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1000 results for “ardram”
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Polskie kluby piłkarskie w komplecie w fazie grupowej europejskich pucharów 😲
Piekło zamarzło.
#UEFAConferenceLeague #ARDRAK #KRCLPO #LEGHIB #DINJAG -
Tony nominated Broadway musical revival "Gypsy", starring Audra McDonald, has set a closing date of August 17 after 28 previews and 269 regular performances.
#Gypsy #AudraMcDonald #Broadway #Entertainment #PerformingArts #Stage #Musical #Music
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‘Gypsy’ Starring Audra McDonald Latest To Set Broadway Closing Date Post-Tony Awards
#News #AudraMcDonald #Broadway #Gypsyhttps://deadline.com/2025/07/gypsy-audra-mcdonald-closing-date-1236460642/
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#OnThisDay in 1970, #AudraMcDonald, American Tony, Grammy and Emmy Award-winning theatrical and operatic #singer, and stage and screen #actress (Lady Day At Emerson's Bar and Grill; Sweeney Todd; Rise and Fall of the City of Mahagonny; Private Practice, The Good Wife), born in West Berlin, West Germany.
#HappyBirthday #55 🎂🥳🥂❤️🔥 -
#OnThisDay in 1997, Terrence McNally's play "Master Class", starring #AudraMcDonald and Zoe Caldwell, closes at the John Golden Theatre, NYC, after 598 performances and 2 Tony Award wins.
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“Getting to Do It for an Audience, It’s Like Drugs”: 7 Tony Nominees on Jumping Between Hollywood and Broadway
#GeneralNews #AudraMcDonald #Broadway #Coleescola #DarrenCriss #Gypsy #Hamilton #JonathanGroff #JustInTime #LouisMcCartney #MaybeHappyEnding #NicoleScherzinger #OhMary #Roundtable #SarahSnook #StrangerThingsTheFirstShadow #Succession #SunsetBlvd #SunsetBoulevard -
Patti LuPone Apologizes For Comments About Kecia Lewis And Audra McDonald
#News #AudraMcDonald #Broadway #KeciaLewis #PattiLuPonehttps://deadline.com/2025/05/patti-lupone-apology-kecia-lewis-audra-mcdonald-1236415031/
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Patti LuPone Apologizes For Comments About Kecia Lewis And Audra McDonald
#News #AudraMcDonald #Broadway #KeciaLewis #PattiLuPonehttps://deadline.com/2025/05/patti-lupone-apology-kecia-lewis-audra-mcdonald-1236415031/
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Patti LuPone Apologizes For Comments About Kecia Lewis And Audra McDonald
#News #AudraMcDonald #Broadway #KeciaLewis #PattiLuPonehttps://deadline.com/2025/05/patti-lupone-apology-kecia-lewis-audra-mcdonald-1236415031/
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Just caught 'Doomers', a new play tackling the OpenAI coup (fictionalized as MindMesh). It dives into the AI frenzy and ethical debates surrounding SV's biggest drama. A bit talky, but captures the moment. #OpenAI #AIDrama #TechCulture
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Sea and sky. Earth-bound as I am
I’ve never yet been able to decide
which one I like best…—Alasdair Maclean, “Sea and Sky”
Published in IN THE WILDERNESS (Gollancz, 1973)Alasdair Maclean (1926–1994) was born #OTD, 16 March.
https://www.scottishpoetrylibrary.org.uk/poet/alasdair-maclean/
#Scottish #literature #poem #poetry #Ardnamurchan #20thcentury
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10 anni fa ho costruito il mio primo e unico grande volume,
mettendo in pratica con il legno quello che avevo imparato a scuola ( medie )
Dal cartamodello al pannello. -
‘Gypsy’ Broadway Review: Audra McDonald Takes Her Turn At Momma Rose
#News #Reviews #AudraMcDonald #Broadway #BroadwayReview #Gypsyhttps://deadline.com/2024/12/gypsy-broadway-review-audra-mcdonald-1236206662/
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By Dear Hollow
Once again, as reflected in the French act’s fifth full-length, Ataraxie channels an existential crisis. Le Déclin is not just a soundtrack of its inspiration source (Ahab, Tyranny) or a dark meditation on devastation (Evoken, Bell Witch), it’s something more profound. Throughout its miasmic movements and stark artwork, I am called back to Swedish filmmaker Ingmar Bergman’s opus magnum, the 1957 film The Seventh Seal, a knight’s struggle through the days of Black Plague allegorized as a chess game between himself and Death. Likewise, Le Déclin continues its predecessor’s bleak and tormented commentary on the “manipulation and obfuscation of the Masses, the cult of selfishness, dehumanization towards a parasiting [sic] virtual life, [and] global warming insolubility.” Through the lens of modern global anxiety and medieval self-flagellation, Ataraxie revels in the human torment beneath it all.
Ataraxie, while not always unique in its viscous approach to punishing death/doom, has always been far more guitar-forward, forgoing the atmospheric bells and whistles of genre stalwarts. The first full-length Slow Transcending Agony expertly balanced the weight and tempo of funeral doom with the riffs and punishment of death metal in a unique breed that maintained a unique simmering energy. However, it wasn’t until the very well-received L’Etre et la Nausée and Résignés that this fusion was successfully streamlined into a more palatable expression that balances tradition with punishment. Featuring three guitarists,1 more sophisticated arrangements, and penchant for melancholy and desperation alike, the minimalist emphasis remains as punishing as ever. Although Le Déclin somewhat lacks the memorability of Ataraxie’s magnum opera, four lengthy compositions complete with earthshaking thunder and melodies like the tolling of death knells nonetheless collide to create one of the best doom albums of the year. It is Ataraxie, after all.
While the overwhelm of traditional funeral doom acts like Thergothon or Esoteric is certainly intact, that weight is powerfully balanced out by the death metal guitar influence of diSEMBOWELMENT or Winter. Slow growths across mammoth sixteen to twenty-two-minute runtimes give way to glorious eruptions of crushing heaviness and haunting melodies, punctuated by patient lulls. While the lack of ambiance can be seen as a detriment in the barren no man’s land of funeral doom, Ataraxie does a fantastic job of weaponizing dynamics and more traditional death metal motifs, such as blazing tremolo and blast beats (“Vomisseurs De Vide,” “Glory of Ignominy”), chunky climactic riffs, and pulsing undercurrents of energetic percussion (“Glory of Ignominy,” “The Collapse”). While adding to the muscularity of the already colossal album, bassist/vocalist Jonathan Théry’s charismatic and haunting shrieks, shouts, and roars add to the madness, keenly aligned with desperation and fury. Le Déclin is mixed nearly perfectly, Ataraxie’s weight and gloom felt through every movement, crushing down like the empty sky.
Most impressive about Ataraxie is its ability to balance sloth, melancholy, and aggression organically, without losing its conviction to starkness—and only with the bare bones of its triple-guitar attack. Because of this, the heavy-handed melo-drama of acts like Saturnus or Novembers Doom is absent in favor of desolation, reflected in elements like effective spoken word (“Vomisseurs de Vide”) and the dynamic motifs scattered throughout. The weaponized layered plucking or strumming may sound too hammy or heartfelt on paper, but when it sounds like tolling bells (“Le Déclin”) or progressions completely devoid of hope (“Vomisseurs de Vide,” “Glory of Ignominy”), the weight of every empty note feels just as devastating as the colossal funeral doom sprawls. Closer “The Collapse” streamlines the heft and barrenness seamlessly, its first act a steady crescendo that explodes into an outright death metal assault, its second act a blastbeat-infected climax into outright despair—Ataraxie’s nearly perfect dichotomy of beautiful and punishing.
The opening title track feels slightly less memorable than its successive three cuts, due to its more straightforward rhythm, but this criticism is trivial compared to the absolute sonic and existential devastation coursing through Ataraxie’s signature sound. Attention never sways across its hour-and-fifteen-minute length, with expertly composed lulls and crescendos guiding its movements. Cutting to the bone of funeral doom with the jagged blade of death metal, it dispenses with the frivolities and atmospherics for an album that is bleak and tormented to its very core – a chess game with Death in all its desperate victories and devastating losses. It’s the soundtrack of the crushed human spirit.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music | Weird Truth Productions
Websites: ataraxie.bandcamp.com | facebook.com/ataraxiedoom
Releases Worldwide: October 25th, 2024#2024 #40 #Ahab #ArduaMusic #Ataraxie #BellWitch #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Esoteric #Evoken #FrenchMetal #FuneralDoomMetal #LeDéclin #Oct24 #Review #Reviews #Thergothon #Tyranny #WeirdTruthProductions #Winter
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By Dear Hollow
Once again, as reflected in the French act’s fifth full-length, Ataraxie channels an existential crisis. Le Déclin is not just a soundtrack of its inspiration source (Ahab, Tyranny) or a dark meditation on devastation (Evoken, Bell Witch), it’s something more profound. Throughout its miasmic movements and stark artwork, I am called back to Swedish filmmaker Ingmar Bergman’s opus magnum, the 1957 film The Seventh Seal, a knight’s struggle through the days of Black Plague allegorized as a chess game between himself and Death. Likewise, Le Déclin continues its predecessor’s bleak and tormented commentary on the “manipulation and obfuscation of the Masses, the cult of selfishness, dehumanization towards a parasiting [sic] virtual life, [and] global warming insolubility.” Through the lens of modern global anxiety and medieval self-flagellation, Ataraxie revels in the human torment beneath it all.
Ataraxie, while not always unique in its viscous approach to punishing death/doom, has always been far more guitar-forward, forgoing the atmospheric bells and whistles of genre stalwarts. The first full-length Slow Transcending Agony expertly balanced the weight and tempo of funeral doom with the riffs and punishment of death metal in a unique breed that maintained a unique simmering energy. However, it wasn’t until the very well-received L’Etre et la Nausée and Résignés that this fusion was successfully streamlined into a more palatable expression that balances tradition with punishment. Featuring three guitarists,1 more sophisticated arrangements, and penchant for melancholy and desperation alike, the minimalist emphasis remains as punishing as ever. Although Le Déclin somewhat lacks the memorability of Ataraxie’s magnum opera, four lengthy compositions complete with earthshaking thunder and melodies like the tolling of death knells nonetheless collide to create one of the best doom albums of the year. It is Ataraxie, after all.
While the overwhelm of traditional funeral doom acts like Thergothon or Esoteric is certainly intact, that weight is powerfully balanced out by the death metal guitar influence of diSEMBOWELMENT or Winter. Slow growths across mammoth sixteen to twenty-two-minute runtimes give way to glorious eruptions of crushing heaviness and haunting melodies, punctuated by patient lulls. While the lack of ambiance can be seen as a detriment in the barren no man’s land of funeral doom, Ataraxie does a fantastic job of weaponizing dynamics and more traditional death metal motifs, such as blazing tremolo and blast beats (“Vomisseurs De Vide,” “Glory of Ignominy”), chunky climactic riffs, and pulsing undercurrents of energetic percussion (“Glory of Ignominy,” “The Collapse”). While adding to the muscularity of the already colossal album, bassist/vocalist Jonathan Théry’s charismatic and haunting shrieks, shouts, and roars add to the madness, keenly aligned with desperation and fury. Le Déclin is mixed nearly perfectly, Ataraxie’s weight and gloom felt through every movement, crushing down like the empty sky.
Most impressive about Ataraxie is its ability to balance sloth, melancholy, and aggression organically, without losing its conviction to starkness—and only with the bare bones of its triple-guitar attack. Because of this, the heavy-handed melo-drama of acts like Saturnus or Novembers Doom is absent in favor of desolation, reflected in elements like effective spoken word (“Vomisseurs de Vide”) and the dynamic motifs scattered throughout. The weaponized layered plucking or strumming may sound too hammy or heartfelt on paper, but when it sounds like tolling bells (“Le Déclin”) or progressions completely devoid of hope (“Vomisseurs de Vide,” “Glory of Ignominy”), the weight of every empty note feels just as devastating as the colossal funeral doom sprawls. Closer “The Collapse” streamlines the heft and barrenness seamlessly, its first act a steady crescendo that explodes into an outright death metal assault, its second act a blastbeat-infected climax into outright despair—Ataraxie’s nearly perfect dichotomy of beautiful and punishing.
The opening title track feels slightly less memorable than its successive three cuts, due to its more straightforward rhythm, but this criticism is trivial compared to the absolute sonic and existential devastation coursing through Ataraxie’s signature sound. Attention never sways across its hour-and-fifteen-minute length, with expertly composed lulls and crescendos guiding its movements. Cutting to the bone of funeral doom with the jagged blade of death metal, it dispenses with the frivolities and atmospherics for an album that is bleak and tormented to its very core – a chess game with Death in all its desperate victories and devastating losses. It’s the soundtrack of the crushed human spirit.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Ardua Music | Weird Truth Productions
Websites: ataraxie.bandcamp.com | facebook.com/ataraxiedoom
Releases Worldwide: October 25th, 2024#2024 #40 #Ahab #ArduaMusic #Ataraxie #BellWitch #DeathMetal #DeathDoomMetal #diSEMBOWELMENT #DoomMetal #Esoteric #Evoken #FrenchMetal #FuneralDoomMetal #LeDéclin #Oct24 #Review #Reviews #Thergothon #Tyranny #WeirdTruthProductions #Winter
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Lovely 4* review from EastMidlandsTheatre.com for my show last week, The Girl on the Train.
https://eastmidlandstheatre.com/2024/09/30/review-the-girl-on-the-train-sharnbrook-mill-theatre/
#theatre #amdram -
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L’uomo che ha trasceso il culmine padroneggiando l’aspra vetta di El Capitan
https://www.jacoporanieri.com/blog/?p=40705
#scalate #arrampicate #sport #rocce #montagne #Yosemite #statiuniti #california #america #personaggi #imprese #sfide #traguardi #vertigini #pericolo #salite #vette #sommità #sportestremi #freeclimbing #freesolo
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L’uomo che ha trasceso il culmine padroneggiando l’aspra vetta di El Capitan
https://www.jacoporanieri.com/blog/?p=40705
#scalate #arrampicate #sport #rocce #montagne #Yosemite #statiuniti #california #america #personaggi #imprese #sfide #traguardi #vertigini #pericolo #salite #vette #sommità #sportestremi #freeclimbing #freesolo
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L’uomo che ha trasceso il culmine padroneggiando l’aspra vetta di El Capitan
https://www.jacoporanieri.com/blog/?p=40705
#scalate #arrampicate #sport #rocce #montagne #Yosemite #statiuniti #california #america #personaggi #imprese #sfide #traguardi #vertigini #pericolo #salite #vette #sommità #sportestremi #freeclimbing #freesolo
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L’uomo che ha trasceso il culmine padroneggiando l’aspra vetta di El Capitan
https://www.jacoporanieri.com/blog/?p=40705
#scalate #arrampicate #sport #rocce #montagne #Yosemite #statiuniti #california #america #personaggi #imprese #sfide #traguardi #vertigini #pericolo #salite #vette #sommità #sportestremi #freeclimbing #freesolo
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#KenntIhr "Paulus" von Mendelssohn? Gerade in den Kultursendern des #ARDRadioFestival zu hören. (z.B. WDR3) #classicalmusic @classicalmusic
