Irwin Larry Eberhart II known as Chip E. is an American DJ and record producer. Born in Chicago, Chip E. attended St. Ignatius College Prep, Kenwood Academy, Columbia College and DePaul University, he started spinning records in 1982 and by 1984 he was producing records. In 1985 Street Mix magazine declared Chip E. as the "Godfather of House Music." In 1987, he became the first Chicago artist to be in regular rotation on all three major Chicago radio stations. Former B96 programming manager Joe Bohannon made the decision to add "If You Only Knew" to regular rotation and with that began the transition of the station from CHR to a dance music station. Chip E's first recording Jack Trax was an extended play record that featured "Time to Jack" as well as "It's House"; these songs are considered by many as the first House record, the first to use the terms "Jack" and "House" as they relate to the genre. Chip E. assisted Frankie Knuckles. Other artists Chip jump-started into the music world were Lidell Townsell, Kevin Irving, Harri Dennis of The It.
By the age of 21 Chip E. was a worldwide name. Because of difficulties getting out of a contract with D. J. International records, Chip decided that he would rather not record if he had to do it for D. J. International, his first release Jack Trax is one of the most coveted early house music releases, fetching upwards of $1500.00 on eBay. Around 1995 Chip E. stopped recording music but could be found doing the rare DJ gig in Britain or Italy. However, while Chip E. wasn't seen much in the music scene, he had resurfaced as a film and DVD guru. Besides work with artists such as Michael McDonald, Fleetwood Mac, The Dead, The Black Eyed Peas, Chip E. Als produced a feature-length documentary on the subject of house music; the documentary is entitled The UnUsual Suspects - Once Upon a Time in House Music. was released in the summer of 2005. In 2017 Chip E. connected with Carl Cox and the two started working on new music. Carl mentioned in the film 2017. Since their connection, Chip has released "Like This" with the group SLAM on Soma Records, "Time 2 Jack" with Carl Cox on Intec Digital, collaborations with Gettoblaster and Saladin on We Jack and Phunk Junk Records.
Chip E. DJ'd at the 20th Anniversary of the Ultra Music Festival, the following night joined Carl Cox on stage to premier their collaboration "Time 2 Jack" in March 2018. Since Chip has been playing festivals around the world including Thailand and Cuba. List of house music artists Official website Chip Eberhart on IMDb If You Only Knew Interview - Gridface webzine SPIN's 1986 Feature on Chicago's Club Scene Interview - Spin Magazine House Music Legend Chip E. Lights Up Chicago November 18 Interview - 5 Magazine
Mário Rodrigues Breves Peixoto was a Brazilian film director known for his only film Limite, a silent experimental film filmed in 1930 and premiered in Rio de Janeiro on 17 May 1931. Peixoto wrote and took up a minor role in the film, its musical score includes Erik Satie, Claude Debussy, Alexander Borodin, Igor Stravinsky, Sergei Prokofiev and César Franck. The single-handed achievement of a member of the well-to-do élite of 1920s Brazil, Limite became over the years a myth — its only copy being lost during the 1950s, were it not restored thanks to the personal efforts of two 1970s critics — and the object of various legends, many of them put into circulation by Peixoto himself. One such legend referred to a bogus complimentary article about the film, written by Sergei Eisenstein and published, in English translation, in the trendy London magazine Tatler. Only after Peixoto admitted, shortly before his death, that he had himself written the supposed "Portuguese translation" of "Eisenstein's" article, was the general credence given to this legend in Brazil withdrawn.
The restoration of the surviving copy and renewed viewing in the 1970s and 1980s aroused interest in the actual movie. In 1988, the Cinemateca Brasileira named it the best Brazilian film of all time. In 1995 Limite was once again declared as such, according to a national inquiry held by the newspaper Folha de S. Paulo. In 1996, director and producer Walter Salles found the hoard of documents and props, to become the Mário Peixoto Archive in a stash at his firm VideoFilmes in Rio, where Saulo Pereira de Mello takes care of the original manuscripts and objects. Pereira de Mello edits publications by and on Peixoto. Onde a terra acaba, the title of one of Peixoto’s unfinished projects. Around the same period in which Limite was being planned and filmed, Mário Peixoto began to write and publish. In 1931, he released a collection of poems called Mundéu, characterized by a strong modernist accent and has a foreword by Mário de Andrade. In the same year Peixoto published, in a magazine called Bazar, three short stories and a play, that are part of a collection published by Saulo Pereira de Mello in 2004: Seis contos e duas peças curtas which includes undated and up till unpublished material written by Mário.
In 2002, another collection of poems written between 1930 and 1960, Poemas de permeio com o mar was published. In 1933 Mário published, as a private edition, his first and only novel, O inútil de cada um. From 1968 on Mário reworked his 1933 original, using it as a basis for an intended extended version, to be divided in six volumes. So far only the first volume, O inútil de cada um – Itamar has been published, in 1984, through the personal intervention of Jorge Amado, with whom Mário had worked on one of his film projects. There are few publications in English on Mario Peixoto or Limite, described by French film historian Georges Sadoul as an "unknown masterpiece". In 2006, Michael Korfmann edited a volume that offers ten contemporary views regarding the genesis and reception of the film, gathering contributions by filmmakers and writers from Brazil, Great Britain and the United States including Walter Salles, Saulo Pereira de Mello, Carlos Augusto Calil, William M. Drew, Alexander Graf, Paulo Venancio Filho, Constança Hertz, Aparecida do Carmo Frigeri Berchior, Marco Lucchesi and Marcelo Noah as well as a rare article written by Mário Peixoto himself.
In November 2010, a further restoration of Limite premiered in New York. Korfmann, Michael, 2006 "Ten contemporary views on Mário Peixoto's Limite", Monsenstein und Vannerdat, Muenster. Mello, Saulo Pereira de. Limite, fotogramas. Rio de Janeiro: FUNARTE. Mello, Saulo Pereira de. Limite. Rio de Janeiro: Rocco, 1996. Mello, Saulo Pereira de. Mário Peixoto. Rio de Janeiro: Casa de Rui Barbosa, 1996. Mello, Saulo Pereira de. Mário Peixoto - Escritos sobre Cinema. Rio de Janeiro: Aeroplano, 2000. Morais Junior, Luis Carlos de. "Mário, pirata", in O Estudante do Coração. Rio de Janeiro: Quártica, 2010. Site dedicated to Mário Peixoto
Michael Takeo Magruder is an artist who uses digital technologies to create work that engages with real-time data, virtual worlds and networked mobile devices. His work has appeared at the Courtauld Institute of Art in London, UK. Magruder's work is included in the Rose Goldsen Archive of New Media Art at Cornell University. In 2010 Magruder represented the UK at Manifesta 8: the European Biennial of Contemporary Art. In 2013-14 he was a Leverhulme Trust artist in residence, which culminated in his solo exhibition,'De/coding the Apocalypse'. Magruder won the Lumen Prize Immersive Environment Award in 2015 for A New Jerusalem, a work in'De/coding the Apocalypse'. Magruder was the first runner up in the British Library Labs Competition 2016 and the British Library Labs 2017 Artistic Award Winner. Magruder's solo exhibition at the British Library, Imaginary Cities, employs the digital map archives at the British Library. <event> was commissioned by Turbulence.org in 2004. The work has been described by Jo-Anne Green, as engaging "with media saturation and its subsequent devaluation of information.
The source material of the work was "headline news articles parsed from http://news.bbc.co.uk/ between 29.12.2003 and 01.02.2004 from which samples of audio, image and video information were extracted.". The work concerns events that occurred when four American mercenaries were ambushed and shot or beaten to death by Iraqi insurgents; the source material employed in creating the work included censored AP source footage from www.thememoryhole.org and public domain news articles from www.bbc.co.uk. The work was exhibited at FILE: Internacional Electronic Language Festival and in Turbulence Artist Studios, it was selected by Gustav Metzger for EASTinternational 05. Encoded Presence was one of twenty finalists for the inaugural Noka/Darklight Pocket Movies Challenge in 2005; the work concerned the "re-purposing of the mobile phone from a mundane communication device to a cinematic instrument". Encoded Presence appeared in Pocket Films: Festival international de films réalisés avec téléphone mobile at the Centre Pompidou in 2007.
Magruder's work, re_collection was included in the December 2005 exhibition at Lumen Eclipse, a public media arts gallery located in Harvard Square, Massachusetts. The work was recommended to curator Ryan Hovenweep by Helen Thorington and Jo-Anne Green of Turbulence.org. On Magruder's website, he describes how the work consists of a person "recorded without direction utilising only a SVP c500 smartphone as a cinematic device. From the resulting material a single 14 second audio/video stream was extracted and used as the exclusive source material for the artwork." The exhibition in which the work appeared was reviewed by Cate McQuaid for the Boston Globe. In her comments about re_collection she said that Magruder, "cleverly utilizes the hallmarks of his medium to disorient: He pixelates the image, a grassy landscape, into a bright, clunky grid." was first exhibited at the Courtauld Institute of Art. Magruder's website describes the work as "a real-time media installation created for the Institute’s back six-level staircase.
Consisting of dynamic audio/visual structures intermixed with static wall- drawn elements, the work reflects upon society's data-driven and information-saturated existence through the examination of international news communications". Prof. Gegory Sporton has described the subject of the work in terms of "echnology's role as a gauze through which we view the world". Magruder was commissioned by Headlong, a UK-based theatre company, to create PRISM in 2014; the work was a new media installation that reflected on a production by Headlong of a new adaptation created by Robert Icke and Duncan Macmillan of the novel, Nineteen Eighty-Four, by George Orwell. PRISM is described as reflecting on Edward Snowden and the information about "a portfolio of clandestine mass surveillance programs on a scale reminiscent of George Orwell’s dystopian society of 1984" that he brought to public attention. Headlong commissioned a second work: The Nether Realm, a living virtual world inspired by the play, The Nether, by Jennifer Haley.
A New Jerusalem was first exhibited as part of the De/coding the Apocalypse exhibition at Somerset House in London, England. The work was created by Michael Takeo Magruder with Prof. Edward Adams and Drew Baker and won the Lumen Prize Immersive Environment Award in 2015; the piece is based upon the narrative of the Book of Revelation. In 2018, the work was included in the exhibition And I Will Take You to Paradise at Art Museum KUBE, Norway. Lamentation for the Forsaken was commissioned for the exhibition, Stations of the Cross, which took place in Lent, 2016; the work is described as a "new media installation that juxtaposes Christ’s suffering and journey to the cross with the anguish and plight of refugees fleeing the Syrian Civil War". The work was situated in St Stephen Walbrook as one of the fourteen locations across London in which the Stations of the Cross exhibition took place to "tell the story of the Passion in a new way, for people of different faiths". Revd. Jonathan Evens, Priest-in-charge at St Stephen Walbrook, has commented on the synergy of the church with the work in relation to matters such as lamentation and the refugee crisis.
Magruder is reported as having stated that "his practice is not in any way a religious endeavor — with artworks like Lamentation for the Fors
The 2013–14 Rubin season is the 10th successive season that the club will play in the Russian Premier League, the highest tier of association football in Russia. Kazan' played in the Russian Cup, reaching the Fifth Round, the Europa League, reaching the Round of 32 and the Russian Premier League. In December 2013, manager Kurban Berdyev was fired after 13 years with the club, being replaced by Vladimir Maminov the following month. Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality. Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality. Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality; as of match played 15 May 2014 Notes
Saint Paul's Cathedral is a cathedral church on the island of St Helena and is part of the Diocese of St Helena. It is located 2 miles south of Jamestown in the district of St Paul's, it replaced "the Country Church" which existed from the early days of St Helenian colonisation in the late 17th century. Building work on the new church began in 1850, was completed in 1851 and the church became the cathedral in 1859 when the Diocese of St Helena was established. At the time the diocese included the islands of Ascension and Tristan da Cunha, but the latter has since been transferred away, it is designated as a Grade I listed building. Nearby is Plantation House Grade I listed; the parish of St Paul's Cathedral consists of Saint Paul's Cathedral and four daughter churches: Saint Andrew's, Half Tree Hollow Saint Helena of the Cross, Blue Hill Saint Martin's in the Hills, Thompsons Hill Saint Peter's, Sandy Bay Saint James's Church - the oldest Anglican church in the southern hemisphere, situated in Jamestown Saint Matthew, Hutt's Gate Diocese of Saint Helena Parish of St Paul Plantation House with the old Country Church behind, c. 1812