Broadway, Catford
Justice Ezi tackles racism, belonging and the sometimes-shadowy business of sport in this well-paced and plotted drama with a genuinely nail-biting final shootout
Entering the small studio tasked with containing this ambitious livewire of a football drama, the action is already in full swing. Charlton Athletic’s Victory and Youssef, in Nigeria to try out for the last two spots on the country’s World Cup squad, are doing drills, while their coach (a buoyant Jerome Ngonadi) collars audience members to take penalties. I miss spectacularly; the production does quite the opposite.
Part of the Ryan Calais Cameron season – the Olivier-nominated playwright chose three early-career Black and Global Majority writers to receive financial backing and mentorship – its writer, Justice Ezi, is a clear talent, asking expansive questions about racism, belonging and the sometimes-shadowy business of sport through the experiences of three men and, in particular, their relationships to their Nigerian heritage.
Continue reading...This was the least convincing performance by the World Cup favourites and their quarter-final opponents will also make it uncomfortable for them
There were furious celebrations when France secured their place in the quarter-finals. The entire squad charged from the centre spot to the end of the Philadelphia stadium where the core of French support was gathered. There was a pile-on, there was roaring and chests were actively thumped. Leading the proceedings, as ever, was Kylian Mbappé.
As soon as the revelry had subsided, the French captain immediately turned to the TV cameras and framed the narrative of the game. This had been less of a match and more of a battle, he said, against a Paraguay side who had nagged, nibbled and, occasionally, smashed their way through proceedings. “We knew what kind of match we were going to have,” Mbappé said. “But we know how to get our hands dirty.”
Continue reading...Magazine invites readers to judge Vance’s ‘assessment’ of Trump, whom he called ‘cultural heroin’ during first term
The Atlantic on Saturday republished a JD Vance essay that dismissed Donald Trump as “cultural heroin” exactly 10 years earlier, bringing back to the fore his evolving from a critic of the president to his vice-president.
In an editor’s note, the magazine said it was republishing the essay on the occasion of its 10th anniversary – and the US’s semiquincentennial – “so that our readers can judge for themselves how well his assessment [of Trump] … has stood the test of time”.
Continue reading...Als toegift op de twee Closing Times waarin “heftige” klassieke muziek werd aangestipt (hier en daar), vandaag nog een pianostuk van Karlheinz Stockhausen (1928 – 2007).
Het gaat om Klavierstück IX, een redelijk toegankelijk stukje muziek, want het is vrij goed te volgen wat er gebeurt.
Een viertonig akkoord dat een verschillend aantal keren wordt aangeslagen en ondertussen steeds zachter wordt (van heel hard naar heel zacht. In muziektermen: van ff (fortissimo) naar pppp (pianississimo). Dat wordt afgewisseld met een langzaam stijgende reeks van twaalf tonen, waarbij elk afzonderlijke noot een andere lengte (duur) heeft.
Die twee elementen worden worden in tempo, dynamiek en toonhoogte in telkens andere variaties gespeeld. Het stuk eindigt tenslotte in de hoge registers van de piano.
Klavierstück IX is een van de negentien pianostukken die Stockhausen tussen 1962 en 1961 componeerde.
Wie geïnteresseerd is in de partituur: zie hier of kijk mee tijdens het beluisteren.
Read more of this story at Slashdot.
In de parlementaire enquête Corona staat deze week het coronatoegangsbewijs centraal. De in 2021 ingevoerde maatregel was vanaf het begin controversieel. „Mensen voelden zich echt uit de maatschappij gedrukt.”
De intensivering van de landbouw na de Tweede Wereldoorlog is veel minder vanzelfsprekend dan mensen denken, zegt landbouw- en voedingshistorica Amber Striekwold. Ook boeren hebben veel kritiek gehad op de schaalvergroting, die het kabinet met de nieuwe stikstofplannen deels wil terugdraaien.
David Marriott - Sydney has added a photo to the pool:
Sunrise at Uluru from the sunset viewing area. Maybe not ideal if the sun was rising behind the rock but perfectly lighting up the northern edge of the rock from this location.
Loved the minimal comp with the single tree balancing the colourful sun on the left.
The darker cloud on top is created by Urulu's own microclimate. It may have even had a little drizzle of rain at the top.
It is always hard to judge the exposure for very long exposures as the light is changing fast. Moving clouds also affect the potential hotspots which blows out the highlights.... but the cloud movement is special and no wind mean that the grass stayed still over the 5 minutes :-)
Nisi 10 stop ND filter.
The local Pitjantjatjara calls the rock Uluru but was called Ayers Rock in 1873. In 1993, a dual naming policy was adopted that allowed official names that consist of both the traditional Aboriginal name (in the Pitjantjatjara, Yankunytjatjara and other local languages) and the English name. On 15 December 1993, it was renamed "Ayers Rock / Uluru" and became the first official dual-named feature in the Northern Territory. The order of the dual names was officially reversed to "Uluru / Ayers Rock" on 6 November 2002 following a request from the Regional Tourism Association in Alice Springs