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156_13 | praised the production and dubbed the song's chorus as "addictive," which captured "emotions." For Tamara Fuentes of Seventeen, the song "ushers in the new era in a beautiful way." |
156_14 | Accolades
Billboard and Dazed selected "Blood Sweat & Tears" as one of the 20 best K-pop songs of 2016. The former ranked it at number 7 and 16 on their lists of the 100 best K-pop songs of 2010s and 100 greatest boy band songs of all time, respectively. GQ placed the song on their decade-end list of the best K-pop songs of the 2010s and picked it as the highlight of 2016. On behalf of the magazine, Glasby called the song BTS' "magnum opus." "Blood Sweat & Tears" was nominated for Song of the Year at the 2016 Mnet Asian Music Awards. The song achieved the top spot on various South Korean weekly music programs, garnering a total of six awards, including two consecutive wins on Music Bank. It also achieved two consecutive Melon Weekly Popularity Awards due to being a substantial success on digital platforms. |
156_15 | Commercial performance
"Blood Sweat & Tears" was a commercial success in South Korea. It debuted at number one on the Gaon Digital Chart for the chart issue dated October 9–15, 2016, becoming BTS' first domestic number one. The song also peaked at number one on the component Download Chart, selling 198,987 digital units in its first week of release. "Blood Sweat & Tears" was the sixth best-performing song in October 2016 on the Gaon Monthly Digital Chart, based on digital sales, streaming, and background music (instrumental track) downloads. As of May 2019, "Blood Sweat & Tears" has sold over 2.5 million digital copies in South Korea. The song peaked at number one on the US Billboard World Digital Songs chart for the week of October 29, 2016, the band's second chart topper, following on from "Fire" (2016). In Canada, the song led to BTS becoming the third Korean act to chart on the Canadian Hot 100 by peaking at number 86, a new best for a K-pop group. |
156_16 | Following the release of "Blood Sweat & Tears" as a single album in Japan, the single album topped the Oricon Daily Singles Chart on its first day of release, selling 141,243 copies. "Blood Sweat & Tears" peaked at number one on the Oricon Weekly Singles Chart for the chart issue dated May 8–14, 2017, becoming BTS' second number one single on the chart. The single album sold 238,795 copies in its first week, making BTS the fastest foreign artist to surpass 200,000 copies in a week. In May 2017, the single sold 273,000 copies, achieving higher sales than the band's previous Japanese single album "Run" (2016). For the year end chart, the former ranked as the 22nd best-selling single of 2017 in Japan. It also became the second-highest charting single by a Korean artist in the country, the first being BTS' eighth Japanese single, "Mic Drop/ DNA / Crystal Snow" (2017) at number 13. "Blood Sweat & Tears" additionally charted at number one on the Billboard Japan Hot 100 for the issue dated |
156_17 | May 22, 2017, selling 310,276 copies. In February 2018, "Blood Sweat & Tears" was certified platinum by the Recording Industry Association of Japan (RIAJ), denoting shipments of 250,000 copies in Japan. |
156_18 | Music videos
An accompanying music video was released to Big Hit's YouTube channel on October 10, 2016; it was preceded by a teaser, which was released via the same platform on October 6. The video was directed by YongSeok Choi of Lumpens, with Edie YooJeong Ko serving as the assistant director. It was choreographed by Keone Madrid and Quick Style Crew, under the supervision of Sungdeuk Son. HyunWoo Nam of GDW received credit as the director of photography, while GyeungSeok Kim and MoonYoung Lee served as the gaffer and art director, respectively. Inspired by Hermann Hesse's 1919 coming of age novel Demian, the six-minute long visual heavily contains baroque symbolism, and explores the concepts of "fate, reality, life and death, and falling from grace." |
156_19 | The music video opens with the seven members of BTS exploring a museum that is filled with European Renaissance replications and weeping angels, and switches to showing the band posing together. The clip then zooms out briefly before depicting the seven members in a hall, where they start performing choreography as the opening line of the song plays. Footage alternates between close-up shots of each member staring directly into the camera and group-shots to the performance of "sensual choreography," which has their hands "constantly blind, seek, and reveal desire and truth." In some scenes, BTS drink colourful elixirs, wear blindfolds, blow smoke, and jump to and from the camera. Throughout the visual, the band members are seen dancing in multiple sets or being confined by extravagant rooms that have classic white sculptures kept in dark places, tied up or trapped. At one point, RM recites a passage from Demian, which is not included in the studio version of the song. The video |
156_20 | features classical imagery and several references to literature and art, such as the quote "One must still have chaos within oneself to give birth to a dancing star" from the opening lines of Friedrich Nietzsche's philosophical novel Thus Spoke Zarathustra and the paintings The Lament for Icarus (1898) by Herbert James Draper, and Pieter Bruegel's The Fall of Icarus (1560) and The Fall of the Rebel Angels (1562). These serve as visual representations of emotions, including fear or danger, temptation and chaos. A scene featuring V jumping off a balcony in front of a painting of the fallen Icarus bears testimony to this. It follows a Biblical story-line of angels and demons, through portraying members in decadent settings and outfits as they try not to surrender to sin and temptation. Darker and complex elements in the video include shrouds and veils, which are in reference to afterlife. For its conclusion, Jin comes across a white concrete angel with black wings and is compelled to |
156_21 | kiss it. As the visual ends, V poses with his wings ripped off to convey "the acceptance of imperfection that an angel could lose his wings." |
156_22 | Benjamin of Fuse noted the "darker" atmosphere of the music video, and called it "stunning." Glasby of Dazed wrote that the clip visually "captures a passionate, destructive relationship." Herman noted the metaphors presented in the visual and deemed it as "haunting." Dazed editor Selim Bulut ranked the visual at number nine on his list of the best music videos of 2016, while Billboard placed the video on their decade-end list of the best music videos of the 2010s, with Caitlin Kelley writing, "'Blood Sweat & Tears' is the thesis for BTS as a K-pop group whose work is rich for interpretation." The video was awarded the Best Music Video at the 2017 Seoul Music Awards. It earned nominations for Best Music Video at the 2017 Mnet Asian Music Awards and Fuse Music Video of the Year at the 2017 Annual Soompi Awards. The music video was an instant success on YouTube, surpassing 6.3 million views in 24 hours. Within 42 hours, it garnered over 10 million views on the platform and became the |
156_23 | fastest music video by a K-pop group to do so. The visual was the most-viewed K-pop music video of October 2016 in the US. As of July 2020, the video has over 600 million views. |
156_24 | A music video for the Japanese version of "Blood Sweat & Tears" was uploaded to Universal Japan's YouTube channel on May 9, 2017. While it is centered around art like the Korean version's video, the visual is more intense and includes references to the story-lines of those of "I Need U" and "Run". Portrayed in neon and psychedelic colours, the music video features a dark alternate dimension and multiple realities, in which the band members fight and try to kill each other.
Live performances |
156_25 | To promote "Blood, Sweat & Tears" and Wings, BTS made several appearances on South Korean music programs around October and November 2016. They performed the song for the first time for Mnet's M! Countdown on October 13, 2016 as part of their comeback stage. The following three days, the band appeared on Music Bank, Show! Music Core, and Inkigayo, where they also performed "Am I Wrong" and "21st Century Girl". BTS performed the song at the 2016 Melon Music Awards alongside "Fire" on November 19, 2016. On December 2 of that year, the band performed the former live at the 2016 Mnet Asian Music Awards. As a prelude to the performance, Jungkook was suspended above the stage, while RM recited a passage from Demian. This was followed by a choreography to a rendition of "Boy Meets Evil" and "Lie" performed by J-Hope and Jimin, with the latter dancing to it blindfolded. They were then joined by the rest of the bandmates who appeared as "fallen angels." "Blood, Sweat & Tears" was also included |
156_26 | on the setlist of BTS' The Wings Tour (2017). |
156_27 | Track listings
Credits and personnel
Credits are adapted from the CD liner notes of You Never Walk Alone.
BTS primary vocals
"Hitman" Bang songwriting
RM songwriting
Suga songwriting
J-Hope songwriting
Kim Doohyon songwriting
Pdogg songwriting, production, synthesizer, keyboard, vocal arrangement, rap arrangement, record engineering
KM-MARKIT songwriting (Japanese version)
Jungkook chorus
Jimin chorus
James F. Reynolds mix engineering
Charts
Weekly charts
Monthly charts
Year-end charts
Certifications and sales
Release history
See also
List of Gaon Digital Chart number ones of 2016
List of Hot 100 number-one singles of 2016 (Japan)
List of Oricon number-one singles of 2016
Notes
References |
156_28 | 2016 singles
2017 singles
Korean-language songs
Japanese-language songs
BTS songs
Oricon Weekly number-one singles
Billboard Japan Hot 100 number-one singles
Gaon Digital Chart number-one singles
Songs written by Bang Si-hyuk
Music videos directed by Lumpens
Songs written by Pdogg
Songs written by RM (rapper)
Songs written by J-Hope
Songs written by Suga (rapper)
Hybe Corporation singles |
157_0 | The Sparrow (1996) is the first novel by author Mary Doria Russell.
It won the Arthur C. Clarke Award, James Tiptree, Jr. Award, Kurd-Laßwitz-Preis and the British Science Fiction Association Award. It was followed by a sequel, Children of God, in 1998. The title refers to Gospel of Matthew 10:29–31, which relates that not even a sparrow falls to the earth without God's knowledge thereof. |
157_1 | Plot
In the year 2019, the SETI program at Arecibo Observatory discovers radio broadcasts of music from the vicinity of Alpha Centauri. The first expedition to Rakhat, the world that is sending the music, is organized by the Society of Jesus (Jesuits), known for its missionary, linguistic and scientific activities since the time of its founder, Ignatius of Loyola. In the year 2060, only one of the crew, the Jesuit priest Emilio Sandoz, survives to return to Earth, and he is damaged physically and psychologically. The story is told with parallel plot lines, interspersing the journey of Sandoz and his friends to Rakhat with Sandoz's experiences upon his return to Earth. |
157_2 | Father Sandoz is a talented Puerto Rican linguist. He is described as of mixed Taíno and Conquistador heritage and character. Sandoz grew up in La Perla, a poor neighborhood in San Juan. He joined the Jesuits as a teenager. After several stints at Jesuit missionaries around the world, he returns to Puerto Rico. Several of his close friends and co-workers, people with a variety of unique skills and talents, have seemingly coincidental connections to Arecibo. One of them, a gifted young technician, was the first to hear the transmissions; another, Sofia Mendes, a Turkish Jewish artificial intelligence specialist, has the connections and aptitude to obtain a spacecraft and help pilot the mission. Sandoz, who has often struggled with his faith, becomes convinced that only God's will could bring this group of people with the perfect combination of knowledge and experience together at the moment when the alien signal was detected. Sandoz and his friends, along with three other Jesuit |
157_3 | priests, are chosen by the Society of Jesus to travel in secret to the planet, using an interstellar vessel made with a small asteroid. |
157_4 | Upon reaching Rakhat, the crew tries to acclimatize themselves to the new world, experimenting with eating local flora and fauna, then making contact with a rural village, inhabited by a peaceful tribe of herbivore gatherers, the Runa. Though the Runa are clearly not the singers of the radio broadcasts, the Earthlings settle among them and begin to learn their language Ruanja and culture. Although Sandoz struggles with his attraction to Sofia, he finds greater spiritual meaning in his interactions with the Runa. The crew transmits all their findings via computer uplink to the asteroid-ship in orbit. One day, in an attempt to retrieve supplies from their landing vehicle for a sick crew member, the landing vehicle runs short of the fuel needed to safely return to the asteroid ship, and the crew must face the reality that they may never return to Earth. |
157_5 | When the Earthlings finally meet a member of the culture which produced the radio transmissions, he proves to be of an entirely different species from the rural natives, a Jana'ata who is an ambitious merchant named Supaari VaGayjur. Supaari VaGayjur sees in the visitors a possibility to improve his status, while the crew hopes to find an alternative source of fuel in Supaari's city, Gayjur. Meanwhile, the crew begins to grow their own food, introducing the concept of agriculture to the villagers. These seemingly innocent actions and accompanying cultural misunderstandings precipitate an outbreak of violence. Though not closely related genetically, the Jana'ata have evolved by aggressive mimicry to physically resemble the Runa, who are in fact their prey species. The human introduction of agriculture leads to a Runa baby boom which is harvested by the predatory Jana'ata. The humans are riven with guilt over their misguided action, and most, including Sofia, are killed when defending |
157_6 | against the Jana'ata attack. Only Sandoz and one other human survive, and Sandoz endures capture, degradation, and a crisis of faith. Eventually found by Suupari, Sandoz's hands are disfigured and rendered useless in a Jana'ata practice meant to convey the honor and privilege of being dependent on another, a mutilation analogous to the practice of foot binding. The mutilation kills the other surviving crew member; Sandoz survives, though he is physically and spiritually traumatized and believes himself at fault for the death of his friends. Later, Supaari gives Sandoz to the Reshtar of Galatna, a poet and musician, in exchange for the right to have a wife and start his own lineage. Held captive by the Reshtar, Sandoz realizes the Reshtar is the source of the music that brought the humans to Rakhat and momentarily regains his faith; however, the Reshtar is only interested in Sandoz as a pet who is forced to sexually satisfy the musician, along with his friends and colleagues. It is |
157_7 | later revealed that the Reshtar broadcasts songs about his sexual exploits, songs which may have been heard on Earth. |
157_8 | When Sandoz returns to Earth in 2060, his friends are dead, and his faith, once considered worthy of canonization by his superiors, has turned into bitter anger with the God who inspired him to go to Rakhat. Due to relativistic space-time effects, decades had passed while he has been gone, during which popular outrage at the United Nation's initial and highly out-of-context report on the mission, and especially Sandoz's role in the tragedy, had left the Society of Jesus shattered and nearly extinct. The Jesuits shelter Sandoz from the media and help him recover physically, while the Father Superior selects a panel of Jesuit priests from around the world to help Sandoz come out of his shell and explain what really happened. Initially bent on discovering the truth, the other priests eventually recognize the great personal cost at which the journey came, and accept Sandoz's epic struggle with his faith. Over the course of several months, Sandoz painfully explains his story and begins his |
157_9 | personal healing. |
157_10 | Similarities to other works
The Sparrow is similar to James Blish's science fiction novel A Case of Conscience. It also involves a Jesuit priest confronting an alien civilization. Mary Doria Russell has addressed this speculation:
Literary significance and reception
Nancy Pearl, reviewing in the Library Journal, felt that this book was mistakenly categorized as science fiction, and that it is really "a philosophical novel about the nature of good and evil and what happens when a man tries to do the right thing, for the right reasons and ends up causing incalculable harm". |
157_11 | In the Catholic journal Commonweal, Paul Q. Kane writes that Russell has done her research on the early historic Jesuit missions and on Jesuit spirituality. He continues that she is successfully updating the stories of other important Jesuits who have sent men to distant lands or went themselves to foreign cultures to represent Christianity. "Russell subtly raises concerns about the ways in which sophisticated cultures tell themselves cover stories in order to justify actions taken at a terrible cost to others". This is also reflected in the way that Sofia has to buy her freedom from what she describes as an institution of intellectual prostitution; as well as the differences between the simple Runa who live in the countryside and the Jana'ata, who are the sophisticated city dwellers that created the beautiful music which triggered the mission originally. |
157_12 | Awards and nominations
The 1996 James Tiptree, Jr. Award
The 1998 Arthur C. Clarke Award
The 1998 BSFA Award for Best Novel
The 1998 John W. Campbell Award for Best New Writer
The 2001 Kurd Laßwitz Award
The 2001 Gaylactic Spectrum Hall of Fame (The Sparrow and Children of God together)
Film, television and theatrical adaptations
In March 2006 it was announced that Warner Bros. had purchased the rights to The Sparrow for Brad Pitt's production company, Plan B, and that Pitt himself would be playing the role of Sandoz with screenwriter Michael Seitzman adapting the novel to film.
Since then, Mary Russell has revoked all film rights, believing that Hollywood cannot and will not make a film version of The Sparrow that is faithful to the book. She has written her own screenplay with her assistant Karen Hall, but has realized it has little to no chance of being produced.
In 2014, AMC announced it was developing a television adaptation of the book. |
157_13 | In 2021, Scott Frank announced his plans to adapt The Sparrow as a miniseries, to be presented on FX.
Related works
James Blish's A Case of Conscience also has a Jesuit priest confronting an alien civilization.
In Arthur C. Clarke's short story "The Star" a Jesuit scientist finds out a faith-shaking fact about a supernova.
Stanisław Lem's Fiasco is also about first contact SETI mission and has a priest (although Dominican) as one of prominent secondary characters.
Michel Faber's The Book of Strange New Things is a novel about a pastor sent as a missionary to an alien species.
Progressive/symphonic rock band Metaphor has produced a concept album/rock opera based on The Sparrow (with the author's permission). The CD was released in September 2007. |
157_14 | Publication history
1996, US, Villard , Pub date 9 September 1996, Hardcover
1996, US, Brilliance Corp , Pub date 1 October 1996, Audio Cassette
1997, US, Ballantine Books , Pub date 8 September 1997, Paperback
1997, UK, Black Swan , Pub date 1 November 1997, Paperback
2008, US, Brilliance Audio , Pub date 4 April 2008, Audio CD
Notes
External links
The following links are to detailed reviews with many plot details.
First review of The Sparrow by R.W. Rasband, Association for Mormon Letters.
Second review of The Sparrow by Rasband, with Russell's response.
Review of Children of God by Rasband.
Infinity Plus Interview with Mary Doria Russell where she discusses The Sparrow.
Video clip of interview with Mary Doria Russell and NPR Book Reviewer Alan Cheuse talking about faith and fiction in The Sparrow.
Mary Doria Russell personal website. |
157_15 | 1996 American novels
1996 debut novels
Alpha Centauri in fiction
American philosophical novels
American science fiction novels
Catholic novels
Fiction set in 2019
Interpreting and translation in fiction
James Tiptree Jr. Award-winning works
Novels set on fictional planets
Religion in science fiction
Villard (imprint) books |
158_0 | Aswang, also called The Unearthing, is a 1994 horror film directed and written Wrye Martin and Barry Poltermann. It is based on the mythical creature that feeds on the unborn in Philippine folklore, with the screenplay written following a story telling session by Frank L. Anderson, who was a friend of the filmmakers. The movie was written by amateur directors Wyre Martin and Barry Poltermann and shot with a low budget, while actors were paid just $50 a day with the expectation they would receive a cut of any future profit. Many of the actors were cast from Milwaukee theater group Theater X, most of who had never acted in a film before. |
158_1 | To achieve some of its effects, the film utilized reverse motion as well as hiring an effects technician and a mechanical tongue, despite the limited budget. Some people had mixed opinions on the film, with some believing it was too slow to start while others felt the opposite, that it started well but were disappointed with the ending; critic Emanuel Levy considered it was "more gruesome and gross than really frightening". It was one of only 65 films selected to be shown at the Sundance Film Festival, to a mixed audience reception. Some people walked out part way through due to the use of blood and gore. |
158_2 | Plot
Wealthy Peter Null, heir to his family's prosperous estate, is desperately in need of a child. An opportunity presents itself when he meets Katrina, a young and unmarried woman who is trapped with an unwanted pregnancy. Despite protestations from her boyfriend, Katrina meets Peter Null, who offers to pay her to bear the child; she agrees to sign over the rights for a large payment, in effect acting as a surrogate. In exchange for her payment, she must pose as his wife in order to convince Null's wheelchair-bound mother Olive, the family matriarch, that they are truly in love and that she is having his child, ostensibly to allow him to inherit his family's estate. |
158_3 | Heavily pregnant, Katrina is brought to the secluded estate deep within a menacing forest and is introduced to its residents; crippled Olive Null, mentally-ill reclusive sister Claire and their devoted Filipino maid Cupid, who Peter explains was once a midwife. Unbeknownst to Katrina, the residents are secret "Aswangs", vampires with mega-tongues that feed on living fetuses and they are planning to eat her unborn child. The Aswang kills and feeds via its endlessly long, flexible and strong tongue, nourishing on blood. It also has the ability to possess others. |
158_4 | An innocent but eccentric mushroom forager, Dr Harper, is caught trespassing on the property and senses early on that things may not be as they seem at the estate. He begins retrieving fetal corpses wrapped like cocoons from the estate grounds and realizes the Null family are actually sadistic vampires. Sensing his cover might be blown, Peter Null attacks Harper with his slimy tongue to disable him prior to wrapping him in a cocoon. Katrina then realizes the reality of the family's intentions and that her child's life is endangered. Katrina is then kept prisoner in the house with chains and drugs, preventing any possible escape. During a struggle, Peter Null, who by this time refers to the baby as his "property", senses Katrina's intentions to escape and knocks her over the head with an axe; while Katrina is temporarily disabled, he proceeds to feed on her blood. Upon awakening, Katrina uses the axe to cut off her hand in desperation and escapes the house, but is caught by Peter Null, |
158_5 | briefly prior to Cupid appearing with the axe. Five years later, Cupid is seen with a young girl, implying that the child was born and became heir to the Null estate. |
158_6 | Cast
Production |
158_7 | Development |
158_8 | The film was based on a Filipino vampire legend and set in northwoods of northern Wisconsin. Co-producer Barry Poltermann had originally written another script and upon showing it to friend Frank L. Anderson, was advised they needed to "do something crazy that was going to break through and get attention", with Anderson believing that the script would amount to a "by-the-numbers" horror film. Anderson had grown up in the Philippines and told both Poltermann and co-director and writer Wyre Martin a legend about a vampire "that would sit on rooftops and drop down its tiny thread-like tongue to suck out the blood of fetuses." Martin expressed that upon hearing about the legend, was surprised that a film had not already been made about it. Poltermann believed the story was "totally screwed up", yet began brainstorming some ideas and had written a script within a week. When the script was read by Anderson, he thought it was "an interesting take on the myth" but was not what he envisaged or |
158_9 | expected having told the original story. |
158_10 | The limited budget of the film meant the cast and crew were unable to travel to the Philippines, so instead opted to change the story to a family that grew up in the Philippines but moved to America. Visual effects of the time meant recreating the thread-like tongue near impossible, so it was instead changed to a garden hose. |
158_11 | Martin made his production debut with the film, which first premiered on October 30, 1993 at the Minneapolis College of Art and Design. He believed it was "such an arresting story" and provided the subtext they needed, as they did not want to do a "senseless, blood-letting slasher film", although acknowledged that there was enough blood in the movie "to satisfy even the thirstiest of horror flick fans." Co-director Poltermann noted there was a sense of "let's try this, let's try that" to determine what would work and would not and that it was deliberately shot in this manner, although suggested that if he were to do another film he would "be more disciplined stylistically." |
158_12 | Filming |
158_13 | Filming took place during October and November 1992 at various locations around southeastern Wisconsin, including in Milwaukee, Lake Geneva, while some exterior shots were filmed along Wisconsin Highway 142 and Bong State Recreation Area in Kenosha County. The mansion which features in the film is supposed to be in the countryside, but was actually in the middle of downtown Whitefish Bay. The cabin and estate were owned by the Buffett family, of whom Peter Buffett was a friend of the producers. The fighting scene between the characters Katrina and Claire took place in an abandoned house that was due to be demolished. Filmmakers had not located anywhere suitable with just a week prior to shooting as owners did not want their property to be destroyed, until Poltermann's brother suggested a house that was due to be burned down in a training exercise several weeks after the scene was filmed. How the house looks in the film is as it was when the filmmakers arrived to film. The inclusion of |
158_14 | a chainsaw was a last minute decision by Martin, due to the fact that the property was empty and they needed something to "utilize that space". |
158_15 | Poltermann believed the film, shot during the autumn with leaves decomposing "had a secluded feel to it", suggesting that the movie looked like it was "set in northern Wisconsin", despite being around 30 minutes away from Milwaukee. Filming was mostly outdoors, often starting at 8am each morning and would sometimes not finish until 11pm. Some scenes, according to Poltermann, were lifted from classic fright-flicks including The Shining and Rosemary's Baby, which he referred to as "visual sampling" in paying homage to great horror movies. A mechanical rubber tongue was created which was capable of doing "lots of complicated things through the use of levers and buttons", however it developed a fault with its cabling within its first few minutes of its first scene. With only one operational cable resulting in a limp tongue on one side and being limited to just small twitches, some scenes had to be adjusted to take in to account the limited operation. Scenes with the rubber tongue were |
158_16 | shot partially as reverse motion, but also some were done with effects that required hiring an effects technician from Los Angeles for $5,000, which used up "a large part of the budget." |
158_17 | The movie cost $70,000 to film and a further $40,000 to finish it. Despite trying to originally raise $125,000, the filmmakers were only able to raise $70,000 and felt they either had to make it at that budget or not at all. The remaining $40,000 was made up from their own personal finances. Actors received $50 a day for their participation, in anticipation of a greater sum once the film was released, a typically common arrangement for low-budget films employing inexperienced assistance. |
158_18 | Casting
The cast included university student Tina Ona Paukstelis and John Kishline, as well as Victor DeLorenzo, former drummer for rock group Violent Femmes. Paukstelis, who played Katrina, reflected on how fun, but exhausting it was to film, noting that she remembered "having to run around barefoot in a nightgown in November at night in the woods", recalling how several times she injured herself but "handled it very well", according to co-star John Kishline. She auditioned for the role on the recommendation of her friend John DeLorenzo, who also was cast in the trailer. Paukstelis reflected on what was "a great experience" and believed it was a "pretty good" film, considering it was shot in just five weeks on a small budget. She considered the hardest part for her was "trying to act scared", as acting for a camera she considered more subtle than acting on stage. She was singled out by a critic as "a tough, independent heroine". |
158_19 | The casting of Norman Moses as Peter Null was described as interesting by Poltermann, as in his audition he redefined the character as one that would sing and dance, which was not envisaged by the writers. Many of his character's elements were brought by the actor himself. The remaining members of the cast were from a Milwaukee theater group called Theater X. Although the characters were written as always being nude, this was changed in the film so that they would be clothed. Actors from Theater X were chosen particularly as they were locally available and because they were risk-takers, as well as the actors thinking it would "be fun to be in a movie." John Kishline, a resident of Milwaukee and one of the founding members of the Theater X drama company, was cast as Dr Roger Harper. Kishline, who described the film as being "professionally done on a limited budget", spent most of his time on the film "ensnared from head to toe in a gooey cocoon". |
158_20 | Post production and release
Most of the cast and crew accepted deferred wage payments based on the eventual revenue the film would make. Although Martin and Poltermann planned for a direct-to-video release, they received numerous offers to run the film in theaters which would have put their movie on screens nationwide. The two producers were had concerns about choosing an appropriate distributor, as they preferred choosing one who shared their vision of the film over how much revenue they could make from it.
The film was made on a budget of around $110,000, although some sources say it was $150,000, which was expected to be made back from a video release. Profit was expected to come from overseas theatrical releases in countries such as Germany, Bulgaria and South Korea. Around 20,000 video units were produced with an expected sale price of $89 each, although Poltermann commented that he "wouldn't spend 89 dollars for it." |
158_21 | It was one of only 65 films selected to be shown at the Sundance Film Festival out of over 800 applicants and was regarded by The Daily Utah Chronicle as being "this year's most promising midnight attraction." On describing the film, Poltermann said "it was the idea that if you set out to make a cult film, you almost certainly won't", suggesting that they took an absurd premise and coupled it with equally absurd dialogue but played it out as straight and serious as was possible, noting that the film's humor comes from its absurdity. Poltermann considered the film "ridiculous and camp and over-the-top" and that both he and Martin did not take it too seriously as they wanted a film that was "ridiculous enough to be a form of escapism." It was given a rating of NC-17, adults only. |
158_22 | Reception
Upon its original release reviews by mainstream critics were mixed. TV Guide wrote that "For much of its running time, 'The Unearthing' is a gripping and unsettling journey into fear. Towards the end, however, it abandons its aura of Cronenbergian repulsion, descends into camp, and blunts the impact of its memorably unpleasant build-up". According to director Poltermann, much criticism of the film was due to its uneven tone, with some people preferring the start but not the end, while others felt the start was "a drag until stuff starts happening a third of the way through." During its screening at the Sundance Film Festival, many audience members walked out "when the blood started flying", in particular during the scene where Paukstelis' character cuts off her hand when chained up. |
158_23 | Film Threat claimed that the uncut release was "completely loaded to the teeth with nerve-wracking suspense, an atmosphere of sheer dread, stomach turning gore and just a dash of black humor. Aswang is a very effective and nightmarish film that deserves far more attention than it has garnered over the past 11 years". The New York Daily News believed the film represented a rarity, noting that it succeeded in "capturing a legit nightmare quality and visceral intensity" and suggested that fans of fright films "would be well advised to snatch this obscure winner off the shelf." Film critic Steve Murray writing for The Atlanta Constitution regarded the film as "a horror flick that's not as outrageous as it wants to be", noting the film "does have its moments". Critic Emanuel Levy reviewed the film in Variety, noting that "the production lacks shrewd humor and visual style" and suggesting that it "is more gruesome and gross than really frightening".
References
Citations
Sources |
158_24 | External links
1994 films
1990s monster movies
1994 independent films
American films
1994 horror films
American vampire films
Philippine monster movies
American independent films
1990s supernatural films
English-language films
Films set in Wisconsin
Films shot in Wisconsin
Films based on Asian myths and legends
Asian-American horror films
Filipino-American films |
159_0 | Twrch Trwyth (; also Trwyd, Troynt (MSS.HK); Troit (MSS.C1 D G Q); or Terit (MSS. C2 L)) is an enchanted wild boar in the Matter of Britain great story cycle that King Arthur or his men pursued with the aid of Arthur's dog Cavall (, ).
The names of the hound and boar are glimpsed in a piece of geographical onomasticon composed in Latin in the ninth century, the Historia Brittonum. However, a richly elaborate account of the great hunt appears in the Welsh prose romance Culhwch and Olwen, probably written around 1100. A passing reference to Twrch Trwyth also occurs in the elegy Gwarchan Cynfelyn preserved in the Book of Aneirin.
The name in Welsh can be construed to mean "the boar Trwyth", and may have its analogue in the boar Triath of Irish mythology (see #Etymology and Irish cognate below). |
159_1 | Historia Brittonum
The earliest reference to the boar Trwyth occurs in the tract De Mirabilibus Britanniae (or Mirabilia in shorthand), variously titled in English as "Wonders of Britain". The Mirabilia is believed to be near-contemporaneous to Nennius' ninth-century Historia Brittonum and is found appended to it in many extant manuscripts. It gives a list of marvels around Britain, one of them being the footprint left in rock by Arthur's dog Cavall (here Latinized as Cabal), made while chasing the great boar (here called Troynt):
Culhwch and Olwen
Twrch is named as the son of Prince Tared (or Taredd Wledig), cursed into the form of a wild creature; he has poisonous bristles, and carries a pair of scissors, a comb and a razor on his head between his ears. In French romances such as by Chrétien de Troyes, Ares is the father of a knight called Tor. Some scholars consider that Tor son of Ares is the Twrch son of Tared of Culhwch and Olwen and that the authentic name is probably Ares. |
159_2 | Culhwch is given the task by Ysbaddaden, the giant whose daughter Olwen Culhwch seeks, of obtaining the comb and scissors from Twrch's head. Later in the story it transpires there is also a razor secreted there. These implements are then to be used to cut and treat Ysbaddaden's hair (most of the tasks on the giant's long list are ultimately to do with this ceremony of hair-cutting). Further, Ysbaddaden states that the only hound who can hunt Twrch is Drudwyn, the whelp of Greid, and then goes on to list the requirements of the leash to hold Drudwyn, the only man strong enough to hold the leash. Ultimately Ysbaddaden calls on Culhwch to seek out Arthur, Culhwch's cousin, to help him hunt Twrch. |
159_3 | Prior to the hunt, Menw son of Teirgwaedd is sent to verify that the comb and scissors are between Twrch's ears. He takes the form of a bird and flies to Twrch's lair, encountering the boar with seven piglets. Menw then tries to swoop down and snatch one of the implements from Twrch's scalp, but only manages to take one silver bristle; Twrch is agitated and shakes himself, scattering venom onto Menw, wounding him.
The hunt for Twrch takes up the greater portion of the latter half of Culhwch and Olwen, and it is described in great detail the geographical route of the pursuit, and those who take active part in it. Although it is Culhwch who is given the task, it is Arthur and his men who take the most prominent role in the chase, Culhwch having successfully enlisted his aid.
After causing the death of several of Arthur's troop, the boar surrenders the razor, scissors, and later the comb by force, and he is driven into the sea off Cornwall and drowned. |
159_4 | Yet another boar, Ysgithyrwyn or "White-Tusk, Chief of Boars", had to be captured for its tusk to complete the grooming of Ysbadadden.
Etymology and Irish cognate
As previously noted, the Welsh word twrch means "wild boar, hog, mole", so Twrch Trwyth means "the boar Trwyth". Its Irish cognate may be Triath, King of the Swine () or the Torc Triath mentioned in Lebor Gabála Érenn, also recorded as Old Irish Orc tréith "Triath's boar" in Sanas Cormaic. Rachel Bromwich regards the form Trwyth as a late corruption. In the early text Historia Brittonum, the boar is called Troynt or Troit, a Latinisation likely from the Welsh Trwyd. Further evidence that Trwyd was the correct form appears in a reference in a later poem. |
159_5 | Popular culture
Twrch Trwyth is the name of a Welsh traditional dance group based in Clwb Ifor Bach, Cardiff.
Y Twrch Trwyth is also the mascot of Ysgol Dyffryn Aman (formally Amman Valley Comprehensive School and Amman Valley Grammar School) in Ammanford, Carmarthenshire, South West Wales.
In the 2016 Summer event of Fate/Grand Order, Twrch Trwyth is the last boss.
See also
Henwen, a sow from Cornwall that made a run from the south end to the north tip of Wales, and bore Cath Palug
Ysgithyrwyn Chief Boar (Ysgithrwyn Pen Beidd, Yskithyrwynn Pennbeidd, "White-tusk chief of Boars")
Notes
References
(Texts of Culhwch)
(ed.,tr.)
(Geraint ab Erbin (W).. p. 4 (E)..p. 67; Kilhwch ac Olwen (W).. p. 195 (E)..p. 249)
(Revised edition 1993; Indexed 1989; first published Everyman Library 1949)
(Texts of the Mirabilia of Historia Brittonum)
(ed.)
(ed.) (Latin text of the "De Mirabilibus Britanniae", §73)
(ed., tr.)
(unable to identity author by his monogaram "R")
(Critical studies) |
159_6 | External links
Reference to Historia Britonum and notes on the Hunt
Mythological pigs
Welsh mythology
Welsh legendary creatures
Arthurian characters
Pigs in literature |
160_0 | The Family Online Safety Institute (FOSI) is an international nonprofit organization. It is registered as a 501(c)(3) tax-deductible nonprofit charity in the United States and a registered charity in the United Kingdom. FOSI was founded in February 2007 by Stephen Balkam, who had created the Internet Content Rating Association (ICRA). FOSI is chaired by Dave Pierce, Vice President of Public Affairs, NCTA.
Membership
The Family Online Safety Institute is a membership-based organization, members pay an annual stipend to FOSI. In turn FOSI uses this funding for its general operation and to further its goals and mission. Each of the FOSI members have a representative on the Board of Directors. |
160_1 | Full members of FOSI include prominent American and British companies. Members include
AOL,
AT&T,
Comcast,
Facebook,
France Telecom,
Entertainment Software Association,
GSM Association,
Google,
Microsoft,
National Cable & Telecommunications Association,
Nominum,
Optenet
KCOM Group,
Rulespace,
Sprint,
Streamshield,
Symantec,
T-Mobile USA,
Telefonica,
Telmex,
Time Warner Cable,
CTIA – The Wireless Association,
Verizon,
Vodafone and
Yahoo!.
Events and annual conferences
Annual conferences
2013
The Family Online Safety Institute's 2013 Annual Conference will be taking place at the Ronald Reagan Building and International Trade Center, in Washington DC. This year’s conference, being held on November 6 and 7, will bring together the top thinkers in online safety: academics, educators, law enforcement, industry, policy makers, and non-profits.
2012 |
160_2 | FOSI's 2012 Annual Conference, "A Safer Internet For All" was held at the Andrew W. Mellon Auditorium in Washington, DC on November 14–15, 2012. The conference featured over 80 speakers, 20 exhibitors and more than 450 attendees from at least 14 different countries.
Notable speakers included Karen Cator, Nancy Lublin, Constance M. Yowell of the John D. and Catherine T. MacArthur Foundation, Dr. Howard J. Schaffer, and Dr. Michael Rich from the Center on Media and Child Health.
2011
FOSI's 2011 Annual Conference, "Evaluate. Innovate. Collaborate. Strategies for Safe and Healthy Online Use" was held at the Andrew W. Mellon Auditorium in Washington, DC on November 9–10, 2011. The conference featured over 80 speakers, 26 exhibitors and more than 450 attendees from 13 different countries.
Notable speakers included Dominican Republic Vice President Margarita Cedeño de Fernández, Dr. Edward Amoroso of AT&T, and Michael Altschul of CTIA – The Wireless Association.
2010 |
160_3 | FOSI's 2010 Annual Conference, "Internet Freedom, Safety and Citizenship: A Global Call to Action" was held at the Andrew W. Mellon Auditorium in Washington, DC on November 9–10, 2010. The conference had 400 attendees, 90 speakers and 31 exhibitors from 13 countries.
Notable speakers included Microsoft's Peter Cullen, Tami Erwin of Verizon Wireless, Anna M. Gomez of National Cable & Telecommunications Association, United States Ambassador-at-Large for Global Women's Issues Melanne Verveer, the U.S. Federal Communications Commission's Josh Gottheimer, and Karen Cator.
2009 |
160_4 | FOSI's 2009 Annual Conference, "Building a Culture of Responsibility: From Online Safety to Digital Citizenship," was held at the Andrew W. Mellon Auditorium in Washington, DC on November 4–5, 2009. The conference had 350 attendees, 80 speakers and 31 exhibitors from 15 countries. Technology writer and journalist, Larry Magid described the event as "a watershed moment in the 16-year history of online safety education." |
160_5 | 2008
FOSI's 2008 Annual Conference, "Safe at Any Speed: Online Safety Tools, Rules and Public Policies", was held at the Newseum in Washington, DC on December 11, 2008. At the conference, FOSI made a series of recommendations for the new Obama Administration and called for:
An annual White House Online Safety Summit
The creation of a United States Council for Internet Safety
An Online Safety Program to fund a range of research, educational and awareness-raising projects
A National Safety Officer within the new office of the Chief of Technology Officer (CTO) for the United States
The conference included over 300 attendees from 4 continents, 11 countries, and featured 60 speakers on 11 expert panels and 22 exhibitors.
2007
FOSI held its inaugural annual conference "Rights and Responsibility: Child Protection in a Web 2.0 World" on December 6, 2007 at the Ronald Reagan Building in Washington, D.C. The conference was covered by C-SPAN. |
160_6 | Notable speakers included Google Vice President and Chief Internal Evangelist Vint Cerf, U.S. Ambassador David Gross, U.S. Federal Communications Commission Commissioner Deborah Tate and Federal Trade Commission Chairman Deborah Platt Majoras.
Sponsors for the Conference include Verizon, AT&T, GSMA, RuleSpace, Crisp Thinking, Symantec, Google, Blue Coat, Comcast, CTIA, Microsoft, CompTIA, AOL and InternetSafety.com. |
160_7 | 2013 events
On June 24, 2013, the Family Online Safety Institute and Telstra partnered to host a forum titled Global Digital Citizenship: Encouraging Safe and Responsible Online Use. The event was held at Telstra’s head office in Melbourne, Australia, and provided the opportunity for participants to engage with other members of industry, academics, government officials, and the non-profit sector and openly discuss the issues, challenges, and opportunities that arise in online safety. In addition to sponsorship by Telstra, this event was further supported by Microsoft, Google, and the Australian Communications and Media Authority (ACMA).
On May 15, 2013, the Family Online Safety Institute hosted its annual European Forum at Google’s EU Headquarters in Dublin, Ireland. |
160_8 | 2012 events
On September 19, 2012 FOSI hosted a roundtable discussion in London, UK to discuss the topic of "Trends in Online Safety: The Trans-Atlantic Debate and its Global Implications". Bringing together a wide range of stakeholders, from industry, law enforcement, government and civil society, this off-the-record discussion provided an opportunity for the exchange of ideas, opinions, strategies and priorities.
On August 9, 2012 FOSI and the Association for Competitive Technology hosted a panel discussion at the Rayburn House Office Building to brief lawmakers, staff, and interested parties about the FTC's amended proposed changes to the Children's Online Privacy Protection Act (COPPA). The title of the panel was "Congressional Briefing: Apps, Ads, Kids & COPPA; Implications of the FTC’s Additional Proposed Revisions." |
160_9 | On May 15, 2012 FOSI gathered at the European Parliament Building in Brussels, Belgium for a one-day European Forum covering "Safety and Privacy in a Digital Europe." The event was designed to bring together the European Commission, Parliament, key industry players and civil society for informal discussions. Attendees included members of the European Parliament and European Commission such as Lambert van Nistelrooij, Khalil Rouhana, Christine Kormann, Seán Kelly, and Mary Honeyball. |
160_10 | On March 6–7, 2012 FOSI and ictQATAR partnered to host a two-day conference called "Promoting Online Safety and Cyber Ethics in the Middle East" in Doha, Qatar looking at key online safety issues affecting the Middle East region and discussing broader global issues. Conference highlights included discussions about the expansion of mobile phone and social media usage, a look at the role of ICT in schools and the importance of cyber ethics, and also included the presentation of Qatar’s National Cybersafety Strategy. The event included a large number of international speakers including David Gross, Fadi Salem, Larry Magid, Claudia Selli, and Luc Delany. |
160_11 | 2011 events
On February 24, 2011 FOSI hosted a joint event with Google titled "Breaking Digital Dependency: Tips for Balancing Digital Life and Real Life". The event included a lively discussion between Stephen Balkam and William Powers, author of Hamlet's Blackberry, covering a wide range of topics from Plato to Gutenberg and from the virtues of technology to its overuse. |
160_12 | On September 14, 2011 FOSI launched the results of "Who Needs Parental Controls?” a survey indicating that the majority of parents use tools and rules to control their kids’ online usage. According to the research, virtually all parents have spoken to their children about online safety and established household rules. Following a presentation of the newfound data by Hart Research associate Abigail Davenport, a panel composed of representatives from sponsor companies AT&T, Google, Microsoft and Verizon, and moderated by Adam Thierer of the Progress and Freedom Foundation, discussed the possible implications of the results. |
160_13 | On October 12, 2011 FOSI partnered with TechFreedom to host a luncheon panel at the Reserve Officers Association with a number of leading experts to discuss the Federal Trade Commission's recently proposed revisions to the Children's Online Privacy Protection Act (COPPA). Phyllis Marcus of the Federal Trade Commission gave opening remarks before joining a panel moderated by Berin Szoka, President of TechFreedom. The full list of panelists included: Jim Dunstan of TechFreedom, Dona Fraser of the Entertainment Software Rating Board, Kathryn Montgomery, American University, and Rebecca Newton of Mind Candy. |
160_14 | On December 23, 2011 FOSI partnered with Microsoft to host a panel discussion on "Kids, Privacy, & Online Drama" at the Microsoft Innovation and Policy Center. Here, a panel of experts came together to discuss the ways young people interact online, how they manage their privacy, and common misconceptions of adults when it comes to cyberbullying. The panelists included danah boyd and Alice Marwick of Microsoft Research, and Amanda Lenhart from the Pew Internet & American Life Project. |
160_15 | 2010 events
On May 27, 2010 FOSI held its second European Conference in Madrid, Spain titled, "Putting the Pieces Together: Building a Comprehensive Online Safety Plan". In attendance were approximately 250 people and 40 speakers from more than 12 countries; the conference was hosted by Telefonica and sponsored by AT&T, Rulespace and Nominum. |
160_16 | Topics of discussion included:
Online Responsibility and Safer ICT Use - Does the Self Regulatory Framework Promote 21st Century Citizenship?
Taking Control of Your Data - Staying Safe while Social Networking, Micro-blogging & Photo Sharing
TechTalk as aids to safety: What's Coming Down the Track?
The Collaborative Efforts of Law Enforcement, Industry and Government in Online Child Protection
How can we Better Promote the Safer Use of ICTs in Latin American Countries?
Can Parents and Carers Supervise Everything Kids do Online?
The New Breed of Location Services - Privacy and Safety Concerns for children and young people.
Future Dialogue - Alliances and Partnerships to help Families Stay Safer. |
160_17 | On April 26–28, 2010 FOSI hosted its first Gulf Conference in Manama, Bahrain. FOSI hosted the conference in partnership with the Telecommunications Regulatory Authority of the Kingdom of Bahrain; there were over 250 attendees from 15 countries. The goal of the conference was a national consensus in online safety and was the first of its kind in the Gulf region. |
160_18 | 2009 events
FOSI Wireless Conference: hosted with CTIA on April 22, 2009, "Keeping Kids Safe in a Mobile Environment." The conference focused on the challenges kids face in a mobile online environment and the vital role education plays in keeping them safe. Topics included: "From Wired to Wireless: Challenges & Opportunities for Safety," "Research Update: What Kids Are Doing on Their Wireless Devices," "Technical, Privacy, and Legal Issues with Children's Safety," and "Tools for Parents: Strategies and Technologies for Wireless Kids." |
160_19 | FOSI Inaugural International Conference "Global Digital Citizenship: Encouraging Safe and Responsible Online Use" was held in Paris on September 16, 2009 to emphasize the importance of safe and responsible online use. The one-day European Conference designed to bring together key industry figures, experts, government representatives and the wider stakeholder community, to discuss how to ensure a continued and successful international push for global digital citizenship and safe and responsible online use. Generously sponsored by AT&T and supported by France Telecom, it brought together the key voices in the international Internet stakeholder community. They looked at the Western world challenges that universal broadband coverage creates for the Internet industry and how corporate responsibility is evolving to meet them. Conference sessions explored the response of industry, government and charitable to the issues that less developed nations face as they try to provide internet access |
160_20 | to their citizens. Sessions focused on digital citizenship, media literacy, privacy, technology solutions and their impact on internet safety, location-based services and wireless safety efforts, and safe online use in developing countries. |
160_21 | Throughout 2009, FOSI held a series of round-table discussions hosted with the law firm, Womble Carlyle called "Wednesdays with Winston" that started a dialogue about what is happening at the U.S. Federal Communications Commission (FCC) and the Federal Trade Commission (FTC) with regard to online safety and privacy issues.
Supported by AT&T, FOSI held a series of monthly online safety panels entitled "Online on Fridays" on Capitol Hill in Washington, DC for legislators, staffers, educators, and industry representatives. Panels covered pressing online safety issues including sexting, legislating safety, and education. |
160_22 | 2008 events
On March 20, 2008, the Berkman Center for Internet & Society at Harvard University, Google, and FOSI co-hosted the Washington, D.C. launch for Professor Jonathan Zittrain's book, Zittrain, a professor of Internet Law at both the Berkman Center and the Oxford Internet Institute at the University of Oxford spoke to the over 100 attendees, which included representatives from government, NGO, and the corporate sector. Professor Larry Lessig of Stanford University also spoke to the group and Stephen Balkam of FOSI led the group in a question and answer session.
On April 7, 2008, FOSI and the National Cable & Telecommunications Association (NCTA) hosted a special screening of the PBS Frontline Documentary 'Growing Up Online'. After the screening, 'Growing Up Online' producer Rachel Dretzin and Stephen Balkam took questions from the audience. Following the question and answer session, FOSI hosted a roundtable to discuss the state of online safety education. |
160_23 | On June 12, 2008, FOSI and the Oxford Internet Institute cohosted a lecture and reception titled 'Beyond Byron—Towards a New Culture of Responsibility'. At this lecture, Dr. Tanya Byron and Professor John Palfrey of the Berkman Center for Internet & Society spoke. Dr. Byron spoke about the Byron Review, the report commissioned by Prime Minister of the United Kingdom Gordon Brown released on March 27, 2008. |
160_24 | On June 13, 2008, FOSI and the Oxford Internet Institute cohosted a roundtable titled 'Educating Rita 2.0—Effective Methods and Messages in Online Safety Education'. This was the second part in FOSI's Online Safety Education Initiative roundtable series. Being held in the UK, it allowed FOSI to hear about the European and international perspective on online safety education. Dr. Tanya Byron opened the event. Notable panelists included Robin Blake, Media Literacy Manager of the Office of Communications (OfCom) in the UK and Claudine Menashe-Jones of the Childcare Division of the Department for Children, Schools and Families of the British Government. |
160_25 | 2007 events
The official United States launch of FOSI was held on February 13, 2007 at the Kaiser Family Foundation in Washington, D.C. The event drew attendees from the government, online industry, NGOs, academics, and think tanks. Some of the attendees included Federal Communications Commission Commissioner Deborah Tate, Amanda Lenhart from Pew Internet and American Life Project (a division of the Pew Research Center), and Adam Thierer from the Progress and Freedom Foundation. The event included several welcome addresses and two roundtables, titled "The Chicken or the Egg — Which comes first: technology or public policy?" and "Educating the Lost Generation: Reaching today's parents with relevant online safety messages". The roundtables were chaired by Thierer and Anne Collier of Net Family News respectively. |
160_26 | The official European launch of FOSI was held on February 22, 2007 at the House of Commons in London. The event also drew attendees from the government, online industry, NGOs, academics, and think tanks. Home Office Minister Vernon Coaker gave a welcome speech at the event.
On June 13, 2007, FOSI held a Mexican conference in Mexico City, hosted by Telmex. Mexico's first lady Margarita Zavala was among the speakers.
On September 26, 2007, Telefonica and FOSI co-hosted several educational training workshops titled "Interactive Generations: Growing Up In a Virtual World". The events drew participants from government, industry, NGOs, and others, who all discussed their views on new technology on children and family life. The workshops, which coincided with Telefonica becoming a member of FOSI, were hosted by Arturo Canalda, the Madrid Children's Rights Ombudsman. |
160_27 | Internet Content Rating Association
In 2007, FOSI was created and subsumed the Internet Content Rating Association (ICRA) and its day-to-day operations. ICRA developed and implemented a content labeling system that allows webmasters to clearly and accurately label their websites. These labels identify content in accordance with criteria developed by an independent third party. In accordance with FOSI goals, ICRA does not serve to rate the content of websites. ICRA provides the labeling system and encourages content providers to self-rate.
Discontinuation
In October 2010, the ICRA labeling engine was discontinued by FOSI. FOSI has withdrawn all support for the ICRA rating system and taken down all documentation for labeling websites with ICRA ratings.
References
Charities based in Washington, D.C.
Organizations established in 2007 |
161_0 | Jean-Christophe Benoît (18 March 1925 – 21 February 2019) was a French baritone, who enjoyed a long career in France and francophone countries on the stage, the concert platform and radio and television. He was born in Paris into a professional musical family, and finished his career there as a teacher.
Life and career
His parents were musicians, and he began young to discover his musical talents. Attending the Paris Conservatoire, his tutors included Olivier Messiaen (harmony), Noel Gallon (counterpoint) and Gabriel Dubois (vocal studies).
Composing at this time, Benoît provided incidental music for Yves Joly's Théâtre de Marionnettes in Paris, while soon establishing a career on the stage and concert platform, his vocal style lending itself toward opéra-comique. |
161_1 | In the early 1950s Benoît began studio recording; his Mathurin being described in Opera on Record as "even at this early stage of his career Jean-Christophe Benoît's wit was readily flourished; his rustic accent is hilarious" He sang Dancaïre in Carmen in four separate studio versions.
He sang in the world premiere of Madame de ... by Jean-Michel Damase in Monte Carlo on 22 March 1970 (libretto by Jean Anouilh after the novel by Louise de Vilmorin) conducted by the composer. Frank Martin wrote Pilate for him, and it was created in Rome in 1964. He also sang in the premiere of the opera Comme il vous plaira by Pierre Hasquenoph in Strasbourg in 1982. |
161_2 | Although Benoît mainly appeared in French operatic roles at the Opéra-Comique and Opéra his repertoire was wide, ranging from Monteverdi to contemporary works, but often of music requiring dramatic effect. In September 1976 he appeared in Turandot in Geneva (with Birgit Nilsson in the title role, conducted by Giuseppe Patanè). Outside France he appeared at La Scala (Torquemada in L'Heure espagnole) and Geneva (Figaro in La Mère coupable).
In Brussels his roles included Momus in Platée (1968), Guillaume Mericy in La passion de Gilles (1983 – world premiere), Schlemil in Les Contes d'Hoffmann (1985), Baron Douphol in La Traviata (1987) and Der Baron in Der ferne Klang (1988).
From 1970 to 1990 he was a professor at the Paris Conservatoire; he was also an invited tutor at the Centre d'Art (JMC) du Mont-Orford in Quebec. |
161_3 | Recording
His many recordings include:
Mathurin (L'ivrogne corrigé) Nixa 1952
Dancaïre (Carmen), Vox 1956, HMV 1958, RCA 1963, Ariola-Eurodisc 1970
Momus (Platée) Pathé 1956
Panatellas (La Périchole) French Columbia 1958
solos (Le Bourgeois gentilhomme) SMS 1966
Coquenard (Véronique), World Record Club 1968
Le bailli (Werther) HMV 1969
Frédéric (Lakmé) EMI 1970
Barnabé (Le maître de chapelle) Barclay Inédits 1970
Orcan (Les Paladins) CBS 1972
Ali (Les Indes Galantes) CBS 1973
Le Podestat (Le Docteur Miracle) Barclay Inédits 1973
Le Brésilien, Frick and Prosper (La Vie parisienne), EMI 1975
Grenu/Le marquis (Ciboulette) EMI 1982 |
161_4 | Benoît appeared with his sister in (among others) the Lully above, and in a series of French folk and popular songs recorded in the 1950s for the Club National du disque and Ducretet-Thomson. He sang the vocal numbers on the 1973 CBS LP 'Concert à la cour d'Henri IV', with the Grande Écurie et la Chambre du Roy directed by Jean-Claude Malgoire.
He recorded Ravel's Histoires naturelles on Selmer in the 1950s, the Chansons villageoises, Le Bal masqué and Le Bestiare by Poulenc on Pathé in 1965, mélodies by Reynaldo Hahn and Au pays de la magie by Maurice Le Roux, with Georges Pludermacher, piano on Adès, 1974. Accompanied by Bernard Ringeissen, he recorded an LP of sixteen songs by József Kosma for Disques Adès in 1976.
He provided the narration for the French versions of Britten's Young Person's Guide to the Orchestra and Prokofiev's Peter and the Wolf with Hans Swarowsky conducting the Pro Musica Orchester Wien. |
161_5 | He appeared in a large number of broadcasts on French radio and television, singing many French premieres, of works by Baudrier, Britten, Delerue, Nigg, Prokofiev and Semenoff. Among operatic recordings for French radio were Le Marquis de Pontcalé (in La Camargo), Ouf (L'Étoile), Gaston (Rayon des soieries), Charles Martel (Geneviève de Brabant) and Sganarelle (Le Médecin malgré lui).
Family
His mother (Léontine Benoît-Granier, died 1957) was a musician and composer, while his father Henri Benoît was a notable viola player in Paris, who was a member of the Capet Quartet in the 1920s, participating in several of their recordings during that period. His sister, Denise Benoît (1919–1973) was a popular and much recorded soprano and actress. Mother, son and daughter appeared together on record in Chants de France : Mountabo la marmite ('Bourrée d'Auvergne') on Ducretet-Thomson LPG 8 220.
References
1925 births
2019 deaths |
161_6 | French operatic baritones
20th-century French male opera singers
Singers from Paris
Conservatoire de Paris alumni |
162_0 | The Australian Defence Force Academy (ADFA) is a tri-service military Academy that provides military and academic education for junior officers of the Australian Defence Force in the Royal Australian Navy (RAN), Australian Army and Royal Australian Air Force (RAAF). In 2016 the Academy began accepting civilian students in its undergraduate courses.
Tertiary education is provided by the University of New South Wales' Canberra campus, known as UNSW Canberra at ADFA, which is the awarding body for ADFA qualifications. Apart from educating future leaders of the Australian Defence Force, UNSW Canberra also provides postgraduate programs and short courses both to Department of Defence personnel and the general public.
The stated purpose of ADFA is "to serve Australia by providing the Australian Defence Force (ADF) with tertiary graduates who have the attributes, intellect and skills required of an officer". |
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