click links in text for more info
SUMMARY / RELATED TOPICS

Annapurna Pictures

Annapurna Pictures is an American motion picture company founded by Megan Ellison in 2011. It specializes in film production, television production, video game publishing, distribution and finance. Annapurna invests in finance and sales through its subsidiary Annapurna International called Panorama Media, it produces television shows through subsidiary Annapurna Television and publishes video games under its Annapurna Interactive arm. Annapurna Pictures was founded in 2011 by Megan Ellison as a finance entity, it is named after Mount Annapurna in Nepal, itself named after the Hindu goddess Annapurna. Ellison visited Mount Annapurna on a trip to Nepal. Ellison's right hand and best friend, Chelsea Barnard, was an employee from the beginning. In April 2012, Annapurna agreed to fund Panorama Media, a production and international sales company based in Los Angeles and head by President Marc Butan and its Head of International Sales Kimberly Fox. On September 27, 2016, Annapurna launched a television production division, Annapurna Television, headed by former HBO executive Sue Naegle.

On January 10, 2017, it was reported that Annapurna Television would produce the Coen brothers' first TV project, The Ballad of Buster Scruggs. In December 2016, the company announced its new division, Annapurna Interactive, to produce and distribute video games with several active projects in development, planned for release in 2017. In January 2017, Chelsea Barnard was named president of film production, the company announced they would begin distributing films, with their first being Detroit directed by Kathryn Bigelow, set for release on August 4, 2017, they signed a multi-year distribution deal with Metro-Goldwyn-Mayer on March 27, in which MGM will distribute all of Annapurna's films in select international territories. On April 6, the company announced an exclusive, multi-year output licensing agreement with Hulu. In May 2017, Plan B Entertainment announced a three-year production deal with Annapurna Pictures to partner on at least three films a year with Annapurna handling distribution and marketing.

As part of the deal, Annapurna received the rights to Adam McKay's film Vice starring Christian Bale as Dick Cheney. It was announced Annapurna would co-distribute Brad's Status through their MGM joint venture Mirror alongside Amazon Studios. In July, the company signed a multi-year U. S. home entertainment pact with 20th Century Fox Home Entertainment to oversee its home releases. Since Sony Pictures' contract to co-produce the James Bond series with MGM and Eon Productions expired with the release of Spectre, along with five major studios – Warner Bros. Universal Pictures, 20th Century Fox, Paramount Pictures and Sony itself vied to win the rights to the next film as of April 2017, it was announced that MGM had secured the domestic and worldwide television rights to the film. Universal was announced as the international distributor of the film and holder of the rights for physical home entertainment distribution. In October 2017, Annapurna and MGM announced the formation of a US distribution joint venture in which each studio would release their films individually.

This marked a return to domestic theatrical distribution for MGM and an expansion of Annapurna's distribution division, with MGM releasing six to eight films per year on a limited basis and Annapurna releasing four to six films per year, in a combined slate of fourteen films. While the two companies are sharing costs for the joint venture's operations, Annapurna's distribution and marketing teams will support the MGM titles, which will be distributed under the MGM banner while Annapurna-produced films will continue to be distributed under its own banner; the two studios launched Mirror, a releasing entity that will pursue theatrical opportunities for additional third-party films. However, this partnership will not be exclusive to all MGM films, as several of them will continue to be released through existing studio partners, such as Warner Bros. and Paramount. It does not include newly-relaunched Orion Pictures and future worldwide distributor plans for the James Bond franchise, which MGM announced on "a date", May 24, 2018, to have been won by Universal Pictures.

In October 2018, Annapurna signed a music publishing deal with Warner/Chappell Music, which will administer the studio's film and TV compositions and scores. In February 2019, Annapurna and MGM rebranded and expanded their US distribution joint venture to release both MGM and Annapurna films under United Artists Releasing, with the distribution teams of Annapurna and Orion Pictures joining the venture and former Screen Gems executive Pam Kunath joining as COO in addition to the heads of MGM and Annapurna joining the board of directors; the decision was made to coincide with the United Artists brand's 100th anniversary, has plans to release 10–14 films a year through the new label, including the domestic release of No Time to Die. The company expects to release "approximately four to six films per year". Many of the films produced by the company have received widespread critical acclaim. In 2013 alone, American Hustle and The Grandmaster had a combined seventeen Academy Award nominations. Commercially, results have been mixed.

Some films like The Master, Joy and Vice have failed to return their budget while ones such as Zero Dark Thirty, Sausage Party and American Hustle have grossed more than $100 million, the latte

Denis Thomalla

Denis Thomalla is a German professional footballer who plays for 1. FC Heidenheim as a striker. Thomalla was born in Pforzheim, Germany to a Polish family from Opole. Thomalla played youth football for SV Büchenbronn and Karlsruher SC, he started his senior career at TSG 1899 Hoffenheim where he made four appearances in the Bundesliga. In 2013, Thomalla left Hoffenheim for RB Leipzig where played three in the 2. Bundesliga. On 1 September 2014, he was loaned out to SV Ried. On 23 June 2015, Thomalla signed a three-year contract with Polish club Lech Poznań. On 12 January 2016, Thomalla was loaned to 1. FC Heidenheim with the option of a permanent move. In April, Heidenheim chose to make use of the option to sign him permanently. A youth international for Germany, Thomalla is eligible for the German national teams; as of 29 November 2017. Lech Poznań Polish SuperCup: 2015 Denis Thomalla at 90minut.pl Denis Thomalla at Soccerway

Suhaag Raat

Suhaag Raat called Sohag Raat, is a 1948 Hindi film of Indian cinema directed by Kidar Sharma. A romantic drama, it was Oriental Productions first film, with distribution rights owned by Varma Films; the story was a joint effort by F. A. Mirza and V. Sharma, while the screenplay and lyrics were written by Kidar Sharma; the music was composed by Snehal Bhatkar, with cinematography by D. K. Ambre and D. C. Mehta. Geeta Bali made her debut in a lead role with this film, which co-starred Bharat Bhushan and Begum Para; the rest of the cast included Pesi Patel, Nazir Kashmiri, S. Nazir and Shanta Kumar; the story was set in a village in Himachal Pradesh. Though Kullu was used as a backdrop, most of the shooting took place in Bombay; the costumes worn by the film's character were representative of the hilly people of Himachal Pradesh and justified the setting. The outdoor photography by D. K. Ambre and D. C. Mehta was praised for its "picturesque" composition; the story was a romantic triangle, with two girls, one rich and the other poor, falling in love with the same man.

Geeta Bali as Kammo, the poor village girl, Begum Para as Paro, the rich landlord's daughter, portray the two girls. Bharat Bhushan as Beli, saved by Kammo's father, plays the love interest; the arrival of the villain Rahu, Beli's step-brother, its consequences form the rest of the story. Sohag Raat was released at Excelsior and Lamington Cinemas, in Bombay on 25 June 1948, was the seventh highest grossing Indian film of 1948; the film's success was attributed to the "refreshing" debutante Geeta Bali, with Baburao Patel titling his review of the film in the August 1948 issue of Filmindia, as "Geeta Bali's Sohag Raat". A dying mother asks Rahu, to look after his younger stepbrother, Beli; the stepson decides to have Beli murdered in order to lay claim to the entire property. Rahu appoints Jaggu to carry out the killing. However, Jaggu changes his mind. Jaggu takes Beli to his village in Kullu where he lives with his cheerful and spirited daughter Kammo. Beli soon finds a job at the Zamindar's house.

The landlord's daughter, Paro is good friends with Kammo. Both Kammo and Paro fall in love with Beli. Rahu finds out that Beli is not dead and comes to the village, ingratiating himself with the Zamindar, he asks for Paro's hand in marriage and the Zamindar agrees. On the wedding night, Kammo persuades Beli and Paro to elope but they are stopped by Rahu who tries to shoot Beli. Kammo is shot, she dies uniting the two lovers. Begum Para as Paro Bharat Bhushan as Beli Geeta Bali as Kammo Pesi Patel as Jaggu Maruti Nazir Kashmiri Geeta Bali started her cinematic career with R. K. Shorey's short film called The Cobbler at the age of twelve, following which she made her maiden feature film appearance in actor-director Majnu's Badnami. Author Tilak Rishi writes that Sharma cast Bali after being attracted by her lively dance performances and "offscreen vivacity". According to Sharma, in his autobiography "The One and Lonely Kidar Sharma", he was impressed by Geeta Bali's "nymph like naughtiness", was convinced to cast her as the main heroine.

Patel's quote on Bali's debut, about her being introduced as "a New Talent" in the film's booklet were: "she HAS talent which overcomes plain features and a pug nose. More than talent in this picture she reveals a personality in which naivette, charm and a boyish vivacity are all mixed; that all these qualities were latent in her is true. But it is true that by giving her a role that fitted her personality and providing her appropriate situations, the director-writer has brought out that personality; those who saw her in extra roles in some obscure Lahore-made pictures are and agreeably surprised. It may be said that Kidar Sharma has not only discovered but made a star"; the film was to mark a turning point for Geeta Bali. The audiences related to Geeta Bali's lively performance and as stated by Rishi, she was "inundated with film offers". Filmindia in its review Title, referred to the film as "Geeta Bali's Sohag Raat", giving the debutant, Geeta Bali, full credit for its box-office success. According to author Ashok Raj, "Kidar Sharma reached the zenith of his intense creative work with Suhaag Raat".

The music director was Snehal Bhatkar, who composed songs like "Rhoom Jhoom Matware Badal Chha Gaye", "Chhod Chale Munh Mod Chale", "Javo Javo Na Satao" and "Mere Dil Ki Dhadkanon Mein" all written by Kidar Sharma. "Lakhi Babul Mere Kaahe Ko Dinhi Bides", the bidai song "attributed to Amir Khusro" was sung by Mukesh. The song, lip-synced by Jaggu appeared twice in the film, the second version being the sad one when Kammo dies. Songlist: Suhaag Raat on IMDb

Sakura Sake

"Sakura Sake" is a single by Japanese boy band Arashi. It was released on 22 March 2005 through J Storm as the first single from their fifth studio album One; the song was written by Takeshi Aida, Sho Sakurai, Shin Tanimoto. "Sakura Sake" was released in two editions: Limited Edition. The single peaked at number one on the Oricon Singles Chart, selling 115,000 copies in its first week; the single was certified Gold by the Recording Industry Association of Japan in March 2005 for shipments of 100,000 units. "Sakura Sake" was written by Takeshi Aida, Sho Sakurai, Shin Tanimoto, arranged by Tomoki Ishizuka. Aida and Tanimoto co-wrote Arashi's ninth single "Pikanchi". "Sakura Sake" is a positive rock and pop punk song with supportive lyrics. The lyrics contain imagery of Spring; the coupling song "Te Tsunagō" was written by Eiichirō Taruki and Akira. "Sakura Sake" was released on 22 March 2005 in two editions: Regular Edition which included the karaoke versions of all tracks. "Sakura Sake" was used as an image song for the university admission cram school Johnan Academic Preparatory Institute, which featured Arashi member Sho Sakurai as the spokesperson and promoter.

Arashi performed the song for the first time on television on Ongaku Senshi Music Fighter on 25 March 2005. The following day, they performed on Count Down TV On 1 April 2005, Arashi performed the song on Music Station's 3-Hour Spring Special. "Sakura Sake" received positive reviews from music critics. AllMusic's Alexey Eremenko, who wrote Arashi's biography on the website, selected the track as some of their best work. A mixed review came from a writer at CD Journal, who enjoyed the chorus in "Sakura Sake" but disliked "Te Tsunagō", which they thought was "nothing but a foolish love song". A writer at JMD, found the song "heartwarming". "Sakura Sake" has been voted into Oricon's Top 10 Sakura Songs Ranking every year since 2006. On 3 May 2013, "Sakura Sake" topped Music Station's Best 25 Spring Support Songs poll. Commercially, the single was a success, it debuted at number-one on the Oricon Singles Chart, selling 115,000 copies in its first week of release. The release spent 15 weeks on the Top 200.

It was the group's third consecutive, tenth overall number-one single in Japan. By the end of 2005, it had sold over 172,000 units in Japan, making it the 55th highest-selling single of that year. In March 2005, the single was certified Gold by the Recording Industry Association of Japan for shipments of 100,000 units. In 2012, the song entered the Billboard Japan Hot 100 chart, peaking at number 54 on the date ending 23 January 2012. Product information

Dmae Roberts

Dmae Roberts, aka D. Roberts, is a Taiwanese-American independent public radio producer, writer and playwright. Much of her work focuses on personal storytelling. Roberts was born in Taipei and grew up in Japan until she was eight, her family moved to Oregon when she was 10 years old. Roberts moved to Eugene and graduated from the University of Oregon with a B. S. in journalism. Roberts relocated to Portland in 1989 to pursue her acting career while continuing to do her national radio work, she is executive producer of the nonprofit MediaRites. She is a member and former board member of the Association of Independents in Radio as well as a member of the Asian American Journalists Association. More than 400 of Roberts' documentaries and audio art pieces have been featured on programs from National Public Radio and Public Radio International. In 1989, she produced "Mei Mei, A Daughter's Song", a documentary about her relationship with her mother and her mother's childhood in Taiwan, for which she received a George Foster Peabody Award.

She received a Peabody for her eight-hour series about Asian-American history, Crossing East. The series aired on more than 230 public radio stations, it was the only Asian American history series to air on public radio. Other works by Roberts include "Coming Home: The Return of the Alutiiq Masks," which tells the story of the Alutiiq people of Kodiak and was a co-production with Koahnic Broadcasting and KNBA in Anchorage; the hour-long program aired on 180 radio stations across the country. In 2008, Roberts produced a piece called "Secret Asian Woman". Roberts is the executive producer of MediaRites, "a non-profit media arts organization dedicated to telling the stories of diverse cultures and giving voice to the unheard." Among MediaRites' outreach projects was "The Breast Cancer Monologues", in which women with breast cancer shared their experiences with the disease. This work was a 2004 winner of the Golden Reel award from the National Federation of Community Broadcasters. Since 1996, Roberts has hosted "Stage & Studio" a weekly radio program on KBOO about the performing and media arts.

She features arts organizations each year. Roberts' written work has been featured in Oregon Humanities and she writes a regular column for The Asian Reporter. In 2010, her work was included in the Reality Radio anthology published by UNC Press, her play "Breaking Glass" was published by Temple University Press in the anthology of American plays "But Still, Like Air, I'll rise" edited by Velina Hasu Houston. Roberts is the author of numerous plays. In 1991, she wrote a multimedia stage play called "Mei Mei" for the Interstate Firehouse Cultural Center in Portland, an adaptation of her 1989 radio piece. In 1993, she continued writing about her family's early years in "Breaking Glass" at Portland Repertory Theatre, her 1996 play, "Picasso in the Back Seat", produced at Artists Repertory Theatre, was a winner of the Oregon Book Award as well as a Portland Drama award. George Foster Peabody Award for Mei Mei: A Daughter’s Song, 1990 Drama Critics Circle Award for Merry Wives of Windsor, 1995 Drama Critics Circle Award for Picasso in the Backseat, 1995 Oregon Book Award for Picasso in the Backseat, 1996 The Casey Medal for Meritorious Journalism for "Colin's World—The Lives of Children" Robert F. Kennedy Journalism Award, 1996 Two Heart of America Awards/American Legion Auxiliary, 1998–1999 National Lesbian/Gay Journalists Award for "Miracle on the Streets", 2003 Two Clarion Awards, Writers Digest Award, 2000–2004 National Federation of Community Broadcasters, Silvers/Gold for "Miracle on the Streets," "Living Flag," and "Breast Cancer Monologues" Two Asian American Journalists Association Awards, 2005–2006 George Foster Peabody Award for Crossing East, 2007 Dr. Suzanne Award for Civil Rights and Social Justice from the Asian American Journalists Association, 2007 United States Artists Rockefeller Fellow, 2007 Official Website Stage and Studio on KBOO

Agustín Fernández (composer)

Mario Agustín Fernández Sánchez is a Bolivian composer born in 1958. He has lived and worked in the United Kingdom since 1984. Mario Agustín Fernández Sánchez was born in the city of Cochabamba on 10 March 1958, his father, Mario Agustín Fernández Pommier, studied law at Universidad de La Plata in Argentina but was working in journalism at the time. His mother, Sarah Myrtha Isabel Sánchez Santamaría, was Argentinian and had met Fernández Sr while studying at La Plata. An extended family of wealthy landowners with mine holdings in Oruro, extensive properties in Ayopaya province, the Fernández clan were dispossessed as a result of stringent land reforms implemented by the government of Víctor Paz Estenssoro’s MNR in 1952, his father’s younger brothers became active in resistance operations, including a failed coup d’état in 1956, resulting in two of the composer’s uncles being confined in concentration camps. Fernández Sr himself had to flee state persecution in 1960, finding refuge with his young family in Montero, a smaller town north of Santa Cruz de la Sierra, in eastern Bolivia.

The five years the family stayed in Montero had a formative effect on the future composer. In a country still riven by internecine rivalries along regional lines – east versus west, cambas versus collas – the young Fernández found himself astride the divide: a colla by birth, a camba by upbringing; the Spanish he learned had the camba accent, the first music he heard were folk melodies of the east in the popular genres taquirari and carnaval. At this time, Fernández developed an early taste for singing, learning the repertoire peddled by local radio eastern folk songs. Other popular music came from Argentina and reinforced by its hugely successful cinema industry, Mexico. After a brief sojourn in La Paz, the family settled again in Cochabamba, where both his parents found employment with the daily newspaper Los Tiempos, newly resuscitated since its enforced closure by MNR in 1953. In Cochabamba he attended Instituto Laredo, a specialist music school established by architect and musician Franklin Anaya.

There he acquired skills in solfège, a foundation in harmony and music history. He picked up the violin with some enthusiasm at first, but soon a change of teachers at Laredo discouraged him, he stopped practicing. At about the same time, his father became involved with Peña Ollantay, a successful folk club at a time when folk music was experiencing a revival countrywide; this meant free access to the shows at Ollantay for young Fernández, a new enthusiasm for folk music. He learned to play the charango and formed a duo with Toño Canelas, a talented singer and guitarist of the same age, the son of Ollantay’s owners; the new duo, Los Kallahuayas became a convenient support number and stop-gap for the programmes at the Peña. They had were not well received, and, in addition to regular appearances at the Peña, Ollantay sent them on three tours: one to Oruro supporting Los Cuatro de Córdova, one to Santa Cruz supporting Los Caminantes, another to Santa Cruz supporting Zulma Yugar; the duo folded after about a year.

Canelas went on to join the hugely successful band Los Kjarkas, with whom he worked until his tragic death. Free from singing duties, Fernández concentrated on the charango. A trip to La Paz brought him an appearance on national television and a gig at the prestigious Peña Naira. Back in Cochabamba, he competed in an inter-provincial charango competition, losing in the youth category. At thirteen, Fernández was attempting to write short stories and poetry. A fortuitous stop at a public record-playing session at Centro Portales – live concerts were rare at the time – brought him into contact with classical music. Brahms's Horn Trio Op. 40 made a powerful impression, by the end of the concert he had made up his mind to become a composer. He took up the violin again, poured his energies into his music studies at Instituto Laredo, his first compositional attempt was Rapsodia oriental, a string trio based on Lebanese melodies he had heard at the house of his school friend Alcides Mejía, himself a founding member of the folk band Savia Andina.

A Brahmsian trio for violin and piano was begun but abandoned for lack of technical resources to develop the ideas. The Instituto's director, Franklin Anaya, gave him advice, it was Anaya who persuaded the young pupil of the need to go to La Paz to study composition with Alberto Villalpando. An exploratory visit during the winter vacation in 1973 brought him into contact with the National Symphony Orchestra under the Soviet conductor Ruben Vartanyan, with Walter Montenegro, a journalist and amateur violinist who would prove a lasting influence in Fernández’s life; as soon as the 1973 school year ended, Fernández returned to La Paz and became involved with Bolivia's National Symphony Orchestra, getting his first work experience playing violins. He began to attend composition lessons at Villalpando’s house. Villalpando, together with conductor Carlos Rosso, was planning to start a music degree course at Universidad Católica Boliviana, they urged Fernández to apply. A dispensation from the university’s rector was required for his premature registration at the age of fifteen.

Since the new course was a pilot experiment, it was titled Taller de Música. At about the same time, the NSO offered to formalise his placement with a paid position; the salary was sufficient for basic survival, for paying private university fees. The music workshop provided an intensive educational experience within a small and close-knit group of staff