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The Polyphon: When Music Was Programmed on Perforated Discs In the closing years of the 19th century, long before vinyl records, magnetic tape, or digital files, a remarkable machine let ordinary people summon complex, multi-note music from thin air. It did not play recordings of real instruments or voices....

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Orteke - traditional performing art in Kazakhstan 🇰🇿; dance, puppet and music... Orteke is an indigenous Kazakh performing art that combines theatre, music and puppetry. This folk art entails a music performance with a dombyra, a traditional two-stringed instrument and a dance performed by a wooden puppet. Attached to the surface of a traditional drum with a metal rod, a wooden puppet in the shape of a mountain goat is connected to the fingers of a musician by one or several strings. As the musician strikes their fingers to play the dombyra, the puppet comes to life, hopping in sync with the music while tapping a rhythmic beat on the drum. Some experts can play with three or more puppets at a time. This performance, fascinating for its simplicity, is enjoyed by children and adults alike. It is primarily transmitted within communities and through apprenticeships, although the Kokil Musical College in Almaty has also established a team of researchers dedicated to the art. The biennial Orteke international festivals and regional puppet art competitions are other platforms for the learning and sharing of skills and experience between puppet artists from Kazakhstan and neighbouring countries. An important part of the region’s folk heritage and identity, Orteke also serves as a communication tool between adults and children. The tradition of the orteke may go back several thousands of years. The word “orteke” derives from “or”, ditch, hole or trap, and “teke”, goat. Orteke are carved figures of a horned mountain goat mounted on stands, manipulated by a puppeteer using slender sticks and strings attached to the puppets’ wooden parts. The orteke are attached by threads to the fingers of the puppeteer-musician playing the dombra (a wooden plucked instrument with two strings) and usually performed on a Kazakh perussion instrument, the daulpaz (dauyilpaz, bass drum), “which has a built­in metal core for the fastening of the body of the goat. From below, the core is connected to a foot of the performer and thus is manipulated by him. Simultaneously, dombra performer can operate three animals (with his two hands and a foot), separately or at the same time.” The goat dances on its drum plinth, creating a percussive rhythm to accompany the string music of the dombra. The goat puppet is also found in neighbouring countries. Older Kazakhs today have childhood memories of relatively simple performances with puppets and musical instruments, such as these 1927 reminiscences of a young girl during the pre-Soviet period: “There were people playing the instrument, dombra, and at the end of the dombra they placed the puppet made of straw. And when they played, the puppet began to jump and dance. It was fun for the children. These people were invited to the houses to entertain children, and more often they entertained people in the bazaars. It was very popular, especially among the children …Then the shadow theatre was very popular because there was no electricity and the only entertainment was showing different animals on the wall.” The Kazakh puppetry and musical tradition called the Orteke is today experiencing a “comeback”, thanks to artists, academics, the Kazakh government, and the public as part of Kazakhs search for a national identity. Originally made by tribal artist from south-west Kazakhstan, Orteke was all but forgotten; it only survived because a few master craftsmen and puppeteers preserved the tradition and passed it on. Today, traditional Orteke has found new audiences. The government-funded Orteke 2010 puppet festival, held in the country’s capital, Almaty, was devoted to the Orteke. Performers from Kazakhstan, Kyrgyzstan, Russia, Turkmenistan, and Uzbekistan attended the 2010 festival. Some of the Orteke performers were very young, as young as five years old. 🎥© dala_sound #archaeohistories

Archaeo - Histories

101,299 views • 2 months ago

Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period after 3100 BC. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth). All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum, a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes-plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music. Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals. Ancient Egyptians have long valued music much in their daily life. Performing musicians and vocalists are frequently seen alongside the tunes they played or sang along to in wall reliefs and paintings found in temples and tombs. In addition to musical instruments, a wide range of items decorated with images of musical sceneries have persisted to this day. There are many statues and statuettes of musicians, and the abundance of textual material enables us to determine the performers’ names, the names of their instruments, their repertoires, and the playing styles they employed. The singer Kahay, who was praised for his lovely voice, was one of the artists whose names were also well-known. The harp was not only the most popular musical instrument in ancient Egypt, but it was also shown as one of the sacrifices made to the gods during rituals and processions. Texts indicate that it was decorated with priceless materials. An ebony, gold, and silver harp belonged to King Ahmose. A step farther was taken by Thutmose III, who ordered “a superb harp made with silver, gold, lapis lazuli, malachite, and every splendid precious stone.” Perhaps the easiest method to create music is to sing, clap your hands, or snap your fingers. However, a range of musical instruments, including idiophones and membraphones, as well as wind and stringed instruments, were already in use throughout the ancient Egypt. All of instruments used in ancient Egypt are being used today. There were wind instruments such the shepherd’s pipe, double-pipe, clarinet, flute, oboe, and trumpet, as well as percussion instruments including drums, the sistrum, rattles, tambourines, and later, bells and cymbals. Similar to today, musicians performed them individually or in an ensemble. 🎥© TikTok #archaeohistories

Archaeo - Histories

135,167 views • 1 year ago

Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

DepressedBergman

10,525 views • 15 days ago

Suno's mission is to make it possible for everyone to make music. We imagine a future where music is a bigger, more valuable, and more meaningful part of people's lives than it even is today. Technology enables a future where the whole world can explore, create, and be active participants in an art form most have only ever consumed. From professional musicians seeking inspiration to friends and family writing songs for each other, we are exploring new ways to create, listen to, and experience music. So far, more than 12 million people are engaging with music in new ways that wouldn't be possible without Suno. We see this as early but promising progress. Major record labels see this vision as a threat to their business. Each and every time there's been innovation in music — from the earliest forms of recorded music, to sampling, to drum machines, to remixing, MP3s, and streaming music — the record labels have attempted to limit progress. They have spent decades attempting to control the terms of how we create and enjoy music, and this time is no different. So, it is perhaps not a surprise that on June 24th, members of the Recording Industry Association of America, which represents the major record labels, filed a lawsuit against Suno, alleging that the data used in training our music generation technologies infringed on the copyrights of the major record labels that they represent. This lawsuit is fundamentally flawed on both the facts and the law, and is nothing more than yet another instance where they chose litigation over innovation. For starters, the major record labels clearly hold misconceptions about how our technology works. Suno helps people create music through a similar process to one humans have used forever: by learning styles, patterns, and forms (in essence, the "grammar" or music), and then inventing new music around them. The major record labels are trying to argue that neural networks are mere parrots — copying and repeating — when in reality model training looks a lot more like a kid learning to write new rock songs by listening religiously to rock music. Like that kid, Suno gets better the more our AI learns. We train our models on medium- and high-quality music we can find on the open internet — just as Google's Gemini, Microsoft's Copilot, Anthropic's Claude, OpenAI's ChatGPT, and even Apple's new Apple Intelligence train their models on the open internet. Much of the open internet indeed contains copyrighted materials, and some of it is owned by major record labels. But, just like the kid writing their own rock songs after listening to the genre — or a teacher or a journalist reviewing existing materials to draw new insights — learning is not infringing. It never has been, and it is not now. The timing of this lawsuit was somewhat surprising. When this lawsuit landed, Suno was, in fact, having productive discussions with a number of the RIAA's major record label members to find ways of expanding the pie for music together. We did so not because we had to, but because we believe that the music industry could help us lead this expansion of opportunity for everyone, rather than resisting it. Whether this lawsuit is the result of over-eager lawyers throwing their weight around, or a conscious strategy to gain leverage in our commercial discussions, we believe that this lawsuit is an unnecessary impediment to a larger and more valuable future for music. This is particularly the case because Suno is a new kind of musical instrument, one that enables a new kind of creative process for everyone and opens new business opportunities for the industry. Suno is designed for original music, and we prize originality, both in how we build our product and in how people use it. People who use Suno are using the product to create their own, original music. They are not trying to recreate an existing song that can be heard somewhere else on the internet for free. But, even if they were trying to copy existing music, we have myriad controls in place to encourage originality and prevent duplicative use cases. We do so more aggressively than any other company in the industry, including other startups. Some of our originality-guarding features include checking for and preventing copyrighted content in audio uploads, and disallowing artist-based descriptions in requests to generate music. Why do we work to encourage originality? We do this because it makes for a more fun and engaging experience to create entirely original compositions on Suno. We do it because we think it makes Suno incredibly valuable to be a place where new musical talent can shine. AI allows anyone to realize the songs in their head, regardless of the money, equipment, or connections that they have. The future is an explosion of new artists that are creating music in new ways, building fan bases, finding new reasons to smile, and getting famous. We hope that the major record labels realize that we can build a stronger foundation for the music industry of tomorrow, together. With or without them, we will continue pursuing our mission on behalf of the many millions of music fans already creating with Suno, and all those who will in the coming months. We are excited and humbled to support this next generation of musicians and the music they create. --- 🎥: shing86 jams with Suno

Suno

46,808 views • 1 year ago

Former HUD Assistant Secretary on Operation Warp Speed as a military program run by an expert in brain–machine interfaces: "they knew they were killing people" "[But the jabs are about] more than [that]" "There is a reason they're trying to get all this crap into your body" "Remember, Operation Warp Speed was a military program... And they put in charge of it a gentleman who'd worked at one of the large pharmaceutical companies. And what was his expertise? Brain–machine interfaces" This clip of Catherine Austin Fitts, an investment banker, former Assistant Secretary of HUD, and founder of the Solari Report (The Solari Report | Catherine Austin Fitts), is taken from an interview with Greg Hunter (Greg Hunter) posted to Rumble on June 6, 2026. ---------------Partial transcription of clip---------------- "Mark Skidmore, when he published his survey in, I think it was the beginning of 2023, the end of 2022 is when I saw the drafts. We knew— it was it was proof. We knew. "And when Arne Burkhardt and the pathologist did their first big series of autopsies. So whether it was Burkhardt and the pathologist with their autopsies or Skidmore with a survey, or the OpenVAERS system, because they were disappearing things from VAERS, we knew. We knew they were killing people. And they knew they were killing people. "[But] I think it was... more than [a murder–disability program] because, I was just on Ask Catherine. One of the subscribers sent in a video he sent of a presentation by a Swedish scientist or doctor talking about how they could inject the electronics that they needed in you. "[Remember that] right before the pandemic really got going, the Department of Justice arrested one of the most important brain–machine interface experts in the country and basically put him in a position where he was muzzled. "And then the administration appointed to run Operate— Remember, Operation Warp Speed was a military program. And the administration author— under Trump, authorized $18 billion to fund it. And they put in charge of it, a gentleman who'd worked at one of the large pharmaceutical companies. And what was his expertise? Brain–machine interface. There is a reason they're trying to get all this crap into your body, right? "So we just saw Moderna get another $60 million. Moderna, and two other firms, from, I think, it's SEPI, for an Ebola vaccine. And given how Ebola was used as a political card in the 2014 Senate races, I hate to see what they might do with it, coming into the midterm election. So just beware that that could happen."

Sense Receptor

11,147 views • 1 month ago

I see the player you mean. PLAYERNAME? Yes. Take care. It has reached a higher level now. It can read our thoughts. That doesn't matter. It thinks we are part of the game. I like this player. It played well. It did not give up. It is reading our thoughts as though they were words on a screen. That is how it chooses to imagine many things, when it is deep in the dream of a game. Words make a wonderful interface. Very flexible. And less terrifying than staring at the reality behind the screen. They used to hear voices. Before players could read. Back in the days when those who did not play called the players witches, and warlocks. And players dreamed they flew through the air, on sticks powered by demons. What did this player dream? This player dreamed of sunlight and trees. Of fire and water. It dreamed it created. And it dreamed it destroyed. It dreamed it hunted, and was hunted. It dreamed of shelter. Hah, the original interface. A million years old, and it still works. But what true structure did this player create, in the reality behind the screen? It worked, with a million others, to sculpt a true world in a fold of the [scrambled], and created a [scrambled] for [scrambled], in the [scrambled]. It cannot read that thought. No. It has not yet achieved the highest level. That, it must achieve in the long dream of life, not the short dream of a game. Does it know that we love it? That the universe is kind? Sometimes, through the noise of its thoughts, it hears the universe, yes. But there are times it is sad, in the long dream. It creates worlds that have no summer, and it shivers under a black sun, and it takes its sad creation for reality. To cure it of sorrow would destroy it. The sorrow is part of its own private task. We cannot interfere. Sometimes when they are deep in dreams, I want to tell them, they are building true worlds in reality. Sometimes I want to tell them of their importance to the universe. Sometimes, when they have not made a true connection in a while, I want to help them to speak the word they fear. It reads our thoughts. Sometimes I do not care. Sometimes I wish to tell them, this world you take for truth is merely [scrambled] and [scrambled], I wish to tell them that they are [scrambled] in the [scrambled]. They see so little of reality, in their long dream. And yet they play the game. But it would be so easy to tell them... Too strong for this dream. To tell them how to live is to prevent them living. I will not tell the player how to live. The player is growing restless. I will tell the player a story. But not the truth. No. A story that contains the truth safely, in a cage of words. Not the naked truth that can burn over any distance. Give it a body, again. Yes. Player... Use its name. PLAYERNAME. Player of games. Good. Take a breath, now. Take another. Feel air in your lungs. Let your limbs return. Yes, move your fingers. Have a body again, under gravity, in air. Respawn in the long dream. There you are. Your body touching the universe again at every point, as though you were separate things. As though we were separate things. Who are we? Once we were called the spirit of the mountain. Father sun, mother moon. Ancestral spirits, animal spirits. Jinn. Ghosts. The green man. Then gods, demons. Angels. Poltergeists. Aliens, extraterrestrials. Leptons, quarks. The words change. We do not change. We are the universe. We are everything you think isn't you. You are looking at us now, through your skin and your eyes. And why does the universe touch your skin, and throw light on you? To see you, player. To know you. And to be known. I shall tell you a story. Once upon a time, there was a player. The player was you, PLAYERNAME. Sometimes it thought itself human, on the thin crust of a spinning globe of molten rock. The ball of molten rock circled a ball of blazing gas that was three hundred and thirty thousand times more massive than it. They were so far apart that light took eight minutes to cross the gap. The light was information from a star, and it could burn your skin from a hundred and fifty million kilometres away. Sometimes the player dreamed it was a miner, on the surface of a world that was flat, and infinite. The sun was a square of white. The days were short; there was much to do; and death was a temporary inconvenience. Sometimes the player dreamed it was lost in a story. Sometimes the player dreamed it was other things, in other places. Sometimes these dreams were disturbing. Sometimes very beautiful indeed. Sometimes the player woke from one dream into another, then woke from that into a third. Sometimes the player dreamed it watched words on a screen. Let's go back. The atoms of the player were scattered in the grass, in the rivers, in the air, in the ground. A woman gathered the atoms; she drank and ate and inhaled; and the woman assembled the player, in her body. And the player awoke, from the warm, dark world of its mother's body, into the long dream. And the player was a new story, never told before, written in letters of DNA. And the player was a new program, never run before, generated by a sourcecode a billion years old. And the player was a new human, never alive before, made from nothing but milk and love. You are the player. The story. The program. The human. Made from nothing but milk and love. Let's go further back. The seven billion billion billion atoms of the player's body were created, long before this game, in the heart of a star. So the player, too, is information from a star. And the player moves through a story, which is a forest of information planted by a man called Julian, on a flat, infinite world created by a man called Markus, that exists inside a small, private world created by the player, who inhabits a universe created by... Shush. Sometimes the player created a small, private world that was soft and warm and simple. Sometimes hard, and cold, and complicated. Sometimes it built a model of the universe in its head; flecks of energy, moving through vast empty spaces. Sometimes it called those flecks "electrons" and "protons". Sometimes it called them "planets" and "stars". Sometimes it believed it was in a universe that was made of energy that was made of offs and ons; zeros and ones; lines of code. Sometimes it believed it was playing a game. Sometimes it believed it was reading words on a screen. You are the player, reading words... Shush... Sometimes the player read lines of code on a screen. Decoded them into words; decoded words into meaning; decoded meaning into feelings, emotions, theories, ideas, and the player started to breathe faster and deeper and realised it was alive, it was alive, those thousand deaths had not been real, the player was alive You. You. You are alive. and sometimes the player believed the universe had spoken to it through the sunlight that came through the shuffling leaves of the summer trees and sometimes the player believed the universe had spoken to it through the light that fell from the crisp night sky of winter, where a fleck of light in the corner of the player's eye might be a star a million times as massive as the sun, boiling its planets to plasma in order to be visible for a moment to the player, walking home at the far side of the universe, suddenly smelling food, almost at the familiar door, about to dream again and sometimes the player believed the universe had spoken to it through the zeros and ones, through the electricity of the world, through the scrolling words on a screen at the end of a dream and the universe said I love you and the universe said you have played the game well and the universe said everything you need is within you and the universe said you are stronger than you know and the universe said you are the daylight and the universe said you are the night and the universe said the darkness you fight is within you and the universe said the light you seek is within you and the universe said you are not alone and the universe said you are not separate from every other thing and the universe said you are the universe tasting itself, talking to itself, reading its own code and the universe said I love you because you are love. And the game was over and the player woke up from the dream. And the player began a new dream. And the player dreamed again, dreamed better. And the player was the universe. And the player was love. You are the player. Wake up.

KikiLove1111

18,309 views • 3 years ago

Sapphire and Steel was one of the most terrifying children's dramas ever made. Developed by writer Peter J. Hammond, it first aired on ATV in 1979 at a later time slot that could handle more mature themes. The premise of Sapphire and Steel was ambiguous: 'elements’ were assigned by a higher power to prevent time from exploiting anomalies in the fabric of the universe. Sometimes beings from the past or future were the threat; sometimes it was time itself. David McCallum and Joanna Lumley were recruited to play the lead roles: two inter-dimensional operatives called Sapphire and Steel, who took human form in their mission to stop time itself wreaking havoc on the present. Sapphire was the more empathetic agent: she could rewind time in small ways to see what has happened, and could tell the age and history of objects or people by touch. Often her eyes changed colour when this happened. Steel was a more cold, calculating character. He had enormous strength and could freeze himself to near absolute zero, allowing him to destroy paranormal entities. He had little sympathy for humans. Other 'elements' occasionally helped Sapphire and Steel: Lead had immense strength, whilst Silver was a mischievous Technician who could manipulate technology and create holograms. Sapphire and Steel wasn't a straightforward time-travel drama. Time itself - and various other dark forces - were the ‘villain’ constantly trying to break into the present to disrupt it. The 'elements' didn't care much for humans caught up in this, only in keeping time in check. The thing that's gripping about Sapphire and Steel is its claustrophobic sense of terror: the sets are sparse and confined; the plot proceeds slowly like a good horror novel, building up the tension. It's available on DVD and is well worth watching if you like tales of slowly building psychological fear...

Pulp Librarian

50,949 views • 1 year ago

Ostriches are intensely social animals who understand their world through movement contact and the presence of their flock. They do not experience life with human concepts or human language but they do experience fear safety comfort and distress in ways that are clear measurable and deeply felt. When ostriches live together they learn the shapes sounds and movements of the birds around them. They feel secure when the flock is calm and they become anxious when others show signs of alarm. Their sense of safety depends entirely on the stability of the group. Any threat to one member of the flock creates a wave of fear through all of them. Because of this the emotional impact of violent handling and mass killing is not limited to the bird that is struck but spreads through every ostrich who sees hears or senses it. When force and confinement are imposed on them the birds experience a level of fear that overwhelms their natural coping behaviors. Ostriches respond to danger with flight or alert stillness and when neither response is possible they enter a state of acute stress that includes trembling pacing vocalizing or freezing in place. Their hearts race their muscles tense and their entire body prepares to escape. When they are surrounded or trapped they cannot understand why the danger cannot be avoided. The sense of helplessness for a prey animal is not a thought but a physical shock that floods them with stress and panic. To a creature who survives through movement and awareness the loss of space and the inability to flee is a form of suffering in itself. The abuse of forcing ostriches to witness the injury or death of familiar flock mates creates another layer of distress. These birds recognize individuals. They notice when one of their companions collapses or cries out. They become restless and agitated when a bird they know is harmed. They remain close to fallen birds and often attempt to investigate or stay near them because their instinct pushes them to stay with the group even when the group is being destroyed. The emotional meaning of this moment is not symbolic but immediate. The flock is breaking apart. The cues of danger multiply. The birds see others in pain or falling and their own fear grows with each new sign of suffering. When violent killing happens around them ostriches sense it as the collapse of their only system of safety. They are not built to make sense of destruction happening in their own flock. Instead they respond with escalating panic. Their bodies show it clearly through rapid breathing frantic shifts in posture and attempts to move closer to surviving flock mates. They do not understand why the danger continues or why the people near them are the source of harm. The stress they experience is intense enough to cause physical shock. Their final moments are dominated by confusion fear and the overwhelming instinct to escape a threat that cannot be avoided. The public often imagines large animals as numb or unaware but ostriches feel the world with a sensitivity shaped by millions of years as prey animals. Their eyes are sharp their hearing is attuned to stress in others and their bodies react strongly to fear and pain. When dozens or hundreds of birds are subjected to violence in a confined area every ostrich feels the fear of the others. The suffering does not happen to them one by one but as a shared experience of terror. This is an experience that no animal should ever be forced to endure. The reality is not clinical or quick. It is emotionally devastating to the animals caught in it because it destroys the flock bond that is their only sense of stability and then it destroys the birds themselves. Understanding this matters because it shows that the harm done to these animals was not only physical but deeply emotional. The ostriches suffered long before any final action was taken against their bodies. They suffered through fear they could not escape through the panic created by the collapse of their flock and through the helplessness of being unable to understand why the world around them suddenly turned violent. Recognizing this is essential because it reveals the true scale of what was done. This was not a neutral procedure. This was the infliction of terror on beings capable of feeling it powerfully. The public deserves to know that these birds were not indifferent creatures. They were living animals who felt fear and confusion and distress and whose final experiences were shaped by violence they could not comprehend or escape.

Vote Canada

55,531 views • 8 months ago

Nicholas Brothers in the 1940 film “Down Argentine Way”. Director Irving Cummings at the time had considered their dancing scene too long. However, it was thanks to dance director Nick Castle - imploring Cummings to the contrary insisting the piece remain uncut with no slice on the cutting room floor. I, for one, imagine unnecessary horror of butchering fine work as theirs. It was tested at the initial screening and rapturously met with thunderous - and incessant applause that they were surprisingly forced to rewind the film for replay. The film was the first in an ongoing series of Latin American themed movies becoming popular in the ‘40s. One of the many things which distinguished this particular performance from their others was the duo were to dance to Latin inspired music fused with American tap dancing. Giving subtle cultural interlay between cultures. The two produce percussive taps to the Latin rhythms with rhythmic - and music note values considerably faster than the very music itself. The precision and clarity of the taps are astounding. Previously the duo danced to developing jazz idioms of the time - but this performance showcasing their ability to dance to any kind of music while making it uniquely their own. From a technical perspective there are several kinds of new inventive steps - and of a novel kind as both display techniques and also variations of these steps from shuffles, to slides, repeated taps with the same foot - which is incredibly difficult to perform. This is why in technical piano playing repeated notes can be a nightmare to execute - but both perform repeated taps with accurate musicality and control making the tap composition flawless. We see side foot taps too where the outer parts of the foot’s edge are used to create taps. This is simply virtuosity. With additional forward flips into splits, and mesmerising floor work, and incredible base strength, and muscular power in leg muscle support. The leaps over the handkerchief directly into the splits are a wonder. This duo could match anything Gene Kelly and Fred Astaire ever did.

Hollywood Golden Age of Cinema

27,729 views • 7 months ago