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She ended her roundtable by saying that she would probably start a similar program to Free People’s Medical Clinic, but in complete secrecy with a small group of friends. Nevertheless, the impact of Leigh’s intentions resonated very strongly with me. The woman in question came from the perspective of a post-race, European idealism that refuses to see race in the social context of the art world, as if art exists in a cultural and historical vacuum. The discussion went astray and centered on the topic (and existence) of a “white audience,” after a mixed-race French woman from Guiana refused to believe in a racial binary of a “black and white audience,” despite evidence these racial binaries do have historical antecedence in the social fabric of the US, which by and large includes art discourse and viewership. Leigh would go on to argue that she believed that there was some type of efficacy in the secrecy of these underground health programs such as the United Order of Tents and the Black Panther’s Free Breakfast for Children Program. In her roundtable she prompted the group (approximately twenty of us predominantly white female) how she could continue the project as a more sustainable and underground program. Do pop over to these guys to know about the health service provider available near you. Leigh also gave a chilling presentation on her Free People’s Medical Clinic (2015), a project inspired by the work of the United Order of Tents (a secret society of black nurses/medical practitioners that formed after the Civil War), which staged a free clinic for a month at the Stuyvesant Mansion in Bed-Stuy, offering free HIV screenings, yoga classes, acupuncture and homeopathic services, all while bringing more attention to the role of black women in the history of medicine and public health in the US. I attended artist Simone Leigh’s roundtable discussion on the first day of the summit. This promoted a more concentrated and intimate setting for both the audience and presenters to exchanges ideas, and to discuss issues of race, education, and of course social practice. One of the more impressive aspects of the summit however, was the introduction of the Classroom Sessions: a multitude of “open discussions, workshops and roundtables” for the audience to choose from after the lunch break, and set in the actual classrooms at Boys and Girls. Other highlights included Nikole Hannah-Jones’s presentation on school re-segregation and the remarkable benefits of integration in the public school system in the US Kemi Ilesami’s presentation on the Laundromat Project based in Harlem, focusing on bringing art and art programming into community spaces-such as Laundromats, street corners, etc.-across NYC and Hans Haacke’s presentation on the Committee to Save to Cooper Union (CSCU) and the students efforts to reclaim Cooper Union as a tuition-free school. Rashanna Jackman, COURTESY OF CREATIVE TIME Riding on the clichéd phrase, “that you should always believe in yourself, even when no one else will,” Rashanna, through her great poise and nervous pacing, made the idiom her own, and her words were nothing less than inspiring. Through perseverance and self-motivation she became one of the top students in her class. Her rousing speech spoke to her experience in NYC’s education system, explaining how her peers and family thought she would never amount to anything. The summit opened with a presentation by Rashanna Jackman, a recent graduate of The Research and Service High School at Boys and Girls, and the recipient of the Remarkable Achievement Award by the NYC Department of Education. The first took place at the 2015 Venice Biennale, and its modus, as CT’s Chief Curator Nato Thompson slyly revealed in his opening remarks in the school’s auditorium, took on a more “meta” approach to investigating the concept of “curriculum.” Not resting on its laurels, this summit would be less abstract and more concrete, focusing on the education system in the US both nationally and locally, highlighting issues of student debt, institutionalism, racial discrimination, gentrification, the Global South, and alternative practices in pedagogy. It should be noted that this was CT’s second summit on this subject. Last year’s summit marked CT’s eighth international conference “devoted to exploring the intersection between art and social justice” in the last seven years, and was the first to take place in the borough of Brooklyn at the beautiful and historic Boys and Girls High School Campus in Bedford–Stuyvesant. The 2015 Creative Time Summit in New York City, a two day long conference that took place on November 13–14, focused on the current political and artistic musings of artists and activists alike. What is important is that they are logically organized so that the symbols and tags can be located easily. Probably even a few with six or seven just to prove a point I suppose, but the number of lead sheets isn't important. Yeah, I realize some companies have more than two lead sheets, four or five even. Seriously, the significant digits are right here, I checked them. Here's the good news - these lead sheets include 90.00?0.05% of what you need to know. The lead sheets I provide in the supporting file download to this series include the following Having seen a number of lead sheets over the years, I can tell you that most of them are just variations on a core set of generally accepted symbols and notations that engineers and industry organizations have settled on as defacto standards over the years. Every company that builds process plants should have a set of lead sheets customized to their particular ways and means. These are your "secret decoder rings" to P&ID symbology interpretation. Lead Sheets Define SymbologyĪs I mentioned in Part 2, the meanings of the various symbols used on P&IDs (aka, symbology) are defined on separate drawings called "Lead Sheets" (or Legend Sheets). If you think I short-changed any areas and would like more detail on any topic, please let me know via the comment system. I might even be pushing the limits of 's server capacity but I did my best to balance breadth of content with depth of detail. However, I'm going to warn you up front - this is a big part in the series, figuratively and literally speaking. That's the goal I had when I started this series and by golly, I'm sticking to it. With the requisite academics out of the way, it's time to focus on the exciting stuff - P&ID symbology interpretation. The original version by Them Mushrooms also included lines celebrating Swahili language, reggae music, Africa, and "mushroom soup" (a reference to psilocybin mushrooms). Its lyrics includes several common phrases and greetings in Swahili, such as habari gani? nzuri sana ("how are things going? very well") and hakuna matata ("no problem"). "Jambo Bwana" has been largely adopted as a hotel pop song, targeting a tourist audience. Some versions come under different titles, such as "Jambo Jambo" and "Hakuna Matata". It was first released in 1982 by Kenyan band Them Mushrooms, and later covered by a number of other groups and artists, including Mombasa Roots, Safari Sound Band, Khadja Nin, Adam Solomon, Mani Kollengode, and the German group Boney M. "Jambo Bwana" (in Swahili "Hello Sir") is a Kenyan pop song also popular in Tanzania.Black Gospel African American vernacular English (1).Black fraternity and sorority steppin (4).Afrrican American rhythm and blues and hip hop dances (1).African dance moves in Hip Hop dance (1).African American Vernacular English (19). African American verancular English (1).African American plantation dance songs (4).African American civil rights songs (4).African American children's singing games (8).African American children's rhymes and cheers (13).19th century African American dances (1).19th century African American dance songs (5).Thanks also to those whose quotes & comments are included in this post as well as the producers and uploaders of this video.įinally, thanks for visiting pancocojams. Thanks to the composers and performers of this song. Kenya nchi nzuri - Kenya is a nice country Wageni mwakaribishwa - Visitors are welcome This is dedicated to all those are from Kenya Tanzania India Canada England USA The song was also covered by numerous local artists and is heard throughout Kenya and Tanzania. In 2001 the Safari Sound Band released the album Mambo Jambo, which featured the song (aka Jambo Jambo) as the title track. The song, written by band leader Teddy Kalanda Harrison in 1980, has become widely popular in Kenya and Tanzania. In 1982, the Kenyan hotel band Them Mushrooms released the song "Jambo Bwana" ("Hello Mister"). The song was written by Elton John (music) and Tim Rice (lyrics), who found the term in a Swahili phrase book."Ĭlick for a video of The Lion Kings' song "Hakuna Matata". A meerkat and a warthog, named Timon and Pumbaa respectively, teach the main character, a lion cub named Simba, that he should forget his troubled past and live in the present. In 1994 the Walt Disney Animation Studios animated movie The Lion King brought the phrase international recognition, featuring it prominently in the plot and devoting a song to it. released "Jambo - Hakuna Matata", an English-language song. The song was written by band leader Teddy Kalanda Harrison.Ī few years later, German group Boney M. In 1980, the music of Kenyan hotel band Them Mushrooms (now known as Uyoga) released the Swahili song "Jambo Bwana" ("Hello Mister"), which repeats the phrase "Hakuna matata" in its refrain. The phrase was made famous by the movie The Lion King. "Hakuna Matata is a Swahili phrase that can be translated literally as "There are no worries." Its meaning is similar to the American English phrase "no problem" or Australian English phrase "no worries" and is akin to "don't worry, be happy". INFORMATION ABOUT THE SWAHILI PHRASE "HAKUNA MATATA" "Jambo greetings change according to number and person.įor tourist the shortened form is commonly used. "Jambo" is a shortened form of various Swahili greetings. The content of this post is presented for folkloric, aesthetic, and entertainment purposes. This post is Part II in a three part series of posts on songs other than the Broadway show or movie Lion King that contain the word "Jambo" and/or "Hakuna Matata".įor Part I of this series, click for a post on Ella Jenkins' 1974 song "Jambo". This post showcases the lyrics and a video example of the Kenyan band Them Mushrooms' 1980 song "Jambo Bwana". It was maybe six hours from Melbourne, right on the border with South Australia and Victoria. Where was that scene shot?īarrett: That was in Discovery Bay Coastal Park. It was already semi-accessible to the public, so we didn't feel like we were treading on new growth so much. We didn't want to upset the nature that way, so we found a Boy Scout camp that had been burned more recently. It was in a national park and the rangers were very excited about the germination of these seeds that had been dormant for so long. The first forest from our scouting trip the year before had come back to life too quickly. That was an eucalyptus forest that had burned. One was Gembrook Forest, also on the the southeastern side of Melbourne bay. We wanted to bring this to the film.īarrett: There were two forests. But, the black trunks also had new sprouts coming out it was definitely a land in upheaval and emotional imbalance. The fire had gone through very quickly-the trees were blackened, and the leaves that fell from up above had dried out and made a silver ground cover. It enticed us to play around and throw dirt clots at each other. When we were scouting, we saw an area of forest that had burned that we got really excited about. But Australia does a lot of controlled burns to limit large forest fires. Is that just a coincidence?īarrett: We finished our filming long before the recent fires happened. Some of trees do look charred in the film. We heard a lot about Victoria during the devastating bush fires last year. It was important to be really enveloped in nature. So most of the film is shot from Max’s point of view, at a nine-year-old’s height, so he’s looking up at their imposing size. Vincent Landay: Spike always wanted it to be like a nature film, as if we were filming the creatures in the wild and stalking them, rather than setting them up directly in front of us. To us, having the feel of a real environment-both for the actors as well as through the camera-was an important element. Most movies like this are shot in a sound stage to avoid the challenges of a real location. Why bother?īarrett: Being in these remote locations was like camping out-but with giant creatures and a film crew. So each location needed to represent that.Ĭertainly shooting in forests, on sand dunes, and in choppy open water is harder than in a studio. He’s constantly taken aback by them and then accepts them and makes them his own. Max’s imagination drives the story as he's changing and inventing new worlds. Australia seemed to have the greatest diversity in a tight distance: Most of the locations were about 45 minutes to an hour and a half from Melbourne, and they were all so extreme. And a world that Max could invent on his own and that the audience could absorb as new. Barrett: We wanted to create a world that would be relevant to the story and a child’s imagination. You considered many destinations-Argentina, Hawaii, New Zealand. Barrett and producer Vincent Landay, both longtime Jonze collaborators, to learn more about where the action happened, close calls, and how nature called the shots. We caught up with production designer K.K. Here they found the rain, hail, whipping winds, and even rogue waves to be welcome, if daunting, challenges (particularly for the actors in the Wild Things costumes, which weighed up to a hundred pounds each). But where? To capture a stunning mix of extreme landscapes, Jonze’s team spent five months on location along the southernmost edge of Australia in Victoria. There's some mild language ("damn," "stupid") and a quick glimpse of Max's mom and her boyfriend drinking wine and kissing, but otherwise the PG rating is due mostly to Max's occasionally frightful time with the mysterious Wild Things.Director Spike Jonze’s new live action movie, Where the Wild Things Are takes on the ambitious task of bringing a boy’s boundless adventure fantasy to life in the real world. The movie also has a slower, dreamier feel than many other kids' movies, and relationships and storylines aren't always neatly resolved. The island that Max lands on can be a scary and dark place, and the Wild Things themselves aren't above threatening (repeatedly) to eat Max, as well as becoming hot-headed and destructive (and when a Wild Thing gets destructive, it can be quite intense). The movie explores mature themes of loneliness, insecurity, and fear of change, both within Max's human family and the one he finds on his adventure. Parents need to know that director Spike Jonze's adaptation of Maurice Sendak's Where the Wild Things Are isn't appropriate for younger kids, even those who adore the book (there's a big difference between looking at a beautifully illustrated children's story and watching a live-action movie full of sights and sounds that will probably scare the average 4-year-old). You Can Also Read This: Thea Render Crack Little Snitch Cracked is the most complete system that protects you from unwanted suspicious internet access. Runs smoothly in the background and can detect network activity from viruses, trojans, and other malware. Little Snitch Crack reliably prevents you from sending sensitive data without your knowledge. Or set rules to maintain similar connections in the future. You can now enable or disable this connection. 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DePaul’s an expert at gravelly-voiced characters like Truman, evidenced by his role as Samuel Hayden in DOOM, though he’s also an accomplished live performer, appearing on late-night shows hosted by Jimmy Kimmel and James Corden. Truman Zanotto: Darin DePaulĪs the Grand Head of the Psychonauts and Lili’s dad, we have Darin DePaul. Brooks has provided backup voices in lots of cartoons, though her most prominent recent roles are as Bumblebee in DC Super Hero Girls and Teela in the recent He-Man reboot. Hollis Forsythe: Kimberly BrooksĪs the super-serious Second Head of the Psychonauts, we have Kimberly Brooks. Next, here are some of the major players from the new cast. Kaye’s had a long and successful career, and as his role as Ford may imply, he has an affinity for older characters such as Grandpa Max in Ben 10. Ford Cruller: David KayeĪs the founding Psychonaut with the fractured mind, Ford Cruller, we once again have David Kaye. Once again playing the fun-loving levitator of the Psychonauts is Alexis Lezin. You can see him right now as the bumbling duo of Needleman and Smitty in Disney’s Monsters at Work. Despite what his serious demeanor as Sasha may imply, Stanton’s got some serious range. Returning as the expert psychic scientist and one of Raz’s mentors is Stephen Stanton. While he doesn’t have many starring roles, you may have heard Jameson in passing, as he’s provided NPC lines for a bunch of different games in the past decade. Pulling double duty as two reformed(ish) villains from the first game is Nick Jameson. Rapp’s been in and out of the business in recent years, though you may remember her as Lily in The Walking Dead: The Final Season. Raz’s girlfriend and the daughter of the Psychonauts’ Grand Head is played by Nikki Rapp. Horvitz is best known for his work as Zim in Invader Zim, though he’s been making waves recently in his role as Moxie in the web series Helluva Boss. Our protagonist, Razputin “Raz” Aquato, runaway circus acrobat and psychic prodigy, is played by Richard Horvitz. The Psychonauts 2 Voice Actors Razputin Aquato: Richard Horvitz We’ll start with the returning cast from the first game, and move on to some of the major players from the new cast. Here are the voice actors for Psychonauts 2. Those actors brought every character to life with an expertly tuned sense of purpose and personality, and while it’s been sixteen years, the cast’s talent hasn’t diminished in the slightest. Part of what made the original Psychonauts so memorable (besides its awesome art design, hilarious script, excellent platforming, and a bunch of other things) was its talented cast of voice actors. It takes a lot of trial and error, a lot of squeaks and cracks, and a lot of loud, airy notes until we settle into a comfortable tone in our high range and build the confidence it takes to play high notes on flute. A combination of time, technique, and repetitions will help you feel and sound more comfortable playing high notes. Find a place where you feel comfortable experimenting in your home, either in your basement, bedroom, garage, or other room, and spend some time playing in the high range (earplugs recommended!). Continue going back and forth until the notes feel comfortable. Go between two notes at a time, playing each note in half notes (Bb-C-Bb-C). Turn on your metronome and set it to quarter note 60. Let’s pick a Bb Major scale, second octave (the Bb right above the staff up to high Bb). Having the space to experiment with playing up in the stratosphere is essential to gain confidence and to find what feels right. Pick a scale and play the highest octave of that scale. As a flute teacher, I notice that all of my flute students have different relationships with the high range. If we are scared and embarrassed about what our high notes will sound like when we are sitting in band, we might shy away and not use the support we need to play with focus and control. If we don’t think a high note is going to come out, it won’t. STEP 2: pencap If you can produce a sound from Bansuri, good. Playing confidently is easier said than done, but it is essential to playing the flute, especially when we reach the high register. Buy a Bansuri (Bamboo Flute) of medium size preferably C or G Scale to begin with. The goal is cleanliness and accuracy, not speed. Once your fingers move smoothly at the top of the scale, you can trying bumping up the metronome or playing the notes in quarter notes. Focus on moving all of your fingers at the same time and keeping your fingers close to the keys. Because of this, we want to remain patient and stay at the slower tempo so that our fingers have a chance to catch up. Note that the lower end of the scale might already feel comfortable at this tempo, but once you get to the top of the scale, you might have more trouble. Then move on to the next two notes (C-D-C-D…) and keep playing them until they feel comfortable. This fingering chart includes both basic fingerings and alternatives that are more appropriate in some passages. Go between two notes at a time, playing each note in half notes (Bb-C-Bb-C…). Turn on your metronome and set it to quarter note = 60. these notes are usually, in concert pitch and on the flute, B-flat, C, D. Let’s pick a Bb Major scale, second octave (the Bb right above the staff up to high Bb). The first 3 notes you are going to be playing on the flute as you work on good. Pick a scale and play the highest octave of that scale. Here is a simple exercise you can do to practice this. As I was scrolling around I found Rayman Origins. So naturally, I went on steam and started surfing through their library to see what could replace call of duty for us. However, my aunt isn't very ple ased that we play war games, so I had to find another game we could all play that is just as fun and would pass my aunt's approval. I often play call of duty with my brother and cousins. I'm an avid gamer that tends to play sports and shooting games. Moreīy Daniel Antonio reviewed on March 14, 2019 If youre offended by this game and think its considered a "shooter" you have never left your house since birth, and are a sad sap waiting to crap on everyone else for their fun. Its tons of fun, its family friendly enough for a literal 1 or 2 year old. You level up, earn fun in game rewards, tons of maps and levels, tons of tower types like ninjas, airplanes, dart towers, cannons, construction workers, special agents, boats, etc. in bloons, you build monkey towers who throw darts at balloons. A tower defense game, i where you build towers to defend an objective. This is a game about monkeys throwing darts at balloons. The lack of interest she shows in her kids hobbies is insane, and that shed give a low review on someones work just to be a spiteful j*r* and horrible parent, while flat out lying is ridiculous. This is a fun kids game ive been playing since i was a kid and im 20 now. I want to start this off by saying Cheryl Carroll is the single worst person on the planet. By jib L null reviewed on December 26, 2019
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