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With a flourish, attractive actor Ara combs her eyelashes to the rhythm of Koreas traditional national gymnastics music. How surprising it is for a lady with such a doll-like appearance to do so. And in this new version of it, her dance is enough to captivate Jang Keun-suk. Ladies! Through this new Etude House commercial, lets make our eyelashes foxy and seductive!
2008년 보다 강령해진 빗카라가 탄생했다. 비단 눈의 크기를 크게만 만들어주는것이 아닌 눈의 표정을 살려주는 눈꼬리 빗카라와 함께 채조를 시작해보자.
In 2008, a more effective and sturdier mascara brush appeared. Not only does it make your eyes look bigger, but by following these mascara brush gymnastics it can add life to your facial expressions too. Lets begin.
눈꼬리 빗카라 체조 시작~ 이라는 구령과 함께 에뛰드 하우스로 당당하게 들어서는 아라. 아라의 손에는 무언가 비장의 무기가그리고 곧이어 시작되는 아라의 체조.
s start the mascara brush gymnastics! With this command, Ara grandly begins the Etude House commercial. But before she does so, we see that in her hand she has a hidden weapon.
빗카라로 속눈썹을 길게 좀더 길게 , 아라의 체조와 함께 속눈썹이 점점 더 올라가도록 , 꼬리를 빼니 꼬리 빗으로 살아나는 눈꼬리에, 아라에게 근석은 눈을 떼지 못한다. 마무리로 아라의 앙큼한 윙크, 그리고 하트를 날리는 근석, 이번 가을도 근석은 아라의 매력에서 못 헤어날 듯하다.
Following the narrators command to comb her lashes, Aras eyelashes are made longer. Then shes commanded to raise them, and they become raised. Once they are raised, and her fox-like expression comes to life, then she gains the attention of Keun-suk, who finds that he cant take her eyes off her. Finally, with the command to flirt, Ara winks and Keun-suk makes a heart symbol to her. This autumn, he simply wont be able to escape her charms and attractiveness.
대한민국 걸들의 국민체조는 이제 눈꼬리 체조. 지난 붐, 아큼상큼 복숭아 볼로 근석을 사로잡았던 귀업고 사랑스러운 아라가 또한번 광고에 나섰다. 달콤 상상 에뛰드 하우스의 문을 열고 들어서는 아라의 눈빛부터 남다르다. 아라는 근석 오빠의 마음을 사르르 녹일 준비가 완료됐다.
Korean girls gymnastics are now mascara eyelash gymnastics. Like in a previous commercial last spring, the cute and lovable Ara has again captured Keun-suk with her cute peach cheeks. Finally, the sweet, imaginary Etude House open door appears and we see that Aras eyes are unusually shiny. She is ready to completely melt Keun-suks heart.
눈꼬리 빗카라 체조 시작!
Lets start the mascara brush gymnastics!
2007년 귀업고 사랑스러운 남녀의 뮤지컬로 에뛰드 빗카라의 탄생을 알렸다면, 2008년 가을에는 업그레드된 빗카라 시즌2가 시작됐다.
Through a cute and lovable musical-like commercial in 2007, Etude House announced the arrival of its new concept for a mascara brush, and in autumn 2008 its upgraded second season has started.
이미 소비자들 사이에서는 아이메크업의 대세가 변화하고 있었다. 소비자들의 워너비 아이메크업은 인현처럼 크기만한 눈이 아니라 청순하고 착해 보이는 눈웃음. 또는 깊고 그윽한 매력을 뿜는 눈매처럼 매력적인 표정이 살아있는 눈매 만들기다. 이번 광고의 과제는 소비자 인식 상에는 있으나 그동안 마스카라 광고에서 소구해본 적 없는 눈꼬리 메이크업을 이슈화시키는 것이었다.
Already eye make-up trends among consumers have been changing. These days, they dont only want doll-like large eyes, but also innocent, friendly and humorous ones too that vivify and show off their facial expressions. In addition to highlighting how Etude Houses new mascara brush can be used for that, the purpose of this commercial is to draw consumers attention to how well it can be used for making foxy, seductive expressions also.
이번에는 뮤지컬에 이은 채조다. 가장 익숙하고 친숙한 국민체조를 이용해서 제품의 특징을 쉽고 재미있게 표현하고자 한 것. 친숙한 국민체조 멜로디의 모델들의 앙증맞고 재미있는 댄스를 가미한 이번 광고는 에뛰드만의 톤 앤 매너로 업그레이드된 빗카라를 효과적으로 알릴 수 있을 것이라는 판단이 있었다.
On this occasion, the commercial features Koreas traditional national gymnastics, very familiar to audiences and which makes the commercial easily memorable and amusing to consumers. The combination of the gymnastics familiar melody and the extremely cute, tiny dance steps and overall tone and manner was judged by the producers to be the most effective method of adding spice to the commercial.
그래서 탄생한 것이 눈꼬리 빗카라 체조. 속눈썹이 올라가는 모습을 상징적으로 보여줄 수 있는 안무들로 구성하여 제품과의 연관성을 높였다. 마스카라 광고라서 눈가에만 머무르는 광고가 아니라 에뛰드답게 액티브하고 즐겁게 표현되었다.
Hence the birth of the Mascara Brush Gymnastics, which has made a symbolic connection between the traditional national gymnastics and the product in consumers minds, and which renders it not just a commercial but also an expression of an active and humorous vibe
Think that the translation sounds rather strange? Given the somewhat bizarre original Korean, then by all means be my guest if you feel that you can improve the English!^^ On a more serious note though, the link to the traditional national gymnastics, regularly done by almost everyone until the mid-1980s or so, does make the commercial somewhat less surreal than it may at first appear to non-Korean viewers.
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It was a holiday that Hrithik won’t forget in a hurry. The actor who is an avid nature lover wanted to try swimming with the sharks.
Revealing the details Hrithik said, “The best thing was that we swam mid-ocean with the sharks. They were in the waters some distance away from Bora Bora where we were holidaying. It was the most memorable experience of our life. I can’t wait to tell you what we went through.”
And Hrithik and Susanne swam with the sharks not once but twice for reasons that were more based on emotions than pleasure.
“Susanne and I were taken mid-ocean which is infested with sharks. And then we were asked to jump in. At first I was somewhat hesitant and you can’t blame me for that. Swimming with the sharks is all very well as a concept but this was for real. Even though our guide assured us that these sharks don’t attack human beings since they are fed enough meat every day, it was still a daunting task. And we required no scuba diving equipment, just a swimming costume and snorkel,” said Hrithik.
What convinced Hrithik to take the plunge was his wife’s excitement. “She was eager to get into the ocean immediately. Being a man, I couldn’t hesitate after that. And boy, am I glad we jumped in. It was the most awesome experience. There were sharks and stingrays. Some were as large as six feet… terrifying creatures of the deep, eating out of our hands, touching our bodies and moving away. We’ve never been closer to nature,” said Hrithik.
But that wasn’t the end of an exhilarating experience. Hrithik and Susanne were hungry for more since they wanted to click pictures.
“We went back the next day because we forgot to click pictures. Our son Hrehaan loves sharks. How could we go back home without pictures of all those sharks in the water? So we once again went swimming with sharks just for our son,” said Hrithik.
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Maxas murderers took special delight in cruelty. They carved into her with razors, or sprayed her face with vitriol, or went after her eyes with spoons, carving them out of her face and letting them fall to the ground with an audible thump. Observers of Maxas torment and there were many, ranging from pimps and pickpockets to visiting royalty responded by swooning or fleeing the theater. Whatever their horror, the observers returned again and again, making this nightly spectacle of savagery one of Frances most popular attractions, listed in guidebooks alongside the Eiffel Tower.
Maxa was an actress at the Theater du Grand Guignol, a peculiar company whose remarkable 60-year story has been widely ignored by most theater historians; it is mostly thanks to the pioneering work of Mel Gordon, a theater professor at U.C. Berkeley, that this peculiar and violent dramatic tradition has begun to develop modern adherents. Gordon published The Grand Guignol: Theatre of Fear and Terror in 1988, and since then several small companies have sprung up that claim the Grand Guignol as inspiration. Perhaps the most successful has been San Franciscos Thrillpeddlers, who in the early 90s debuted several short plays that focused on horrifying subject matter; these included Walk on the Wild Side starring Warhol superstar and internationally famous drag queen Holly Woodlawn, as well as producing the American debut of Clive Barkers Frankenstein in Love.
Le Theatre de Grand Guignol (whose name literally translates as the theater of the big puppet show) began its life in 1897, and was an offshoot of oddly enough the burgeoning theatrical tradition of naturalism. Because naturalist theater insistently attempted to re-create real life onstage (some theaters refused to use sets unless they found them on the streets), it is hard to imagine how it produced Grand Guignol, which was famous for its wild declamation and elaborate special effects. But naturalism, which often drew its short one-acts from daily papers, produced a number of dramatic pieces called rosse plays; the name comes from the argot of the Parisian underworld, and refers to theater. These were plays that attempted to place onstage the violence found in the everyday life of societys poor and forgotten. Radical artistic movements have had a long history of celebrating the criminal life; the rosse plays undermined long-established theatrical traditions by presenting the experiences of societys refuse without benefit of moralizing. By the end of a rosse one-act, evil never received its punishment and good never triumphed. Instead, the squalor and desperation of the plays characters continued, interrupted only briefly by an inevitable act of violence. entertainment for the Grand Guignol. The theater was founded by Oscar Méténier, a former secretary to the Police Commissioner of Paris and writer for tabloid-style journals. Méténier had cofounded the Théâtre Libre in 1887, a naturalist theater of sizable acclaim, and with his background Méténier quickly came to be widely regarded as a master of rosse writing. His plays were brief, usually less than 15 minutes, and unflinching; he had an ear for realistic dialogue and created a series of indelible characterizations of Parisian criminals. He named his new theater after the puppet stage to suggest that the brutality seen in childrens performances (such as in Punch and Judy plays, where the characters regularly attack each other) would be heightened for an adult audience. The location of the theater was ideal; it was claustrophobic and filled with weird ornaments from its days as a convent, include mad-looking cherubs with cruel faces that peered down from the rafters. The acoustics were muffled, the lighting terrible and where better to stage criminal acts?
Soon butchers were bringing the remains of animals up to the theater each morning, leaving behind boxes filled with cow intestines or sheep eyes to be used as props. Inside, stage hands brewed up huge vats of false blood, while actors and actresses rehearsed committing the unspeakable upon each other. Its playwrights thrilled at their ability to terrify audiences; André de Lorde, for example, idolized Edgar Allan Poe and wanted to fulfill one of Poes dreams. According to Gordon, Lorde wanted to write a play so terrifying and unbearable that several minutes after the curtain rises, the entire audience would flee from the theater en masse. These playwrights began to look outside the tabloids for inspiration, basing the plays on classics of horror literature or wild flights of fancy. In one instance, the theater adapted Octave Mirbeaus classic of decadent literature, The Garden of Torture, which told of two lovers who are trapped in a Chinese garden where all manner of elaborate tortures are practiced. Gordon lists dozens of plays at the Grand Guignol in his book, neatly categorized by theme; these include and and the plays boast titles like The Final Torture and The Dead Child.
The Grand Guignol developed an enormous, near-fanatic following, and the theaters cast and crew entertained themselves by counting how many audiences collapsed into unconsciousness from fear. On most nights one or two people (most often men) would faint, but a really good show could boast as many as 15 casualties, causing the theater to station a doctor in its lobby during every performance to assist the ailing.
The theater continued like this until the late 50s, but by then the theatrical conventions of the Grand Guignol had deteriorated into a campy vaudeville of carnage. Audiences, which were half tourists, cheered the onstage butchers and reacted to violent episodes with joy rather than horror. Charles Nonon, the theaters manager, lamented that real-life horrors had outstripped anything the theater could produce. We could never equal Buchenwald, he said. Additionally, horror cinema (many of whose masters openly admitted their debt to the Grand Guignol) reached a wider audience with a greater intensity than was possible on stage. They offered better special effects, and a greater separation between audience and performer. In the Grand Guignol, actors were so close to the audience that the front rows could reach out and prod fallen characters on the stage. It took a leap of faith to believe that the mutilated corpses in front of them werent simply actors in makeup; ultimately, audiences refused to believe. The Grand Guignol closed its doors November of 1962.
Like many forms of popular entertainment, the Grand Guignol came to be viewed with embarrassment. It was theater of spectacle and its redeeming elements were not instantly apparent; it pretended to say nothing important about the human condition, not to explore any great philosophical questions. The theaters plays were often unlikely or outrageous, and existed only to inspire extreme emotions in their viewers. Critics rarely value this sort of art, preferring intellectually rigorous drama to one-acts designed to frighten audiences out of their wits. As a result, the name Grand Guignol has come down to use only as a sort of critical shorthand, applied to anything that includes extremes of horror and violence; Shakespeares Titus Andronicus has been described as Grand Guignol lately, even though the play preceded the theater by hundreds of years.
The makers of Grand Guignol explained their function simply, pointing to the Aristotelean concept of catharsis. Indeed, the theater proved a popular evening activity for French soldiers recuperating from injuries during World War I an unusual choice for men who had witnessed the savagery of trench warfare and the horrors of mustard gas. There must have been something appealing to these men, perhaps even necessary, about confronting horror. As Jonathan Gonzalez wrote in the Daily Star, Grand Guignol gives us a link through the keyhole of normal society into the forbidden psychological world of the taboo subconscious.
Beyond that, the Grand Guignol was simply thrilling. It was everything we love, according to the Institute for Arts Trainings Bob McGrath, terror and blood and sex and sordidness, in a theatrical convention. The Grand Guignol was and, with the development of new plays in the tradition of rosse theater, threatens to become again a pungent alternative to dry, living room dramas and slight musical comedies. If Paula Maxa died 10,000 times onstage, it cant compete with the millions of performances of To Dream the Impossible Dream that echo forth from community theaters and high school stages every year in the long run, the latter is more frightening.
MORE FROM THE ARCHIVE.
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To which Killer Opening Songs will reply... will reply... will reply...
Psssss, psssss... K.O.S., come out from under the bed, mate, it's all right, people will understand, you don't have to be ashamed of anything. See, we all have a soft, romantic, idealistic side and you, as part of me, but without being totally me which makes you a third of you with two thirds of me thrown in for good measure... Oh, I digress. Anyway, we all have moments when we are swallowed up by the surrounding euphoria and dare to dream. And that's what you were doing last Tuesday 4th November in the evening whilst washing up. Dreaming. That was the day the USA had chosen to vote. That was the day that the USA had picked up to make history. But you did not know that because you are five hours ahead of those who live in the East Coast and eight of those who dwell in the West Coast, so in your own way and guided by your subsconscious mind (capricious human artifact whose spell we fall under once in a while) your hand reached for that CD that many years ago had shaken you to the core. Those 36 minutes, 11 seconds of pure and blissful paradise. And you dared to do the impossible in these times of political cynicism and social misanthropy. You dared to dream. And as the first lines of 'Talkin' 'bout a Revolution', the Killer Opening Song from Tracey Chapman's eponymously titled debut album, blared out of the stereo in your kitchen, you felt as if the verses were clinging to your skin and you were being enveloped in a feverish embrace. Tracy Chapman's voice manages to capture that 80s angst caused by Reagan and Thatcher's laissez-faire market policies. And you couldn't find a more appropriate time to play this masterpiece than on that night:
Finally the tables are starting to turn/Talking about a revolution/Finally the tables are starting to turn/Talking about a revolution oh no/Talking about a revolution oh no
There are Killer Opening Songs that become trail-blazers in their own right. Their other-worldly nature strikes the listener as much an allegory as a melody. And tonight K.O.S. will be opening another mini-section within a section: tracks at the beginning of an album that have become either trendsetters or generational benchmarks. Some of them might feature famous guitar riffs, whereas other will boast powerful lyrics. There will be tunes whose delicate delivery will be the equivalent of venturing into a magical realm, maybe reminiscent of the Aztecs' cultural exuberance or the enchantment of the Brothers Grimm's fairy tales.
These weekly Proustian memories (although on this subject the late French writer might have disagreed with K.O.S. as these souvenirs will be retrieved by intelligence, rather than by accident. My riposte would be that on being the object, K.O.S. turns the listener into the subject and therefore the effect of listening to a Killer Opening Song that has become a musical milestone in its own right is an involuntary act, pretty much the essence of the Proustian memory) will unlock episodes of our past lives which will produce elation and joy on being relived. So, a stiff upper lip and self-restraint are called for. K.O.S. would not like its beautiful bloggy-house to be flooded by readers' tears. Oh, all right, go on, bring out your hankies, let's all have a good ol' sob, shall we!
In the meantime, let's enjoy once more this epic song from a bygone era (a more innocent one, I would hazard to add) and let's sing together: Finally the tables are starting to turn/Talking about a revolution/Finally the tables are starting to turn/Talking about a revolution oh no/Talking about a revolution oh no.
Irreverent note: In nine months' time will we be able to say that Obama also contributed to the growth of the world's population (although inadvertently, mind)? And how many of those babies will be called Obama? Just a thought.
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How easy or difficult was it for you to start your film career with a non-India/Indian/NRI centric story, which NRI filmmakers tend to fall upon?
I made this movie with a specific purpose: to reveal the truth about the impact of bioterrorist weapons production and testing on indigenous and unsuspecting populations around the world. That story does not lend itself to an Indian/NRI theme. While this could have been a documentary, because it is based on the truth, I turned it into fiction because more people would rather watch a movie than a documentary. I hoped that under the guise of entertainment, they would pick up information they would not otherwise have guessed. Because the movie has a message, I wanted it to have a global audience, and that again means not limiting it to the theme of any specific country.
The subject is of increasing importance to the present-day world. How much you had to fall back upon your own work experience to develop the idea?
Experience is what perpetrated the story. I have worked with the Pentagon and the U.S. Department of Defense for over 15 years with high level clearances. While I can never reveal Classified information, I wrote a fictional story that would expose the reality while incorporating only information that can be publicly obtained if one tried to look for it.
As the first-time director of a small, non-studio project that deals with an important, subject, what kind of hurdles (financial or otherwise) you faced while executing it? Did you approach any hollywood studio for funding?
Independent filmmakers face unbelievable hurdles. From having someone believe in their ideas (which are usually more brilliant than the movies we see on the screen!), to obtaining finances, to having the ability to cast celebrities, to obtaining distribution, and in overall production resources. I never turned to anyone for financing, because as a first time filmmaker, I felt it would be a hard sell to convince someone to trust me enough to invest in me. Instead I dedicated myself to learning the craft, prior to and during the making of the movie: shooting with 35mm, lighting, transferring films to digitals, cutting the negative, sound design and production, music composition and scoring, Dolby digital mastering, film color corrections, the art of processing 35mm, creating InterPositives, Internegatives, prints, marketing materials, publicity, festivals, distribution, and on and on. I just jumped in cold and managed it all! I feel I know more about filmmaking than I need to its been an incredible experience.
How real is the threat of bioterrorism in the current context? Are countries like US or India ready to face the challenges of bioterrorism?
The threat of bioterrorism is very real! You only have to see how much goes on behind the scenes to ward off an attack and you’ll get a sense of the proportion of a potential disaster. But, even that is not enough. A serious bioterrorism attack could annihilate towns and cities, not just 2 World Trade Centers. It is a danger that is least understood and probably could not be handled if and when it happens.
The more important problem (which is what my film also addresses) is the manner in which these weapons of mass destruction are produced. When new highly contagious bacterial strains are created with the intent to kill the masses (“designer viruses”), they need to be tested to prove their virility. Obviously testing on mice, monkeys or cattle does not serve the purpose, since the objective is not to kill animals, but humans! They must be tested on humans. Think about how the labs accomplish that! And we know that many strains have already been perfected and are waiting to be deployed, should the need arise.
You have worked for long with US government agencies. Obviously, you know much more than you can tell. How and where did you draw the line while making the movie? How much is fact and how much is fiction in your film? Did you take help from govt agencies while making the film?
The film is based on fact. Even the story is based on a reality. The elements of thrill, the music, the subplots, are fictional to make the story more captivating. I researched what was available in the public domain, including published papers, web research, libraries, newspaper articles. Yes, I turned to civilian and defense governmental agencies to get information in the public domain.
Have you treated the film as only a thriller or sought to drive home the message that it is time to beware of the prospect of bioterrorism?
I tried to “inform” people of how civil rights are being violated in the testing of bioterrorist weapons, even by some of the most developed nations. While the film was written as a drama to convey its main intent, it was shot, cut, and scored as a thriller, to capture the younger adults in the population, specially since the protagonists of the film are all college kids. I have found that the middle-aged audience enjoys the story just as much, because of its ‘love story’ and ‘religion’ subplots. My desire was to “entertain” while subliminally delivering the message.
In the context of the Subcontinent, how relevant is the subject? Can some of the mysterious outbreaks of diseases in different parts of the Subcontinent be cases of experimentations of this type?
While no government will take responsibility and no individual is at liberty to talk about it, there are biochemical experiments going on everywhere, more likely in certain targeted countries which make for easier experimentation because the population is poor, uneducated and helpless. A number of unexplainable epidemics, where the strain had no rational evolution, were caused by the testing of new viral strains that were so contagious that they could not be contained. One of the characteristics of germ warfare is to make sure the bug is highly contagious. Warfare is effective only if you kill in the masses, and to do so, the virus needs to spread very easily.
Dont you think the Russian angle in your film is slightly dated as now the Cold War era is over and terrorism has taken a completely new meaning?
There is nothing dated about bioterrorism. It is a real threat today. The Cold War is significant because Russia had one of the largest arsenal of biochemical viruses and during perestroika, they let go most of their scientists, who had the knowledge to develop these. These scientists found employment in countries that sought their knowledge and soon other countries had perfected many strains. The end of the Cold War, and Russia’s inability to handle its breakaway nations and crumbling resources, and secure its own supplies, caused the knowledge to become more available and the threat immensely greater.
When is the film getting released? And when in India?
The distribution is not yet complete. We would like to get distribution in India.
The next project from you? Do you any plans to make a film in India or would you prefer to make your films in the US only?
I would love to make a film in India. There are so many fascinating themes that can be tackled here.
You were a child artiste in India - can you throw some light on that aspect and also on your family and career backgrounds?
My family were educators. My father was Dr. Nari Vaswani, a prominent Professor and author at the University of Roorkee and my mother, Sheila Vaswani, taught at English schools, both in Roorkee and in Dehradun. I was educated at Waverley in Mussoorie, then Welham Girls School in Dehradun, and finally at the University of Virginia in the U.S. where I received my B.S. in Applied Mathematics, and my M.S. in Computer Science and Electrical Engineering, a novelty for its time. I have acted in plays from the age of 6 to 42, but when I was 25, I met the famous Raj Kapoor, who’s passion for films, rubbed off on me. Having no time for acting, directing or films, in the midst of bringing up a family and my career, I had to table that to the future. I worked with the U.S. federal government, both at NASA and as a subcontractor to the defense department from G.E. and Boeing, ultimately becoming the Executive Vice President of another $100 million federal government contractor. I have served on numerous Boards, including hospitals, banks, dotcom companies and charitable organizations. I have been on the Grand Jury, affiliated with technical associations and have a charitable fund in the name of my parents, which is dedicated to education.
Working in Pentagon and other agencies to being a filmmaker - how did this changeover happen?
We should all have our passions, and acting was mine. Since my youthful looks were long gone in doing my duty to my parents and my family, by the time I had the time to pursue my passion, it could only be channeled towards ‘directing’. That gave me the closeness with actors that I always had, allowed me to express my creativity and exposed the new world of film versus theater, which I find amazingly effective.
Do you keep track of Indian cinema? Which are the films that you have liked and why, in recent times?
I try to watch Indian movies whenever I get the chance. I like a number of them, mostly those with less dances and songs, and which carry an important theme or relay deeper meanings to life.
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U.S. president-elect Barack Obama, his wife Michelle
and daughter Sasha, 7, wave as they take the stage at
his election night party at Grant Park in Chicago,
Tuesday night, Nov. 4, 2008
Barack Obama has been elected the first black president of the United States after sweeping the key battleground states of Florida, Ohio, Pennsylvania and Virginia.
The stunning results left rival John McCain no path to victory.
Obama, 47, will be inaugurated the 44th US president on January 20, 2009.
He will inherit an economy mired in the worst financial crisis since the 1930s, two wars in Afghanistan and Iraq and a nuclear showdown with Iran.
The 80,000 crowd at chicagos Grant Park erupted in a roar and cheers, some crying some hugging, when the Obama victory was sealed.
Civil rights activist Jesse Jackson was also in the crowd, tears streaming down his face as he took in the moment.
Senator McCain called Senator Obama shortly after to concede defeat.
In an address to supporters in Arizona, he said: The American people have spoken, and they have spoken clearly.
A little while ago, I had the honour of calling Senator Barack Obama to congratulate him on being elected the next president of the country that we both love.'
Senator McCain called on Republicans to offer support to the new president.
He thanked his running mate, Sarah Palin, and called her an impressive new voice in the Republican party.
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SAN DIEGO – Hours before SmackDown went live in front of a sold-out San Diego Sports Arena, Make-A-Wish’s Jon Espitia, of Eureka, Calif., had a giant smile on his face. His grin reflected the Superstar he was about to meet, the Punjabi giant – The Great Khali. With Jon, WWE celebrated a historical Circle of Champions event. It was Khali’s first encounter with a True Champ.
“A lot of people doubt him for the way he looks or have looked down on him. The truth is, Khali is one of the most dominate WWE Superstars,” said Jon, 17. “I like Khali because of his size. I never really met someone that tall and big. My favorite finishing move is Khali’s Vise Grip. I don’t know what to expect except that he’ll be kind of quiet because he doesn’t speak English that well.”
Moments passed as Jon cracked jokes with his younger brother, Austin, mother, Adele and father, Gary. Then, as the sound of hard footsteps resonated, Jon’s eyes slowly moved upward and his jaw dropped. The 7-foot-3, 420-pound Punjabi Giant, being escorted by his interpreter, Ranjin Singh, appeared in front of him. Khali, towering over Jon, put his hand out and Jon quickly shook it.
Khali signed autographs and posed for photos with Jon and his family. With Singh interpreting, Khali even answered Jon’s questions about his relatives in India, Khali’s Kiss Cam segment and whether kids picked on him when he was younger. In broken English, Khali replied that he would “brain chop anyone who dared tried.”
After his first Make-A-Wish experience, the usually irate Khali was in a pleasant mood and expressed his thoughts about Jon in through Ranjin.
“The Great Khali says he had a fantastic experience and that he is honored to have been chosen by Jon and Make-A-Wish Foundation to make his wishes come true,” Ranjin Singh translated. “He is happy he was able to put a smile on Jon’s face and he looks forward to meeting more Circle of Champion honorees in the future. The Great Khali wishes Jon and every kid in the world the best and hopes they achieve every goal they set for themselves.”
Each week, WWE makes dreams come true for kids from all around the world by granting their wish to meet Superstars such as WWE Champion Triple H, World Heavyweight Champion Batista and John Cena. So, what does the former World Champion think about those who are surprised that a Wish kid chose him out of all the WWE Superstars to bring joy to his life? Khali laughed and passionately spoke in Punjab.
“The Great Khali says Jon wanted to meet him because he is The Great Khali and has dominated just about every Superstar in the WWE. Khali is different. Jon sees Khali as being someone he can look up to and try to imitate,” said Singh, who then said something to Khali in Punjab before abruptly ending the interview.
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After Varsham, it was Chatrapathi that became a blockbuster hit in Prabhas’s career graph. He had acted opposite almost all the star heroines including Trisha, Shreya and Ileana. For his first hit ‘Varsham’, he was awarded the Santosham Best Young Performer Award. He is also a nominee of the Filmfare award for Best Telugu actor for ‘Chatrapati’.
The films he acted as hero are Eeshwar, Raghavendra, Varsham, Adavi Ramudu, Chakram, Chatrapathi, Paurnami, Yogi, Munna, Bujjigadu: Made in Chennai.
Presently, he is working in the Tamil remake of in the direction of Meher Ramesh, being produced by Krishnam Rajus home production Gopi Krishna Movies. Launched on Dussera day, the regular shooting of this film was started recently at Vizag. This is planned to be made with high technical values.
This tall and handsome hero of Tollywood celebrates his birthday today, on 23rd October. IndiaGlitz.com wishes him a very happy birthday.
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Si l’on en croit le journaliste américain Joe Klein de "Time", le candidat démocrate Barack Obama a beaucoup évolué depuis le début de sa campagne en janvier 2007. Il a beaucoup appris.
Une évolution qui tend vers une augmentation sensible de son crédit auprès de plus en plus d’électeurs, à tel point que même l’Ohio et l’Indiana seraient en passe de le préférer à John MacCain.
Conciliateur et théoricien
Le candidat Obama a deux défauts dans sa personnalité: d’une part, il est consensuel, c’est-à-dire qu’il refuse le conflit, et d’autre part, il est assez abstrait et théoricien, ce qui colle assez mal à une campagne électorale où les coups bas de l’adversaire sont assez nombreux.
Écarter le conflit l’a retenu dans les débats télévisés d’attaquer son adversaire républicain, ce qui le mettait systématiquement dans une position défensive peu commode.
Ses discours également, trop abstraits, s’adressant d’abord à l’intelligence et à la raison, manquaient de vécu, de tripes, d’émotion.
Car l’une des grandes qualités de Barack Obama, le fait d’être posé, d’être calme, de garder son sang-froid et d’essayer de comprendre avant de décider, est aussi un défaut dans une situation de lutte électorale sans merci.
Une tournée cruciale au Moyen-Orient
L’un des points les plus importants de sa campagne fut son voyage en Irak où il a rencontré le 21 juillet 2008 le général David Petraeus. Ce dernier jouit d’une très bonne réputation et on s’oppose rarement à ce grand général.
John MacCain cultive même une véritable vénération pour ce militaire alors que George W. Bush, Président des États-Unis, lui a laissé les pleins pouvoirs en Irak.
Le dialogue entre Obama et Petraeus ne pouvait être que conflictuel: Obama avait présenté un plan de retrait des troupes américaines d’Irak de 16 mois alors que le général Petraeus souhaiterait ne donner aucun échéancier et garder une plus grande souplesse.
Et Joe Klein raconte qu’Obama avait alors deux possibilités: soit remercier le général de sa présentation des choses et dire qu’il y réfléchirait, soit au contraire, dire ce qu’il pensait réellement, ce qui entraînerait une relation conflictuelle.
Contrairement à ce qu’on aurait pu penser avec sa tendance à la conciliation, Obama a finalement choisi la seconde option, celle de dire ce qu’il pensait au général Petraeus.
En gros, en lui faisant savoir qu’il comprenait son point de vue, mais que si son job, c’est de réussir le mieux possible en Irak, le sien, en tant que futur Commandeur en chef, c’est d’écouter ses conseils sous l’angle de la sécurité nationale générale, en prenant aussi en compte les coûts financiers et les revers en Afghanistan.
La discussion qui a suivi fut plutôt animée, mais chacun respectait les arguments de l’autre et la rencontre, qui a duré le deux fois plus longtemps que prévu, s’est bien terminée.
Obama expliqua (bien après) qu’il avait voulu affirmer clairement sa position au général Petraeus parce qu’il le respectait et qu’il avait fait du bon boulot. Et il voulait le convaincre qu’il écoutait avec sérieux ses arguments.
Toujours du général Petraeus dont il a approuvé la nomination comme responsable en chef de la guerre en Irak et en Afghanistan, Obama dit: «C’est quelqu’un qui s’attache aux faits et à la réalité du terrain. Je ne crois pas qu’il arrive avec une vision préconçue et idéologique. C’est l’une des raisons pour lesquelles il a réussi à faire avancer les choses en Irak, je crois. J’espère qu’il aura la même perspective sur les événements en Afghanistan.».
Petraus et Obama semblent avoir la même vision des choses sur l’Afghanistan: éloigner les tribus patchounes de l’influence des talibans, mais en le faisant au travers du gouvernement afghan.
En quelques heures, Barack Obama venait d’acquérir ses galons d’homme d’État et montrait à la planète qu’il entendait prendre ses responsabilités et affirmer sa future autorité présidentielle, au contraire de George W. Bush qui avait véritablement abdiqué en laissant totale carte blanche à Petraeus.
Et ces derniers jours, Obama est devenu plus crédible que MacCain même sur la question irakienne.
De bonnes décisions dans la campagne
Durant toute sa campagne, Obama a bénéficié de ses décisions judicieuses. La principale fut la désignation de son colistier Joe Biden, à la fois raisonnable et complémentaire.
Il a réussi un tour de force alors que le Parti démocrate était profondément divisé en deux camps de même importance, ses partisans et ceux de Hillary Clinton.
En nommant Biden, il a préservé l’unité du Parti démocrate et canalisé toutes les motivations qui ont germé de part et d’autre pendant les primaires.
Phénomène que n’a pas réussi à faire John MacCain, toujours très isolé au sein du Parti républicain contre lequel il s’était beaucoup opposé durant sa longue vie politique.
Autre décision judicieuse, ce fut sa réaction face aux attaques des Républicains sur sa proximité avec le révérend Jeremiah Wright qui prononcent des sermons très raciaux. Obama avait hésité entre dédramatiser les attaques ou au contraire, prendre au bond la critique et en profiter pour aborder une fois pour toutes la question raciale.
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Cineuropa/IndieWIRE: The Hamptons International Film Festival concluded its 5-day marathon run of films, special events and oh-so-fabulous parties with its Gala Awards Ceremony, held today at the United Artists Theaters in the heart of tony East Hampton. Handling hosting duties was writer/comedienne Lizz Winstead. Presenters included Festival Board Chairman Stuart Match Suna, Executive Director Karen Arikian, Director of Programming David Nugent, Board Member Alec Baldwin and members of the Festival juries.
Festival winners Megumi Sasaki (right) and Erik Poppe (right) with Alec Baldwin, who took a brief break from the fest for last nights SNL and returned today to the event. Photo provided by the festival Norwegian director Erik Poppes Troubled Water and Japanese director Megumi Sasakis Herb and Dorothy won big at the Hamptons International Film Festival this afternoon, with both features winning jury and audience prizes in their categories. took the festivals Golden Starfish for Best Narrative Feature, while received the Golden Starfish for Documentary Feature Film -- and both won their respective audienece prizes -- during a ceremony in East Hampton, New York today hosted by The Daily Show co-creator Lizz Winstead. The narrative award includes a package of $185,000 in in-kind production services, while the doc nod includes a $5,000 cash prize.
PHOTO: Festival winners Megumi Sasaki (right) and Erik Poppe (right) with Alec Baldwin, who took a brief break from the fest for last nights SNL and returned today to the event.
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Every generation of game console, some game is proclaimed the next coming, be it of graphics, or gameplay, or some other measurable category. GTA IV is different. You can wallow in the muck of street violence and prostitution as always, but there's a deeper moral play going on that feels unlike anything else I've encountered not only in GTA, but in video games in general. Rockstar Games may have finally located that most ephemeral of experiences - one equal parts game and cinema, without belonging entirely to either. It's going to be interesting to see how many critics and politicians seize on only the overt, adult content, without grasping how far more creative and artistic this "game" is than your average deadening FPS or racing game. Rockstar Games is to be commended for what truly deserves to be called "genius.
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An update to the upcoming screenings. Captain Abu Raed will be playing every day in a different city in October. Here's the schedule. Links to get tickets are available on www.CaptainAbuRaed.com
-Filmmaker Symposium - New Jersey (Sept. 15,16)
-Ohio State University - special screening (Sept. 19)
-Helsinki International Film Festival - Finland (Sept. 20, 21)
-Vancouver International Film Festival (Sept. 25, 28, 29)
-Pyong Yang Film Festival, North Korea (Sept)
-Pusan Film Festival, South Korea (Oct. 2-9)
-Beirut International Film Festival (Oct. 5-8)
-Mill Valley Film Festival (October 10, 12)
-Puerto Rico, San Juan International Film Fest. (Oct 11)
-Middle East International Film Festival (Abu Dhabi, Special screening Oct. 14)
-Heartland Film Festival - Indiana (Oct. 17,18,20,21,22,23)
-San Francisco - Arab Film Festival (Oct 17)
-San Jose - Arab Film Festival (Oct 19)
-Los Angeles - Arab Film Festival (Oct 24)
-USC School of Cinema (Oct. 25)
-Carthage Film Festival (Oct. 25- Nov.
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Frankfurt is, by far, the best destinations where you can fly to if you have the chance, because it is the European central for low cost flights and at same time the taxes can be pretty low. Also the rail connections are enormous there so even if you don't plan to visit Germany it can save you some money to land there to start your European route.
Leaving Frankfurt and its skyscrapers behind, in this case you will face to the North of Germany, going through Koblenz and Köln, where a visit to the cathedral is a real must. Size really matters in some situations. After spending a night in Köln, you can follow your route taking another train to Bremen. There you can visit "The Schnoor", take a walk at the city hall, the statue placed in Roland and the Buergerpark.
Now the time has come to cross the border and point to the capital of one Scandinavian country, the little Denmark. Copenhagen is city of contrasts. The Mermaid is a lot smaller than what you could imagine so you will need to choose the right time to be able to take a picture of it, probably fighting with a huge amount of Japanese tourists. Tivoli is also a must see and the city itself offers a wide range of possibilities, specially with Christiania, officially part of the city since 1986 but started as a camp of hippy squatters. Fortunately, you still can breath there the air of this period.
Spend at least a couple of days in Copenhagen, visiting also the towns around, specially Roskilde, which will introduce you to the viking history with some rebuilt Drakkar (the war boats they used to navigate rivers upstream and conquer European cities).
The route can follow to Berlin taking the ferry with your train inside. It is a night trip, and returning to Germany you will begin with one big city to digest. Berlin has the history of many wars in its streets. Being nowadays one of the most powerful economies pulling all Europe ahead, the capital of Germany has suffered a lot and scars are found everywhere.
Visiting the Reichstag, the Brandenburger Tor, Checkpoint Charlie, and specially the Berlin Wall are some things you can't forget to do there. The Berlin Cathedral has also a lot to offer, as well as Postdamer Platz. Don't forget to visit the outskirts town called Postdam. It's just a 30 minutes train ride and it has some enormous beautiful gardens with palaces that you will not finish even in a whole day!
Time to move on, and the train will take you now to Leipzig. This recent days the streets are suffering from a constant modification, so you will find plenty of road work there. After all, the city is beautiful and has a lot of history too. Don't take it as a point A to point B city. The magic is in every building, in the streets. Walk them, close your eyes, and place yourself some years back. And now open your eyes because this street light is not gonna move out of your way.
Following to the south of Germany you will cross Nürnberg to arrive to Munich. Don't forget to visit the National Museum there, and also take a look at the precious fountains you can find on your way through the city center. St Lorenz church is also a must.
When arriving to Munich, leaving the beer and the famous Oktoberfest apart, visiting Marienplatz and the Englischer Garten will be an exceptional way to land into this border lands. Olimpyapark is asking you to take a walk inside, also visiting the stadium, and a visit to one of the concentration camps will be extremely worth: Dachau is a good one to take a look at.
The time for Austria has come now, and entering the country you will notice specially one thing: how flat is Germany and how gorgeous are the high white peaks of Austria! Welcome to the mountains capital of Europe, together with Switzerland. Salzburg is a good way to start the trip, taking a look at the old castle and jumping into anything that can bring you uphill and give you a perspective of the city from above.
Follow your trip to Vienna and spend at least 2 days in the capital of the music. Vienna is the house of many well-known classic musicians, and walking its streets still can let you feel what made this old song composers feel so inspired to produce such amazing melodies. Do not leave the city behind until you have visited the Schönbrunn and Hofburg.
Going north again you could stop to take a look at Innsbruck, but then train connections can be pretty bad. What is really important is to take the ride to Füssen, near Munich, either when you visit the city or when you come back heading Frankfurt, as it has 2 of the most enchanted-looking castles you can ever dream of.
Finally, take your train heading to Heidelberg (you can visit Stuttgart but it has really not a lot to offer, many travelers get disappointed there) and after visiting the city, the next step will be Frankfurt again and get a plane back home. This in case that Frankfurt is not your home town!
In any case, If you are looking to plan any route across Europe and don't know where to start from or how to coordinate everything, a visit to Travel Planning Help can be very useful.
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clochard kloh-SHAR noun
: tramp, vagrant
Example sentence:
He lives on the Pont Neuf, the oldest and most beautiful bridge in Paris, which has become a secret home to clochards . . . while closed for extensive repairs. (Vincent Canby, The New York Times, October 6, 1992)
Did you know?
Why such a fancy French word for a bum? The truth of the matter is, nine times out of ten, you will find used for not just any bum, but a French bum -- even more specifically, a Parisian bum. And, sometimes, it's even a certain type of Parisian bum -- a type that has been romanticized in literature and is part of the local color. Nevertheless, as as this word (which comes from the French verb meaning to limp) may seem, its regular appearance in English sources since 1937 makes it an English word, too.
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We met MIke the day before to go over our itinerary. Thats one of them there fancy words for what we going to do. Heh. Anywho, we decided to meet around 6:30. He was thinking earlier but then decided to wait a little longer so that we could see Oak Creek Canyon as we drove through it. Actually up and over it. So we packed up a couple of gallons of water. I remind you that in the high desert it can be deceiving as it is not baking hot, but it is very arid. You have to keep yourself hydrated. We had packed some food also so we could picnic up there.
Well, we heading through uptown Sedona heading towards Oak Creek Canyon. Mike had us swing down this little side road where we could go over a small bridge that took you over Oak Creek. Did I tell you it is the only continuously running water there? Reminded me of the rivers in New Hampshire. Back up to the main road (89a) and up into the canyon. He noted a spot off the side of the road where they have a fountain where you can refill your jugs with spring water if need be. Free.
Very soon we were in Oak Creek Canyon and winding up the sides. You have to go up and over to follow the road up to Flagstaff. The road was narrow, twisty, and very close to the edge. Didnt help that we had rented a Toyota 4Runner figuring we might need the off-road ability. It did have a very large tank, which was good for this long trip, but murder at the pump. The view through the canyon was breathtaking. It was a long way down if I veered too far right. I held my breath. Okay, not really.
We followed 89a up to Flagstaff and jumped on 40 to circle around town to the east. I forget the highway we picked up, but we were heading up to Cameron. On the way, Mike had us stop at Sunset Creater Park. The park boasts remnants of the lava flow when the mountain exploded. There were various levels of lava rock, from the huge boulders of black to the fine sand on the hills where the weather had beaten it down. We walked through part of the park, noting the plants that managed to grow through all of this. One hill was entirely covered with the lava now disintegrated into small gravel and black sand. They dont let people go up the hill so as to preserve its appearance. We saw a similar lava field off of Route 40 in New Mexico last year. This particular one is said to have traveled all the way down to Sedona, leaving in its wake very fertile soil.
We headed out from there and on up through the Dene (Navajo) Nation, stopping off at the ruins of Wupatki. I think I spelled that right. These were ruins much like the Anassazi left behind only redder. It is amazing that a lot of these ruins were abandoned around the 1100s yet most of the walls are still standing. Can you imagine our houses today still standing after standing abandoned all these years? It is interesting to note that each family had an apartment that was maybe 8x8 if that. Of course, they spent most of their time outdoors and used these rooms just to sleep or storage. There was also a round walled in area, that I believed, based on what I knew of the Anassazi, to be a kiva. This would be where meetings and ceremonies would take place. Further down was another one but oblong with openings at both ends. The archeologists surmised it must be a ball field since the Sanaqua were descendants of the South American tribes. I noticed that it was right alongside the wash, so I thought that it might have been used to capture the rushing water during the rains and they would close off the holes when it was full creating a reservoir. After all, the things we know now of the Aztec, Olmec, Inca, and others were that they were brilliant builders. Just off to the right from that was a unique feature the Native Americans called the Breath of the Earth. There was a hole in the ground that led to an underground cavern. When the air pressure was high, it would suck air in, when the air pressure was low, it would blow it out. Thus, the breath. Really quite an amazing place set in a valley where you could see for miles.
Leaving off there we traveled north and soon Mike pointed out to our right. He told us that area was what a lot of people come out to see, the Painted Desert. He said there wasnt much out there, he thought the things we were seeing were more special. We continued driving on up and stopped at a Dene roadside stand. Some amazing artwork, especially the horsehair pottery and statues. They also had some great jerky. We got back in the car and Mike pointed out that paralleling us was the Little Colorado with its own sets of canyons. Mike said that the Little Colorado flowed blue while the Colorado flowed green. He loved to camp at the spot where they came together. Caveat campers, even if the sun is shining when you are down in these canyons, keep your ears open. A storm could be going on twenty or thirty miles away and all that water comes and meets and rushes down these canyons. If you hear the rush of water, get to high ground quickly.
Eventually we entered the park and stopped at the Watch tower. The tower designed by Mary Coulter was to blend in with the surroundings and have a great view of the canyon. Built from stone it features a gift ship and then a tower that you can climb up in and look out over the canyon. The stairs going up are very narrow and it is open all the way down. Well, anyone who knows me knows that I have a problem with heights. I had more than ample trials to overcome this fear. I did go up and even looked over the edge to take a picture of Mike and Cindy down below. Neither was going to go up. The interior is done very nicely. They hired a Hopi artist to do the paintings on the walls. The chairs and a table in there are made from limbs and hides. I believe the shot here was taken down one of the paths near there. Now, I have heard some people say that the Grand Canyon is just a big hole in the ground, but what a hole. It goes on and on with varying colors from the reds found down south in Sedona to the white limestone. The limestone is there because at one time, this was ocean bottom according to geologists. it is hard to believe when you are standing there looking down into the canyon that at one time this was once under water.
After staying at the Watch Tower for a bit, we headed on to another stop. I dont remember all the names, but needless to say, when you stop, it is like seeing the canyon all over the place. Two things affect what you see, the viewpoint, and the lighting. I really suggest that anyone going there take the time to spend the day. You may think you stop once and that is it, but each lookout point offers its own views and visions. Oh, and Mike warned us when we stopped for lunch to keep our food close. The squirrels are rather aggressive as I was later to find out. No, he didnt take my food, but crawled up on the wall in front of me and then down right near me and over my shoe to get at some food. I have been around squirrels all my life but never had one come right up to me like that. Mike said that if I had food in my pocket, he might have gone in after it. While at one stop, we were treating to a pair of turkey vultures flying in the canyon. Their wing span is about six feet but they looked no bigger than a raven from where we stood. At one of the information boards we noted one of the dangers, not being knowledgeable of the terrain before hiking.
An olympic marathoner and her friend decided to go down into the canyon. Between the two of them they had a couple of power bars, an apple and only a litter and half of water. They enjoyed the decent, the views and the wildlife, but soon her friend started to get sick. You have to remember that you are at an altitude in a dry climate. Drink plenty of water is the rule. Well, she found some shade and tucked her friend in there. She then started back up to get help. She didnt make it. Searchers did find her friend alive and she survived. The lesson to be learned is that you can be in the greatest of shape, but this is harsh country and needs to be respected. Dont be fooled by its beauty.
Well, we continued on our trip until we made it to the main entrance. We were going to camp out here until sunset and then get something to eat. This is where I met Mr. Squirrel, but better yet three condors. Unfortunately they were resting at the time, so I only got pics of two on a rock ledge and one in a tree. By this time the afternoon sun was starting to cast long shadows on the canyon. Like I said, stick around, the lighting changes and it is an entire new canyon. I snapped off dozens more pictures and then we decided to go down over near the mule trail. Mike said that it was a great opportunity for us to go below the rim. Mike and I made our way down the trail over thirty feet down the canyon. Cindy said it was just a little too close for her, so she stayed at the upper level . I managed to take a shot of her below the rim:. Only ten feet, but still below the rim.
There are two mule tours. A day tour that goes down most of the way and out over the mesa. The other goes down beyond the mesa to the canyon floor. I believe Mike said that was an overnight tour. Where the overnight trail breaks away from the day trail is a wooded area. From the canyon top, it looked like a green strip of bushes. Mike laughed. He said there is a camp ground in the trees and they are 100 feet high. Um, let me just back away from this edge a bit. Yeesh! we went back up top and nosed around in the gift shop. Cindy went over to check out the hotel. I went over to the Hopi House which was another Coulter designed house fashioned after the ruins like Wupatki. It housed a museum and gift shop.
By this time, the sun was starting to set. The whole canyon took on the warm glows of oranges, golds, and reds. Once again, a new view of the same scenes that gave a totally new look. The condors were gone, so I missed them taking off. Darn. The area we were was at an indent rather than a point so the sun set over the point to the west of us.
Once the sun was down, we went to the restaurant inside. We had a great meal to restore our energy. What a day. All we had left was the long drive back to Sedona.
Going out the main gate you passed hotels, motels, and restaurants. A kitchy difference from the beautiful way when we came in from the east. By this time it was dark and we had to keep talking so that Cindy could stay awake. She had decided to do the driving as I drove all the way up and Mike wasnt covered on the rental. We went down the road and passed the Bedrock Campground with the big Fred Flintstone. Glad we didnt come this way in. It was long straight roads all the way down, that is until we hit Oak Creek Canyon. Let me tell you, Cindy was wide awake through those twisty roads up and over the mountain. We managed to make it home in one piece. Tired, but full of awesome visions.
I was truly blessed and have great thanks for all who helped to make this trip the fantastic adventure it was.
As great as this trip was, it didnt measure up to the notes, emails, and letters that I received from my wifes family and especially my daughter. My daughters letter brought tears to my eyes. Something she was hoping for I think. LOL.
Hopefully tomorrow, I will tell of these greatest gifts.
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FIRST TIME EVER SCREENINGS
OF SALZBURG FESTIVAL OPERA PRODUCTIONS
IN U.S. CINEMAS
For the first time ever, operas from the world’s premier classical music festival, the “Salzburger Festspiele,” will be presented on cinema screens in more than 200 theatres across America, Canada, Australia and the United Kingdom.
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