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Looking up at The Dome in the La Trobe Reading Room, at the State Library Victoria in Melbourne, Australia.
The building was designed to emulate the British Museum Library in London and the Library of Congress in Washington. It was officially opened in 1913. At the time, apparently, it was the largest reinforced concrete dome in the world.
Unfortunately for photographers, there is a dais in the middle of the Reading Room which is closed to the general public. So it is not possible to stand exactly in the centre of the space. The final image, then, is just slightly asymmetrical.
Sony A7C / ILCE-7C
Viltrox 14mm F4.0 Air
14mm; 1/250 sec; f/6.3; ISO 100
Rijnmond stopt vanaf komend seizoen met het live radioverslag van wedstrijden van Sparta en Excelsior. De regionale omroep blijft beide clubs wel intensief volgen met nieuws, interviews, analyses en verslaggeving op radio, televisie en online.
(SharpTone)
Granite-hard riffola collides with balm-like electronics and tinkling jazz piano in a thrilling fourth album of musical metamorphosis
Loathe took six years to make this fourth album, explaining they wanted to make it very special. Accordingly, A Stranger to You ventures far from the Liverpudlians’ metalcore origins to create an odyssey of mixed and colliding genres. Punishing riffola and slabs of industrial noise coexist with balm-like electronics, acoustic guitars, shoegaze, tinkling jazz pianos and guest rapper Bucki Sugar’s spoken-word narratives (“ever forward, forever motion”). Other guests include vocalist Olli Appleyard from Leeds rockers Static Dress, production duo Nowhere2run and – most unlikely of all – slinky jazz-soul producer Jordan Rakei.
Precedents for this sort of radical metal departure include Deafheaven’s Ordinary Corrupt Human Love and Linkin Park’s divisive but compelling A Thousand Suns, but, if anything, Loathe make even more musical handbrake turns. Block of Flats hurtles between gentle atmospherics and guttural vocals. The soaring Fortress Down and Meet My Maker suggest a slightly heavier Muse. Harder to Pretend recalls – of all things – Herbie Hancock’s groundbreaking early 70s jazz fusion, while The Way It Breaks haunts as effectively as Disintegration-era Cure.
Continue reading...Almost half of working-age adults in the UK do not save into a pension. Four readers explain why they fear for the future
“I am 35 and have essentially nothing saved for my future, which is a huge concern.” Sarah* works in library services in Oxford – full-time at one library and part-time at another. She has saved £5,000 into her pension.
After finishing her PhD in 2020, she said she had “good intentions of contributing to pension schemes. But because I then had a succession of part-time jobs, I never started. I never thought, this is a job I’ll be doing for long enough.”
Continue reading...The film-length finale to the teen LGBTQ+ show has poignant moments but feels like fan service by numbers
If it were up to Kit Connor, Heartstopper would have ended quite differently. “If I’d had my way, I would have had Nick and Charlie cheating on each other and doing all those stupid things,” he recently told the Guardian. “Because young people do that and don’t necessarily need to be villainized for it.”
Midway through Heartstopper Forever, the film-length finale of Netflix’s series, I started to see his point. The central star-crossed lovebirds of Alice Oceman’s megahit are now 18 and 17, and like most teenagers they have sex, get drunk and fight with their annoying siblings. Unlike most people their age, they don’t vape, don’t use sex apps and they definitely don’t cheat.
Continue reading...How do you follow Oppenheimer? By spending $250m bringing Homer’s epic poem to the big screen in Imax. Today’s most powerful director talks big swings, trauma-bonding and the healing powers of chocolate labrador Charlie
‘I’m in that moment of sheer terror,” says Christopher Nolan, sitting in a suite at the Corinthia hotel in London, in a slightly rumpled suit, next to a pot of tea. Outside, crowds jostle, hoping to catch a glimpse of one of the stars within – Matt Damon, Tom Holland, Lupita Nyong’o. It is the day before the world premiere of Nolan’s latest film, an adaptation of Homer’s epic poem the Odyssey, and the last day of waiting before audiences decide whether the biggest gamble of Nolan’s career has paid off. The film, which reportedly cost $250m (£185m), doesn’t just need an audience to show up. It needs the entire moviegoing world to do so.
“It never gets any easier, because I make films for audiences and the audience tells me what it likes,” he says. “They finish the film. I don’t have anything to hide behind. I can’t just be like: ‘Oh, people don’t get it.’ Those aren’t the films I make. What does the audience make of it? Do they turn up? Do they like it if they do turn up?
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