never again as before
booktopia - never before, never again by larry writer, 9780994500816. buy this book online .
never before, never again
running thursday - sunday, january 25 - 28, 2018 .
so how, then, was never say never again made? the backstory is as complicated as a bond film’s plot .
never, never before. never, never again. you walked right in. you wore a grin. you caught my eye and reeled it in. you made my head spin, and it' s never stopped never, never before. never, never again. i was your clown. i was your dog. it' s too bad it had to end. and though it did, it sure was fun. my love for you will outlast the sun. never, never before. never, never again. you were an angel from paradise, but every artist has has vice it may be true, but it ain' t nice: behind ever sad man there' s a great woman. never, never before. ne
the eventual result of all of that legalese? never say never again, essentially a thunderball remake that officially sits outside of the james bond canon .
two people who have pledged never to fall in love again then discover each other in a gay bar .
never before have two souls joined so freely, and so fast. for me this is the first time, and the last. is this an angel' s wish for men? never before and never again. and where to find the words to sing it' s worth, this love was bound for heaven, not for earth. this love was meant to light the stars, but when we touched, we made it ours. and could they take it back? oh, no, they wouldn' t dare! why should they take it back, when there' s enough to share with all the world, and fill the heavens above, with left - over love? never before, a love that just keeps growing on and on, to fill each lover' s heart and light the dawn. is this an angel' s wish for men? never before and never again. never before and never again .
the behind - the - scenes story of “never say never again” is nearly as good as any bond movie, and i hope one day someone makes a movie about it. on the surface, it hinges on the question of authorship and deals with the fact that before eon productions had made a single 007 movie, novelist ian fleming [ … ]
we celebrate the moment of invention as it explodes from the unknown with a cadre of expert improvisors! featuring artists who regularly harness the ephemeral, in work never before seen, and never to be seen again beyond this one presentation. we invite you to share the power of immediate presence in performance - through dance, butoh, action theater and more !
nbna celebrates the moment of invention as it explodes from the unknown with a cadre of expert improvisors! featuring artists who regularly harness the ephemeral, in work never before seen and never to be seen again beyond this one presentation. we invite you to share the power of immediate presence in performance - through dance, comedy, butoh, music, theater, and more .
never say never again is a james bond film that stars sean connery as james bond, a british mi6 agent with the designation 007 who dashes across the globe in a thrilling and seemingly never ending quest to save civilization from the craven schemes of supervillains bent on creating chaos, all the while enjoying dry martinis, bedding women of innumerable national origin, and sporting sharply tailed suits and tuxes .
this is an edited extract from a new edition of never before, never again: the story of st george’s 11 - straight premierships, 1956 - 66 (stoke hill press). first published in 1995, the new edition coincides with the 50th anniversary of st george’s 1966 premiership, the last of its 11 11 - straight run of titles .
the behind - the - scenes story of “ never say never again ” is nearly as good as any bond movie, and i hope one day someone makes a movie about it. on the surface, it hinges on the question of authorship and deals with the fact that before eon productions had made a single 007 movie, novelist ian fleming collaborated with producers ivar bryce and kevin mcclory on a story about stolen nuclear warheads and a massive extortion scheme that he later spun into the novel “thunderball. ”
that’s because never say never again was not produced by eon productions, the cubby broccoli - sired studio that’s delivered the vast majority of the bond films you know and love—the result of a long - running agreement with bond creator ian fleming (and subsequently fleming’s estate) .
ultimately, never say never again is an anomaly, enjoyable and star - studded, but barred from official bond - dom, fated to forever live in 007 limbo. (it also is expiring from netflix on february 1, so watch it while you can! )
experiencing reality with the great richard is happy to produce and perform his first fully improvisational piece in the never before never again festival .
urpiece
is a democratic re - imagining of concert dance where the audience works as a group to control the flow and tone through beginning, middle, and end. literally throw caution to the wind with this raucous performance piece; weaving together dance, poetry, stand - up, therapy, crafting, rock and roll, and much more (or less). (photo by michelle v lim photography )
but of course, it is a bond film. and it stars sean connery, who had vowed to ‘never again’ play agent 007 following the 1971 release of the tepidly received diamonds are forever. mcclory, however, cunningly had included connery as a consultant from the project’s beginnings, and was eventually able to lure connery into the starring role .
giacomo campiotti, who recently helmed the english - lingo miniseries “doctor zhivago” with keira knightley, shows he knows how to climb emotional heights in “never again like before. ” a gripping coming - of - ager about four boys and two girls who’ve just graduated from high school, this italian - language mountain drama, with a cast of unknowns, sports a wholesomeness and uplifting [ … ]
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giacomo campiotti, who recently helmed the english - lingo miniseries
doctor zhivago
with keira knightley, shows he knows how to climb emotional heights in
never again like before .
a gripping coming - of - ager about four boys and two girls who' ve just graduated from high school, this italian - language mountain drama sports a wholesomeness geared more to family auds than the jaded young .
mcclory was successful in a subsequent copyright claim, and received two key items: production credit on the eon film adaptation of thunderball, as well as the right to produce a different film of the story once ten years had elapsed .
family background of each is rapidly sketched, with noteworthy actors in supporting roles as parents. story then plunges deeper into their characters as they all end up taking a train to the dolomites, where they pitch camp in a remote cabin .
it is the story of a group of eighteen year olds whose vacation in the wilderness will provide the chance for them to grow, as individuals and as a group, their teacher on life are the mountains. after high school graduation, all of them, including a sensitive and foolhardy handicapped boy, will leave for a trekking adventure in the mountains. here, in the middle of this beautiful but also harsh and rugged nature, is where the boys will begin taking responsibility for themselves as well as for others, they will start making decisions and not bend in front of the difficulties they will encounter. it will be the mountains that will make them change and help them grow: when they return to the city, they will not be the same as before .
the key player was producer kevin mcclory, who developed the plot for what was to become thunderball with fleming as well as writer jack whittingham. the story was abandoned, but then novelized by fleming, with no credit given to mcclory or whittingham .
i never thought that schools like lsu and alabama would integrate ,
he can admit, aware that great performances by black athletes competing at those schools played a big part in their integration. yet, amidst the upheavals of the' 60s, he also knew that doing his job wasn' t just about coaching football. he learned to harness that anger at the criticism hurled his way from more militant quarters :
i wasn' t going to go out and hurt somebody or let one of my own get hurt to disprove that i was an uncle tom .
robinson proved his talents year in and year out, winning not just games and championships, but respect and admiration. he also helped change the face of his game in college and beyond, sending more than 200 players to the nfl, including super bowl mvp doug williams. the candor of never before, never again is as refreshing as it is revealing; the story itself is pure inspiration. - - jeff silverman
endorsed by espn betting journalist, david purdum. rudnitsky lost $ 10, 000 betting like a fan... before learning the secrets of how to win like a pro .
it should be said that kershner and “indiana jones” d. p. douglas slocombe share the most stylish vision the character had seen to date. the plot, which plays awfully close to the outline for “thunderball, ” may be familiar (but then, isn’t that true of every bond movie ?), but “never” serves up a great cast, including kim basinger as the most beautiful bond girl of all time, domino; klaus maria brandauer as largo, whose villainy is matched only by his insecure jealousy; and max von sydow making a brief appearance as blofeld, complete with trademark white cat .
giacomo campiotti, who recently helmed the english - lingo miniseries “doctor zhivago” with keira knightley, shows he knows how to climb emotional heights in “never again like before. ” a gripping coming - of - ager about four boys and two girls who’ve just graduated from high school, this italian - language mountain drama, with a cast of unknowns, sports a wholesomeness and uplifting message geared more to family auds than the jaded young. though overlooked on local release in mid - november, it has an unusual depth that could work better offshore, certainly for fests and tv .
that said, connery is, as always, endlessly charming; the villainous one two - punch of max von sydow and klaus maria brandauer (as spectre agents blofeld and maximillian largo, respectively) is fabulously sinister with just the right touch of camp; and kim basinger’s character is compelling and gorgeous, if a bit underdeveloped .
the entire scenario may have been preposterous, but screenwriter lorenzo semple jr. (credited alongside dick clement and ian la frenais) chose to ground the character in reality. long before christopher nolan made the decision to treat batman “realistically” on the “dark knight” pictures, semple wrote bond as a scarred and aging action hero coping with the physical wear and tear that a career of saving the world entails .
it also provides a fascinating alternative to the eon bond films, which at the time were in the heart of the roger moore era. perhaps it’s connery’s swagger, but never say never again is very much a 60s film that happens to take place in 1983. at times, the cinematography produces a lush, classic connery - era aesthetic. at other times, the combination of underwhelming 80s vehicles, dated hairstyles, and stilted dialogue is more reminiscent of contemporary tv shows the a - team and magnum, p. i. than 007 classics like goldfinger or, yes, thunderball .
neither of these words fully capture how great eddie robinson is... as a coach, father, or american. he is such a great role model for everyone .
but, like nearly everything in both hollywood and the fictional world of 007, it’s really about money. eon turned james bond into the most successful franchise of all time, and mcclory wanted a piece of it. after “diamonds are forever, ” sean connery publicly swore he would “never again” play bond, but behind the scenes, he was evidently saying, ” if you pay me enough. ”
foliage
is a duet comprised of multiple improvised scores. each score was derived from physical responses to anxiety; uneven breath, shaking, and muscle tension. the dancers navigate these scores with deep attention to each other as well as the space they are dancing in .
foliage
is an evolution of nicole’s previous work ,
badgrass
.
of course, mcclory had it easy, effectively copying the eon formula in nearly all significant respects. minor details, like maurice binder’s trademark gun - barrel / sexy - silhouette opening sequences or the fact that q is referred to as “algernon” during gadget - outfitting sessions, “never” did without, but the format otherwise stuck relatively close to the model established over 13 previous eon outings .
a true story of a young girl who was sold as a sex slave. the book is a rare look inside the world of sex trafficking and into the soul of the abused .
“if you wanted someone to look up to, to be inspired by, you never had to look past that team. if you were someone like me, a weed who couldn’t run out of sight without getting a wheeze and who was never going to achieve anything on a football field, supporting saints was the stuff that dreams were made of. we had it all over kids from other districts, because we had the saints .
something not altogether different had happened once before with the rights to “casino royale, ” but when the producers of that film failed to convince connery, they spun the project off into the precarious realm of satire – tricky, considering how closely the 007 character treads the line of self - spoofery already. but mcclory got connery, and audiences in turn got a very rare treat indeed: a chance to see what a non - eon 007 movie might look like, as directed by “the empire strikes back’s” irwin kershner .
never again is a romantic comedy about falling in love despite your better judgment. an exterminator and jazz pianist in the noble model of gary cooper and other' 40' s screen legends, christopher is having a sexual identity crisis. he hasn' t been able to perform with the young women he' s been dating, and is looking for sexual inspiration. grace, an administrator for mentors of new york, sends her final child off to college and then realizes that she hasn' t tended to her own needs in a very long time. when christopher meets grace at a gay bar, her best friends admonish her that it' s not a good idea to start a heterosexual relationship with a man you meet in a gay bar. through human insecurities and foibles, and the refreshing reminder that the boomer generation is still very much sexually viable, christopher and grace defy the odds of it never happening again. in a real, meaningful and adult fashion, they fall in love .
i finished this book nine years ago, but i can still recall how well put together this book was. reading this book made you want to go to a grambling football game as well as meet eddie robinson and his wife. i finished this book sixth months after robinson passed away. so it was a forgone conclusion that no matter how much i wanted to meet him after reading this book, it was not going to happen. there will never be another eddie robinson at grambling in my lifetime or many other lifetimes. he was super old school but he was able to adapt and put with every generation he coached at grambling. rest in peace mr. eddie robinson (1919 - 2007) .
tech work is unobtrusive and always in service of the story. duccio cimatti’s camera lets the scenery take center stage in crisp bright colors, which turn dark and menacing as the drama develops. editing concisely packs in a great deal .
we build a world. we have a place to start and no other requirements. the performance will express our continued improvisational experimentation. it will explore the relationships that can be instinctively created between light, movement, set, and sound. the work invites viewer and performer to engage in a unique, performance - specific experience that will never happen in quite the same way again. it invites us to eliminate the tight grip of expectation and replace it with freedom, risk, and communication. see you on the other side... (photo by sam polcer )
but the most important bit of casting, of course, was connery, and “never” drives home what a superior bond he was. though 52 at the time of filming, he was almost three years younger than roger moore and appeared tougher than he had in any of the previous adventures .
connery had already come back once before for “diamonds, ” and his salary on that film – £1. 25 million plus a share of the profits that brought his total to an estimated $ 6 million – made him the highest paid actor of his time… until mcclory and his team came calling to make an off - canon bond movie based on the idea fleming had borrowed to make “thunderball” (reportedly offering $ 5 million and points) .
“as it happened, the bloke who got chook had also been taunting pop all game, calling him an old man because of his baldness. so pop shook the cobwebs out of chook’s head and they came up with a plan to get square. ‘listen to me, ’ clay said. ‘what i want you to do is run up too fast on this bastard, leave a nice big gap that he won’t be able to resist running into, and when he does, i’ll be waiting for him. ’ chook left the gap, the bloke fell for the trick and poppa cleaned him up something shocking, as only poppa could do. as the fellow was carried off on a stretcher, pop grinned at him and said, ‘not bad for an old man, eh? ’ chook said he would have killed for brian clay after that. quite literally, killed for him. those men had a phenomenal ability to stick together. ”
in
truss
, performer emily climer exposes the extremes of acting as both the director and the one being directed in an improvised dance. by heightening attention to these two states, she attempts to offer a glimpse into the simultaneous agency and vulnerability of the improvising body. (photo by maria baranova - suzuki )
as evidenced in his warm feature debut “like two crocodiles, ” campiotti has absorbed a canny blend of american and euro filmmaking styles. here the human drama is set amid picture - perfect italian scenery and carefully built to white - knuckle tension. after an emotional pay - off, the story eases back to a thoughtful conclusion .
o be a member of the red - and - white legion in the golden years was a special thing. as one such fan, this writer can report that we counted on our team to win every time they played, and rarely were we disappointed. while it is true we never enjoyed the elation experienced by followers of an underdog side that flukes a victory against expectations, not one of us would have swapped places with fans of another team. and if we were subjected to vitriolic abuse when we travelled to away games at cumberland oval or belmore oval or pratten park, because rival fans despised us for being the tallest of poppies, well, that was a price we gladly paid .
the st george district was a diverse one, with locales ranging from salubrious suburbs such as blakehurst, kyle bay and gymea to working - class tempe, allawah and kogarah; the fans came from many walks of life. among those who attended saints’ fixtures at kogarah, the scg or other clubs’ suburban ovals were tv star chuck faulkner, labor senator doug mcclelland, future liberal prime minister john howard, and the shaven - headed neo - nazi ross ‘the skull’ may. in 1964, graham richardson, who became one of australian politics’ most powerful men, was a skinny, asthmatic kogarah kid. “if you grew up in kogarah in the 50s and 60s, you followed st george, ” the man known as richo remembers .
gasnier, running gloriously, crossed for three of them. for one man in a striped shirt near me, the excitement — or, if he was a newtown fan, the embarrassment — was all too much and he slumped from his seat. the attention of a st john ambulance zambuck, sitting on his wooden box of medical supplies on the sideline, had to be attracted and he revived the fallen fan. the moment the full - time whistle blew, as was my and my mates’ kogarah custom, we invaded the field, heading first to try to grab one of the four black - and - white striped cardboard corner posts, then, thwarted as usual by faster kids, we swamped our heroes, autograph books and biros extended .
an interactive - performance - experiment writes a love letter to an insta - tweet - chat and patrick ferreri / indecisiveproductions bring you their latest work ,
qualified context
. combining text and movement with audience subversion and more surprises than anyone intended, you sing, laugh, dance, and re - learn a thing or two as they hide from reality in plain sight. (photo by joseph shelley )
jonah udall musicians and dancers present
improvisation
, an investigation of the singular language of movement and sound. the piece explores how time - based art both emerges as a product of physical space, and reciprocally transforms the space it occupies. the audience and performers line the perimeter of the stage, forming an intimate container in which music and dance blur the lines that separate them. (photo by kenneth jimenez )
similarly, the kids deliberately hover between stereotypes and more complex characters in the ensemble work. dark - eyed casu brings out the mythic edge in dreamy enrico, who turns out to have an almost supernatural bond with nature. cipolla is refreshingly ironic, but also touching, as the handicapped max, who demands to be treated normally. also notable is piatti’s good girl, martina, whose inner strength grows throughout the film .
in the past months, saints had played regularly at the cricket ground, and i had watched them from on high in the noble or sheridan stands, but this afternoon – from my seat just metres from the field – i was struck by the sounds of the contest. the grunts of collision, the expelling of huge whooshes of air when a man was tackled, the chatter of the players – “with you, gaz” … “hang onto it, chook” … “good tackle! ”… “get ’em onside, sir. ” but above all, i was startled by the thundering, the pounding, of the galloping st george backs’ boots on the turf as they spread the ball, backed up and ran in try after try .
journalist peter muszkat, who covered st george in their premiership years, remembers the st george district – from tempe down to sutherland – as being a particularly proud one, and he ascribes this pride to the fact that the people were represented by a winning football team whose members were the fans’ neighbours. “people could touch them, speak to them. it’s different today, when players keep swapping clubs and the concept of district loyalty is a thing of the past. also, back then there was tradition and stability in the club uniform. the white shorts and jumper with the big red v and the dragon crest was recognised everywhere. now, thanks to greedy marketing men, clubs change jersey designs regularly so the kids have to keep buying the updated model. ”
with: with: marco casu, marco velluti, natalia piatti, nicola cipolla, laura chiatti, federico battilocchio, pino quartullo, lidia broccolino, francesco salvi, mariella valentini, fabio sartor .
co - scripted with russian writer - director alexandre adabachian, story opens conventionally with final exams, where a lot of ingenious cheating between the students is used to reveal character and relationships .
enrico (marco casu) and lorenzo (marco velluti) exchange notes when wheeling their unwilling friend max (nicola cipolla), a spastic with cerebral palsy, to the bathroom. pretty giulia (laura chiatti) flirts shamelessly with the prof for help, while nobody spares a glance at plain - jane martina (natalia piatti). shaved punk fava (federico battilocchio), none too bright, takes the exam with headphones on .
enrico, a wise young man, with a spiritual bent and an intense love of nature, sets them off on a climbing expedition up a mystic peak, where story takes a tragic turn. far from ending there, however, the film continues to show how each of them deals with this life - changing experience back home .
production: a medusa release of a prana film production, in association with medusa film, sky. produced by giacomo campiotti. executive producer, gian luca bianco. directed by giacomo campiotti. screenplay, campiotti, alexandre adabachian .
crew: camera (color), duccio cimatti; editors, joe walker, fabio nunziata; music, corrado carosio, pierangelo fornaro; production designers, alessandro vannucci, peter kaser; costume designer, alexandra toesca; sound (dolby digital), massimo simonetti. reviewed at metropolitan, rome, dec. 1, 2005. running time: 106 min .
with: with: marco casu, marco velluti, natalia piatti, nicola cipolla, laura chiatti, federico battilocchio, pino quartullo, lidia broccolino, francesco salvi, mariella valentini, fabio sartor .
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grambling state' s eddie robinson started coaching college football when fdr was in the white house and didn' t stop until bill clinton' s second term. along the way, he racked up 408 victories, but his real legacy isn' t in the stats. a black man coaching black athletes in the deep south for 57 seasons, robinson witnessed and took part in amazing changes in society and in his sport, battling prejudice and hatred to earn respect for himself and opportunity for his players .
plays gamely in both those arenas - - society and sport - - because it has to; for robinson they are one and the same .
at grambling state university robinson was considered the
winningest coach in college football history .
here, he traces his 57 years at the school, showing how
dedication and hard work despite seemingly unconquerable obstacles
made him successful. (see review p. 92 .) copyright 1999 reed business information, inc .
i have a been in coaching for over 20 years and this was the greatest football book i have ever read. i have read the book twice and i am still looking through it. i wish i had the opportunity to meet him in person. it was definitely worth the money and more .
want to know the impact that eddie robinson had on grambling football? then read this book .
eddie robinson is a pioneer for all of urltoken' s amazing at all the things he saw & heard and yet he stayed focused & became one of the greatest coaches at any level of urltoken' s beautiful how doug williams came back too coach grambling state. mr. robinson has inspired alot of brothers. even thought the nfl has a long way too go with the black quarterback among many other issues because of mr. robinson a doug williams got a chance the same goes for steve air' mcnair. mr. robinson broke down alot of ground. a real stand up man & winner .
eddie robinson is truly one of the greatest pioneers in the history of athletics. the way he transformed a football program at a little known (if not unknown at the time) black ...
i' m a big fan of football, so of course i wanted to read, this book about grambling' s great coach. i' m a big fan of grambling except of course when they play jackson state, or ...
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when former st george star norm provan was in his pomp, rugby league’s top players were both heroes and fixtures in the local communities in which they played. photograph: brendon thorne / getty images
only at redfern oval, where fans seemed psychotically anti - saints, rougher, more threatening, nastier, did we occasionally question our calling. in 1964, (a year in which saints would win their ninth of 11 - straight premierships) this writer had his red - and - white beanie snatched from his 14 - year - old head by a trio of urchins and hurled onto the top of a toilet block at redfern. i recall, too, my face reddening and ears ringing in fury at the foul curses shouted by a coven of elderly red - and - green clad women in the grandstand at my idols raper, provan and clay .
ken kearney says that in his day, turning up at redfern oval was always a disconcerting experience. “they hated me there, ” chuckles the saints hooker. “they’d be into me from the moment i arrived with my wife maureen. they’d catcall me when i was standing around watching the lower grades, and when i ran onto the field they booed more loudly than any other crowd. and they were just the women. those bloody rabbitoh women. ”
but saints, and their supporters, usually had the last laugh. “look at the scoreboard! ” we’d heckle at the vanquished souths fans, even though, it must be confessed, we wisely withheld our retorts until we could hurl them from the safety of our departing trains .
for home games at kogarah, we were on much surer ground. one match in 1964, when we downed newtown 33–9, remains vividly in my memory. it epitomises, for me, the cock - a - hoop, carnival atmosphere that suffused jubilee oval in the winning years. a day at jubilee was very different from one at the sydney cricket ground, saints’ home away from home. you dressed up to go to the cricket ground, and were tense and nervous because, being the match of the day, the opposition would be strong and the chances of defeat greater .
at aptly named jubilee oval, our opponents were the lowlier teams and we looked forward to, and usually got, cricket scores against them. accordingly, we dressed casually, in happy - go - lucky jeans, bright shirts and pullovers, or football guernseys, the dragons’ or our school’s. on our heads would be the ubiquitous red - and - white beanie with the pompom on top. this day, against newtown, a cool, clear july day, st george, and gasnier in particular, took the bluebags apart. there was no need for grinding forward play. the ball went to the backs from the opening blast of col pearce’s whistle .
“may i have your autograph, mr provan … mr gasnier … mr clay, ” we’d politely shout. unlike some modern stars who ignore or abuse young fans, or, even worse, feign a hand injury to avoid giving autographs, i remember the dragons of my youth remaining on the field until the last child’s book was signed .
another bonus of following st george in those years was that we had the chance to see and meet rugby league’s finest around our district. in those days, because of residential qualification rules, players had to reside in the area they represented. they lived there, shopped there, relaxed there, worked there. so it was a regular treat to cross paths with john raper in a local shop, norm provan at your school speech night or in his furniture store at rockdale, reg gasnier playing golf at beverley park, brian clay at the traffic lights in his truck, or, if your stove broke down, bill wilson of st george ranges might be despatched to repair it. if you attended carlton south primary school, you would be taught by exciting saints back johnny stathers .
the st george stars were part of their community. my fellow supporters all, like me, kept an autograph book and scrapbooks where our heroes’ signatures would appear not once but many times. and among us, local sightings of saints men would be noted .
ian walsh became immediately aware of the responsibility he carried being a st george player: “we had to keep giving our very best. we knew we had the whole district behind us, counting on us, and that was very special. you could feel the support there and that was a wonderful feeling. i could sense it at the games, just walking around the district, in any pub in the area. the people were proud of us. ”
“bill mcwilliam was the golf pro at beverley park golf club, down behind the leagues club, and every grand final day, at 5am, he’d load his ute with big st george signs and take half - a - dozen of us kids out to the cricket ground and we’d decorate the noble stand. after we’d finished hanging the banners, the groundsmen would come to throw us out, but we’d hide in the toilets, anywhere, until they’d gone, then take our place in the front row of the grandstand in time to watch all three grades .
“i learned plenty about life from st george. i learned how to win. they strained so hard to come out on top. raper was the best example, but langlands is another. they would put in an extra effort when they were completely buggered at the end of a game, when the other side were dropping. saints had the heart to keep picking themselves up. they hated to lose. it was foreign and awful to them. you saw how angry they were on the rare occasions when they were beaten. another thing i learned from them that i’ve tried to practise all my life is loyalty. chook raper told me how once in a game against newtown he was flattened by a bigger opponent and pop clay came over and said, ‘come on, get up! you can’t let these blokes see you hurt. get up, and get up now! ’ chook genuinely couldn’t. he was next to unconscious, but pop pulled him to his feet .
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story of two men who paddled and portaged from montreal to the bering sea, across canada and alaska, following the historic fur trade route .
trippy indie madeline' s madeline is the movie that lakeith stanfield and boots riley from sorry to bother you want to see the most .
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four boys and two girls who have just graduated from high school vacation together in the heart - stopping dolomite mountains. on a dramatic climbing expedition up a mystic peak, they... see more »
four boys and two girls who have just graduated from high school vacation together in the heart - stopping dolomite mountains. on a dramatic climbing expedition up a mystic peak, they encounter a tragedy that will change each of them forever. written by anonymous
originally, this song was meant to be sung by johnny mathis during the fantasy montage, but after he recorded it, jim henson decided it would be funnier if miss piggy sang it herself .
johnny mathis did eventually sing it in the 1979 special the muppets go hollywood, and miss piggy planned on singing it in episode 418 of the muppet show with rowlf on the piano, but she sabotaged the performance to sing with christopher reeve. the extended version of the muppet movie shown in the uk featured a different instrumental track from the original version .
television specials: hey cinderella! • the frog prince • the muppet musicians of bremen • the muppets go to the movies • the fantastic miss piggy show • the muppets: a celebration of 30 years • the tale of the bunny picnic • a muppet family christmas • the muppets at walt disney world • the muppets celebrate jim henson • mr. willowby' s christmas tree • studio dc: almost live • a muppets christmas: letters to santa movies: the muppet movie • the great muppet caper • the muppet christmas carol • muppet treasure island • the muppets' wizard of oz • the muppets • muppets most wanted video games: my muppets show • animal drummer • tap tap muppets • disney emoji blitz
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stepping in and around glass
highlights intricacies between two bodies. an ode to our ancestry, the work attempts to inhabit new spaces, question the permissions that surround those spaces, and expose the physical devastations those implications embed. the installation element is set up prior to each performance and is unique to each show; our space and ability to navigate space presents a new experiment with each performance. (photo by middle space dance )
“her bells” is a work about the individual conception of time passing. the work looks at the past, present, and future of the dancers on stage and intersects with the past, present, and future of the audience. the work features ching - i chang bigelow, nico li, and carly berrett plagianakos from the company tipsy point productions. “her bells” has an original sound score and an accompanying short film created in collaboration with the dancers. (photo by takaaki ando )
in _ transit premieres
all the ifs, ands, or buts
, an improvisational performance that melds together text, movement and storytelling. through the lens of women poets and queer movers, we wrestle with histories and topics that encourage the performers to share, listen, commit, and engage with one another consensually. being that the nature of this piece is based on a loose score, we collect images, words, and movement phrases that form the through - line of our work. (photo by david rasura )
heath in progress presents a live field study of a cooperative community, where obedience is tested and internal motives take over. (photo by andres villeta astacio of ville productions )
“…prosperity in the united states is intimately tied to misery elsewhere. ” - orduna jose. in “dream”, expressions dance company explores current immigration issues which are deeply rooted in the actions of the past. through an exploration through dance, expressions dance company invites the audience to participate in the conversation concerning the different scenarios so many immigrants have to face on a daily basis. you are invited to pour out your soul, but you are also invited to heal. (photo by eric bandiero )
the organism that persons (chris rehmann) and sylver wallace are excited to premier their first collaboration ,
variation on sound bites
. their work focuses on experimental explorations of movement and sound .
variation on soundbites
explores the structure and organization of news information visually and aurally. by layering improvised movement, voice, and current media, the piece seeks to offer up alternative vantage points and a broader perspective of how we digest information. (photo by conrad golovac )
suzie rzecznik is showing a work based on the layers and complexities of identity and how that can change moment to moment. this is a collaboration with live music finding how the dancer and musician can communicate and influence each other in improvisation. (photo by alida rose delaney )
paul singh and peter chamberlin (of the dance company singh & dance) will perform a serious and technical movement study concerned with unraveling the constant architectures that keep people alike, even amidst the current events that literally tear us apart. it will be a short duet that lets the bodies do all the talking, while the words win and fail us. (photo by ian douglas )
jazz
is a dance - music - dialogue between a body and a saxophone. a performative conversation between german - born dancer oxana chi and french - born musician layla zami, the piece evokes the commonalities between them. both grew up in europe, started with classical training in their respective fields, and now pursue a career full of contemporary fusion and afro - futurism. on the footprints of two globe - trotters who jump across continents, experience a personal and inspirational improvisation - interpretation of jazz. (photo by jeremy toussaint )
fabgrandma explores the intersection of club culture and theatre. tina romero, filmmaker and dj (dj trx), and rebecca hidalgo (ondina), performance artist and dancer, both players in the nyc queer nightlife scene, join forces in a creative exploration of the relationship between dj and go - go dancer. their performance spotlights the sensual game of non - verbal catch of music, movement, and expression. at the heart of their respective stage personas lives an elegant grandma with flare, confidence, style, and charisma. (photo by grandma )
the lovelies work to uncover, establish, and conclude the present through discovery. makers of dance and sound, sculptors of space and designers of time, the lovelies push each other, question the possibilities, surprise themselves to create dance pieces in the moment. for this work and all works, the lovelies seek to work collectively to create an environment and work with everyone involved - dancers, musicians and audience members - to build a dance spontaneously. the only structure ever used is a time limit, if applicable. (photo by ezra goh )
jenni hong & friends will dance in the dressing room, while inspired by the music from my little airport, played on the boom box. the duet of many faces will mold into and destroy the improvisational score created by
room of pure forms
is an audience - inspired experience in which the audience provides raw form and andrea molds the form into her movement language to convey a concept relevant to the here and now. (photo by helen lehrer )
janessa clark presents
tiny dances: live
, a duet in collaboration with courtney drasner, which extracts content and meaning from anonymous letters submitted during the performance. complementing clark’s video project of the same name, this improvisational score performs privacy in a way that subverts authority and ownership while giving agency to the personal secrets that an individual chooses to transmit. contemplating what traces we leave behind when we depart ,
tiny dances: live
investigates ephemerality and (im) mortality. (photo by william miller )
daniel gwirtzman dance company premieres
follow
, a tightly - structured improvisatory quintet that finds all the dancers together in the space for the first time on the performance day. the process consists of each dancer separately learning a choreographic structure from rigorously detailed written descriptions. the music will be composed by jeff story and heard for the first time by the cast in performance. complex spatial patternings and pathways will demand the dancers navigate themselves carefully and fully. (photo by quentin burley )
never again as before ( italian : mai + come prima ) is a 2005 italian coming of age drama film produced , written and directed by giacomo campiotti . the film was nominated for the david of the youth at the 2006 david di donatello awards , while the theme song " warriors of light/sei o non sei dei " was nominated for silver ribbon for best song . 
never again as before (italian: mai + come prima) is a 2005 italian coming of age drama film produced, written and directed by giacomo campiotti. the film was nominated for the david of the youth at the 2006 david di donatello awards, while the theme song " warriors of light/sei o non sei dei " was nominated for silver ribbon for best song.
never again as before (italian: mai + come prima) is a 2005 italian coming of age drama film produced, written and directed by giacomo campiotti. the film was nominated for the david of the youth at the 2006 david di donatello awards, while the theme song " warriors of light/sei o non sei dei " was nominated for silver ribbon for best song.