlem Diplomats Are Coming To A City Near You (Diplomats Reunion 2011 Tour Dates)
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Rapper Juelz Santana Draped In Gucci

redpajama_set_name: RedPajamaCommonCrawl


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Animal shelter gets funds to fix floors, replace boiler
The Yukon government is contributing $22,000 to help the Mae Bachur Animal Shelter improve its heating system and prevent the outbreak of diseases.
Myles Dolphin
Part of the work involves sealing up cracks in the floor of the shelter's isolation room, where sick animals are cared for.
Highly contagious diseases such as the parvovirus can survive for up to seven years in those cracks, according to Dan Moore, the shelter's executive director.
"With those cracks it's hard to get the sanitizing solutions down there to make sure we're eliminating it," he said.
"Once we've sealed it up we'll have a good area that's easy to clean, and we won't have to worry about issues that could be laying dormant."
Moore said there was a parvovirus outbreak at the shelter last fall. The disease is treatable, he adds, and many dogs that have had it have been adopted out to families.
Other rooms in the shelter with concrete floors will also be repaired, including the main hallway and the back area.
The shelter is also replacing its aging oil boiler with a more modern propane one. It should save the shelter about 25 per cent in heating costs, Moore said.
The cost to repair the flooring is about $12,000, he said, while the boiler replacement will be closer to $18,000. Fred's Plumbing & Heating is also donating $3,000 in-kind to install the furnace.
Moore said the balance would be covered by "generous" donations the shelter has received in the past year, especially at Christmas.
"This year we tripled our projection in donations, and the fiscal year isn't finished yet," Moore said. "The community itself and the general public are really the big supporters of the shelter."
A Safe Place secures funding
Yukon's own Elvis Presley to run for office again


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Martina Majerle, hrvaška pevka zabavne glasbe, * 2. maj 1980

Martina Majerle je pevka hrvaškega in slovenskega rodu. Zastopala je Slovenijo na tekmovanju za pesem Evrovizije 2009 v Moskvi, v Rusiji, skupaj z godalnim kvartetom Quartissimo, s pesmijo Love Symphony.

Kariera na Hrvaškem
Prve resne korake v svetu glasbe je naredila kot pevka reške skupine Putokazi. Svojo glasbeno pot je nadaljevala kot solistka v ambientalno-elektro-pop skupini Atmospheric. Udeležila se je tudi Splitskega festivala, kjer je leta 2011 debitirala s pesmijo Neka se dogodi čudo. Leta 2013 je Martina Majerle skupaj z Mr. B in Chrisma Project izdala priredbo pesmi Tonyja Esposita, Kalimba de Luna, saj je z njimi sodelovala že pri pesmi Caravan of Love. Leta 2017 je na Festivalu Melodije Istre i Kvarnera osvojila tretje mesto občinstva s pesmijo Teče teče Rečina, leto kasneje pa je na istem festivalu izvedla skladbo Na Trsatu, kjer je osvojila drugo nagrado občinstva. Nagrado za najboljšo interpretacijo v letu 2018 je prejela za skladbo Međimurska voda sveta, izvedeno na MEF-u – Međimurskem festivalu.

Na Čansonfestu je leta 2018 nastopila s skladbo More j' z morun, kjer je po oceni strokovne žirije osvojila tretje mesto. Leta 2019 je bila na istem festivalu nagrajena za najboljšo interpretacijo s pesmijo Leja le lej. Martina je članica orkestra hrvaške RTV in je vključena v večje televizijske projekte, kot so The Voice, A strana, Zvezde pojejo, Dora in Porin.

Martina Majerle je leta 2020 nastopila na prestižnem hrvaškem festivalu Večeri dalmatinske šansone v Šibeniku na Hrvaškem, kjer je izvedla skladbo Volin Kad Si Tu, kjer je dosegla tretje mesto po izboru strokovne žirije. Skladba 'Volin kad si tu' je uradno izšla 20. septembra 2020. Naslednja pesem Dajen ti besedu je izšla na digitalnih platformah 30. septembra 2020, prvič pa je bila predstavljena na festivalu Melodije Istre i Kvarnera 2020, skupaj s Klapo Tić, kjer je osvojila tretje mesto občinstva. Oba singla sta bila izdana pri njeni lastni založbi Majerle Music.

Majerle je maja 2021 zastopala Hrvaško na albanskem glasbenem tekmovanju Kënga Magjike, kjer je izvedla svojo skladbo Vrijeme je na našoj strani.

Martina je kot spremljevalna vokalistka nastopila na številnih koncertih doma in v tujini. Spremljala je številne znane glasbenike, med njimi Oliverja Dragojevića v Royal Albert Hall (London), Terezo Kesovijo v Olympiji (Pariz), Zdravka Čolića v Olimpiji (Pariz), ter na turneji po ZDA in Avstraliji, Severino, Massima Savića, Nino Badrić, Tonyja Cetinskega, Doris Dragović, Radojko Šverko, Majo Blagdan, pa tudi skupine, kot so Novi Fosili in Parni Valjak.

Tekmovanje za Pesem Evrovizije
Martina je na Evroviziji nastopila osemkrat: leta 2003 s hrvaško predstavnico Claudio Beni, leta 2007 s slovensko predstavnico Alenko Gotar, leta 2008 s črnogorskim predstavnikom Stefanom Filipovićem, leta 2009 kot pevka pri godalnem kvartetu Quartissimo z pesem Love Symphony, leta 2011 s slovensko predstavnico Majo Keuc, leta 2012 s slovensko predstavnico Evo Boto, leta 2014 s črnogorskim predstavnikom Sergejem Ćetkovićem, leta 2016 pa s hrvaško predstavnico Nino Kraljić.

Kariera v Sloveniji
Leta 2013 je uspešno sodelovala s slovenskim tekstopiscem Daretom Kauričem, s katerim je izdala več pesmi v slovenskem jeziku, kot so Čokolada in vanilija, Luna nad obalo in Rain In The Desert (v sklopu projekta Mr. Darwin Chill). Leta 2015 je s pesmijo Alive tekmovala na slovenskem predizboru EMA 2015 za Pesem Evrovizije. Majerle je leta 2018 sodelovala s POP TV pri slovenski oddaji Zvezde plešejo, kot pevka.

Znan obraz ima svoj glas
16. februarja 2022 so oznanili, da bo Martina Majerle del šeste sezone šova Znan obraz ima svoj glas. 6. marca se je Martina preobrazila v pevko Shirley Bassey, s skladbo Get This Party Started. 13. marca se je v oddaji preobrazila v glasbenico in filmsko igralko Christino Aguilera. V tretji oddaji, ki bo na sporedu 20. marca, se je Martina preobrazila v pevko Britney Spears. V oddaji, ki je bila na sporedu 27. marca, se je Martina preobrazila v Mariah Carey. V peti oddaji, ki je bila na sporedu 4. aprila, se je Martina preobrazila v lik Lettie Lutz, iz filma The Greatest Showman. V oddaji, ki je bila na sporedu 10. aprila, se Martina ni pojavila, saj bi v tej oddaji morala nastopiti v duetu z Matevžem Derendo, ki je bil na dan snemanja okužen s koronavirusom. 17. aprila je Martina stopila v čevlje hrvaškega glasbenika, ko je za en večer postala Damir Urban.

Singli

Sklici

Zunanje povezave

Hrvaški pevci zabavne glasbe
Evrovizijski pevci
Tekmovalci na Znan obraz ima svoj glas
Nastopajoči na Emi

redpajama_set_name: RedPajamaWikipedia


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CU Bernstein at 100 brings together the College of Music, the Program in Jewish Studies and the Department of Cinema Studies & Moving Image Arts for several weeks of concerts, panel discussions and film screenings. Headlining the event are three visitors with unique perspectives on the composer's life: Bernstein scholar and Harvard University musicologist Carol Oja, former New York Philharmonic concertmaster Glenn Dicterow and Bernstein's daughter, Jamie.
Bernstein, Oja and Dicterow will be in Boulder the final week of September, beginning with a colloquium moderated by the new director of the American Music Research Center, Susan Thomas, on Sept. 24. The following evening, Jamie Bernstein hosts a special Faculty Tuesday performance of her father's chamber music, and on Thursday, Sept. 27, she will narrate a CU Symphony Orchestra concert featuring a guest performance by Dicterow.


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The Gulf of Cádiz (, ) is the arm of the Atlantic Ocean between Cabo de Santa Maria, the southernmost point of mainland Portugal and Cape Trafalgar at the western end of the Strait of Gibraltar.  Two major rivers, the Guadalquivir and the Guadiana, as well as smaller rivers, like the Odiel, the Tinto, and the Guadalete, reach the ocean here.

The Gulf of Cádiz is located in the north-eastern Atlantic Ocean between 34°N and 37°15′N and 6°W to 9°45′W. It is enclosed by the southern Iberian and northern Moroccan margins, west of Strait of Gibraltar.

Geology
The geological history of the Gulf of Cádiz is intimately related to plate tectonic interaction between Southern Eurasia and North Africa and is driven by two major mechanisms:
 subduction associated with the westward emplacement of the Gibraltar Arc and formation of the Gulf of Cádiz accretionary wedge. The current activity of the subduction is unclear, with some advocating ongoing active subduction. Others suggest that subduction is inactive and that a new plate boundary has recently formed along a series of prominent WNW–ESE trending lineaments acting as a dextral strike-slip (transform) plate boundary.
 oblique lithosphere collision between Iberia and Nubia. Oblique convergence between Africa (Nubia) and Iberia (Eurasia) occurs here at about  per year in a NW–SE direction. Some have suggested this may also be causing active thrusting in the Gulf of Cádiz.

It is now well established that the whole area is under compressive deformation and that mud volcanism and processes associated with the escape of hydrocarbon-rich fluids sustain a broad diversity of chemosynthetic assemblages. The accretionary wedge formed by subduction represents an extensive area which encompasses over forty mud volcanoes (a type of cold seep), at depths ranging from  (confirmed by coring), and active methane seepage has been documented on several locations.

Biota
The occurrence of chemosymbiotic biota in the extensive mud volcano fields of the Gulf of Cádiz was first reported in 2003. There were found mainly pogonophoran worms, but also gastropods and bivalves, polychaetes, crustaceans and echinoderms. There were also recorded dead corals of genera Madrepora and Lophelia. The chemosymbiotic bivalves collected from the mud volcanoes of the Gulf of Cádiz were reviewed in 2011. There were reported the following species of chemosymbiotic bivalves of Solemyidae: Acharax gadirae, Solemya elarraichensis; Mytilidae: Bathymodiolus mauritanicus, Idas sp.; Lucinidae: Lucinoma asapheus; Thyasiridae: Thyasira vulcolutre, Spinaxinus sentosus; Vesicomyidae: Isorropodon perplexum, Isorropodon megadesmus, Callogonia cyrili, Christineconcha regab, Laubiericoncha chuni and Pliocardia sp. There is high degree of endemism within chemosymbiotic bivalve assemblages.

See also
 Bay of Cádiz
 Guadalquivir Marshes

References

Gulfs of the Atlantic Ocean
Bodies of water of Portugal
Gulfs of Spain
Geography of Southwestern Europe


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text:
Perc Tucker Regional Gallery
Frame by Frame: Asia Pacific Artists on Tour
A Queensland Art Gallery Touring Exhibition
Still, Moving. An insight into Frame by Frame: Asia Pacific Artists on Tour Frame by Frame: Asia Pacific Artists on Tour, which is on display at Perc Tucker Regional Gallery from 20 February until 19 April, is a stunning exhibition of contemporary photography and moving image artworks from around Asia and the Pacific, including artists from Australia.
Art Exhibition previously on at Perc Tucker Regional Gallery in Townsville precinct, Queensland, Australia.
From Friday 20 February 2009 to Sunday 19 April 2009
Published by anonymous on Wednesday 04 March 2009.
Contact the publisher.
The exhibition is a regional program of the Queensland Art Gallery's Asia Pacific Triennial of Contemporary Art [APT] – the Gallery's flagship international contemporary art event, and also the only major exhibition series dedicated to the contemporary works of this region.
First presented in 1993, the Asia Pacific Triennial of Contemporary Art was developed as a way for the Queensland Art Gallery to contribute to the exhibition and collection of the art of the region. Then Director Doug Hall made mention in his catalogue foreword for the exhibition that, "Australia's cultural engagement with Asia [had], more often than not, been conceived as art history, both through exhibitions and the development of collections. The visual arts of Asia [had] been presented to Australians as a variety of cultures with a past rich in tradition and bountiful with objects which affirm that. The dynamics of change, identities, and even twentieth-century cultural dislocation as revealed through contemporary art [had] only recently attracted attention and indeed [were] highlighted by the [First] Asia-Pacific Triennial".
Through the development of this exhibition, Australians have become privy to twentieth century, and now twenty-first century art of the region which was rarely displayed in the past. Perc Tucker is the fourth venue in what present QAG Director Tony Ellwood has stated is the, "first tour of these works, many of which have been acquired for the Collection through the Gallery's [Fifth] Asia Pacific Triennial of Contemporary Art (APT5) exhibition series."
Visually striking, many of the works included are also humorous and thought-provoking, and explore issues of, "history, resemblance and difference, transparency and illusion as well as national and individual identity," as stated by Mr Ellwood. Artists have employed the use of a camera, either moving or still, "in creating an experimental art form, intersecting with other mediums, histories and narratives," and the variety of works in the exhibition is testament to "the dynamism of artistic practice and expression coming out of the region."
Amongst the most engaging works, (and not only for its sheer size, measuring an astonishing 250.4 × 609.6 cm), is a work titled All eyes skyward during the annual parade. Created by Pakistan artist Rashid Rana in 2004, the work "depicts an affluent middle class gathering at a stadium to celebrate Pakistan's national day of independence."¹ The work is mirrored, with the gaze of the crowd converging on the centre of the work, staring at the sky as military pilots perform a range of daring feats.
However, what is most amazing about the work is the 'pixelated' photograph technique Rashid has adopted. The entire image is made up of thousands of film strips, each acting as a 'pixel' to form the overall image. Interestingly, the film strips are from popular Indian cinema, and this acts to undermine the feeling of 'patriotic pride' displayed by the crowd. Rana also makes comment on how cinema is digested by the middle-class, and "accentuates the irony of both Pakistan and India's political and cultural aspirations."²
Art historian Kavita Singh explains, "Here, in India, as much as there, in Pakistan, we live with the annual cycle of parades and National Day celebrations and invocations of patriotism. We live also with the regular cycles of aggression and conciliation in our relationship with them; decade after decade of taxes poured into military build-up to protect each against its dark neighbour."³
The artist's ironic exploration of the tension between India and Pakistan is further evident in another work on display, Ommatidia II / Salman Khan, from the Ommatidia series. In this work, as in the rest of the series, Bollywood celebrity an image of Salman Khan is constructed through portraits of men from the Pakistan city of Lahore.
Touching a little closer to home, renowned director and choreographer Stephen Page completed a commissioned work entitled Kin. Page has acted as artistic director for the Bangarra Dance Company since 1991, and in this role has helped to develop unique performances that have blended contemporary and traditional Indigenous dance, oral traditions and social history.
In Kin, Page explores similar themes of youth, culture and social history – this time specific to Brisbane youth. The performance is made more powerful through the involvement of Page's own family, starring his own son and six nephews, and with a music score by his brother David Page. Kin takes shape through the eyes of the seven boys who, aged between nine and thirteen, are beginning to form their own identities. "Their ideas about culture and their understanding of their spirits as Indigenous Australian men are becoming increasingly important,"4 however they are also wrapped up in a lifestyle obsessed with popular culture.
Page worked closely with three generations of his family in creating the work to ensure it was both personal and dynamic. Preparation began for the work in July 2006, with a trip to Beaudesert, South-East Queensland, with his father, son and nephews. This was where Page's family originated, and it was here that the men discussed traditional stories, and spoke the stories of the land. This acted as the first of a series of workshops, before the performance was presented as part of the opening celebrations for APT5. The Kin Story, a 30 minute video piece included in Frame by Frame, takes the viewer on this entire journey.
Frame by Frame: Asia Pacific Artists on Tour includes up to fifty works, all with a cultural story to tell, and all through the use of contemporary image. The images, both still and moving, prove that artists of the region are still moving at a rapid rate.
¹ The 5th Asia-Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery Publishing, Brisbane, Australia, 2006, p. 204
² The 5th Asia-Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery Publishing, Brisbane, Australia, 2006, p. 204
³ Kavita Singh, 'Between the part and the whole', in Rashid Rana: Identical Views [exhibition catalogue], Nature Morte, New Delhi, India, 2004, p.23
4 The 5th Asia-Pacific Triennial of Contemporary Art [exhibition catalogue], Queensland Art Gallery Publishing, Brisbane, Australia, 2006, p. 187