Find a show you like and click the 
button. The show will be added to your My Playlist page and updated 24/7 with new videos.
Search Results
0 Views
21:07:15 01/10/12
Cuba Cuba - "We Rode": SXSW 2012 Showcasing Artist
[LESS INFO] 0 VIEWS | ADDED 21:07:15 01/10/12
Cuba Cuba - "We Rode": SXSW 2012 Showcasing Artist
Cuba Cuba are a Welsh pop-rock band from Cardiff, South Wales, formed in 2007. They are currently signed to Walnut Tree Records and are part of the Escape Artist Management roster along with fellow Welsh band Tiger Please. Critics have often compared their sound to the likes of Bloc Party, Friendly Fires, The Killers, Minus The Bear and Phoenix. They have enjoyed spot plays from BBC Radio 1 DJs Huw Stevens, Jen Long, Ally Mccrae and Bethan Elfyn as well as recording two Radio 1 Introducing live sessions in 2009 and 2011. The band have also enjoyed airtime on BBC Radio 1, BBC Radio 6, BBC Radio Wales, XFM, Nation Radio and many more outside of the UK. Tracks from their debut album have also been used on television programmes for the BBC, ITV, ESPN, S4C,WRU TV and CCFC TV. They have played support slots for such acts as Friendly Fires, The Airborne Toxic Event, Joy Formidable, Funeral For A Friend, Lights, Funeral Party as well as playing prestigious festivals such as Reading and Leeds 2011, Swn 2011, Surfstock 2009 and In The City 2009. In 2009, Cuba Cuba released their debut EP \'Tales from the Cabin\', which received positive reviews from Rock Sound, Kerrang and Big Cheese Magazines. Xtaster noted \'If they continue to build on their promising beginnings, Cuba Cuba stand every chance of being the latest Welsh export.\' In 2010 their music video for track \'Icarus\' reached No.4 in the Lava TV Top 20 Chart and No.5 in the Lava TV most requested chart. May, 2010 saw them ... From: sxsw Views: 75 3 ratings Time: 03:29 More in Music
1 Views
21:07:15 01/10/12
Cuba Cuba - "We Rode": SXSW 2012 Showcasing Artist
[LESS INFO] 1 VIEWS | ADDED 21:07:15 01/10/12
Cuba Cuba - "We Rode": SXSW 2012 Showcasing Artist
Cuba Cuba are a Welsh pop-rock band from Cardiff, South Wales, formed in 2007. They are currently signed to Walnut Tree Records and are part of the Escape Artist Management roster along with fellow Welsh band Tiger Please. Critics have often compared their sound to the likes of Bloc Party, Friendly Fires, The Killers, Minus The Bear and Phoenix. They have enjoyed spot plays from BBC Radio 1 DJs Huw Stevens, Jen Long, Ally Mccrae and Bethan Elfyn as well as recording two Radio 1 Introducing live sessions in 2009 and 2011. The band have also enjoyed airtime on BBC Radio 1, BBC Radio 6, BBC Radio Wales, XFM, Nation Radio and many more outside of the UK. Tracks from their debut album have also been used on television programmes for the BBC, ITV, ESPN, S4C,WRU TV and CCFC TV. They have played support slots for such acts as Friendly Fires, The Airborne Toxic Event, Joy Formidable, Funeral For A Friend, Lights, Funeral Party as well as playing prestigious festivals such as Reading and Leeds 2011, Swn 2011, Surfstock 2009 and In The City 2009. In 2009, Cuba Cuba released their debut EP \'Tales from the Cabin\', which received positive reviews from Rock Sound, Kerrang and Big Cheese Magazines. Xtaster noted \'If they continue to build on their promising beginnings, Cuba Cuba stand every chance of being the latest Welsh export.\' In 2010 their music video for track \'Icarus\' reached No.4 in the Lava TV Top 20 Chart and No.5 in the Lava TV most requested chart. May, 2010 saw them ... From: sxsw Views: 75 3 ratings Time: 03:29 More in Music
3 Views
18:31:59 12/29/11
New Found Glory Live in Studio B - Part 1 - Radio Surgery
[LESS INFO] 3 VIEWS | ADDED 18:31:59 12/29/11
Part 1 of New Found Glory performing live at Mevio Studios in San Francisco For the full performance CLICK HERE
New found energy, new found purpose: that's what Not Without A Fight is all about. The first New Found Glory album to bear the Epitaph logo brims with fresh promise, showcasing a band comfortable in their own skin and eager to get back to basics and present it all to the world. Not Without A Fight is arguably the strongest addition to an impressive catalog with no less than three gold records and ... some of the most memorable songs of the past decade.
Album opener "Right Where We Left Off" is an instant reminder of the keen self-awareness that endeared New Found Glory to millions of fans worldwide in the first place. And naming their album Not Without A Fight? That's a nod to that other side of the group Epitaph owner Brett Gurewitz called "the greatest pop-punk band in history," the side that is scrappy, that's from the do-it-yourself scene. The side of a band who probably never should have been lumped in with some of the more teeny-bop friendly fare they've often shared the rock radio and TRL charts with.
Lead single "Listen to Your Friends" flips the script by rocking a verse even catchier than its chorus; "I'll Never Love Again" boasts a killer singalong. "47" has a hooky scream that breaks new ground for the Florida-bred five-some while "Truck Stop Blues" summons the potent urgency of the burgeoning scene that New Found Glory arose from, recalling a bygone era when they shared small stages with their friends in Get Up Kids, Piebald and Saves The Day.
Not Without A Fight packs together the best elements of fan favorite albums like Sticks and Stones (2002) and Catalyst (2004) with a reinvigorated drive making for a declaration that's fresh and timely. There's pop, there's punk, there's crunch, there's those irrepressible melodies and Jordan Pundik's instantly recognizable voice is in fine form.
"Nobody in New Found Glory loves anything as much as this band," says guitarist Chad Gilbert, by way of explanation as to how they have managed to maintain the same lineup - Pundik, Gilbert, Steven Klein (guitar), Ian Grushka (bass) and Cyrus Bolooki (drums) - for over ten years. "You fight with your mom. You don't hang out with her all the time. But you love her! You're never going to hate her. We're family. It might sound cliche, but that's what it is."
That family first came together in Coral Springs, Florida in 1997. Nothing Gold Can Stay (1999) and New Found Glory (2000) became classics thanks to hard-touring and good natured relationship building the world over, which ensured the next two albums (Sticks and Stones and Catalyst) would both debut in the Top 5 on the Billboard 200 chart.
As happens all too often, the uber-successful and beloved band found themselves delivering Coming Home to a group of relative strangers who lacked the same investment in them as before. By 2006, many of the folks who worked with the band at the label had been replaced by new faces, from the president on down. "At major labels, people are always losing their jobs," Gilbert points out. "Someone can love your band one week and the next week that person is fired."
With their recording contract fulfilled and in between management, New Found Glory seized the opportunity to have some fun while weighing their options, releasing From the Screen to Your Stereo Part II (something their most ardent supporters had demanded for years) and a split EP with their alter-ego, International Superheroes Of Hardcore.
"It brought this different attention to our band that we hadn't had in a while," Gilbert says. "Through the major label years, some of those lines got blurred because of some of the things the label did representing our band. With the release on Bridge 9 Records, we were able to do things how we wanted to do them. It was awesome."
In the midst of all of this, the band continued to write their next album, which they ultimately decided to record before choosing a new label. That's where +44 / Blink 182's Mark Hoppus came in, agreeing to produce Not Without A Fight at the studio he co-owns with Travis Barker. "He's an old friend of ours," Gilbert explains. "We had no money to make the record so we wanted someone with the confidence to do the album for free and get reimbursed later."
Eventually, of course, the label situation needed sorted out, as the guys in New Found Glory have no desire to be in any kind of "business" other than than business of writing great songs, recording them and playing them live. "When we announced that we were no longer signed to Geffen two years ago, Brett Gurewitz was the first one to call me," Gilbert remembers. "'People at Epitaph are all music fans and have their shit together."
And as for that spectacular accolade from the man running their new record label home? "It's crazy!" Chad says, laughing. "The Descendents could take that crown way before we could, or Screeching Weasel, or Green Day. I don't know why he said that! He's crazy. It's flattering. It's really flattering. But I don't know what to say!"
New Found Glory's first Epitaph album has no guest appearances, no frills, nothing but fantastic songs and powerful performances. "If you really listen to our music, you can't pigeonhole it. We play music that we love." Not Without A Fight is alternately the band's most streamlined and direct but powerful and broad album thus far.
"New Found Glory is back to where we want it to be: we tour, we play music and it's from the heart." http://www.newfoundglory.com
http://www.myspace.com/newfoundglory
http://www.newfoundglorystuff.com
http://www.steveisthereason.tumblr.com
http://www.twitter.com/xchadballx
http://www.twitter.com/boomersaveus
http://www.twitter.com/steveisdareason
2 Views
18:27:42 12/29/11
New Found Glory Live in Studio B - Part 2 - Anthem For The Unwanted
[LESS INFO] 2 VIEWS | ADDED 18:27:42 12/29/11
Part 2 of New Found Glory performing live at Mevio Studios in San Francisco For the full performance CLICK HERE
New found energy, new found purpose: that's what Not Without A Fight is all about. The first New Found Glory album to bear the Epitaph logo brims with fresh promise, showcasing a band comfortable in their own skin and eager to get back to basics and present it all to the world. Not Without A Fight is arguably the strongest addition to an impressive catalog with no less than three gold records and ... some of the most memorable songs of the past decade.
Album opener "Right Where We Left Off" is an instant reminder of the keen self-awareness that endeared New Found Glory to millions of fans worldwide in the first place. And naming their album Not Without A Fight? That's a nod to that other side of the group Epitaph owner Brett Gurewitz called "the greatest pop-punk band in history," the side that is scrappy, that's from the do-it-yourself scene. The side of a band who probably never should have been lumped in with some of the more teeny-bop friendly fare they've often shared the rock radio and TRL charts with.
Lead single "Listen to Your Friends" flips the script by rocking a verse even catchier than its chorus; "I'll Never Love Again" boasts a killer singalong. "47" has a hooky scream that breaks new ground for the Florida-bred five-some while "Truck Stop Blues" summons the potent urgency of the burgeoning scene that New Found Glory arose from, recalling a bygone era when they shared small stages with their friends in Get Up Kids, Piebald and Saves The Day.
Not Without A Fight packs together the best elements of fan favorite albums like Sticks and Stones (2002) and Catalyst (2004) with a reinvigorated drive making for a declaration that's fresh and timely. There's pop, there's punk, there's crunch, there's those irrepressible melodies and Jordan Pundik's instantly recognizable voice is in fine form.
"Nobody in New Found Glory loves anything as much as this band," says guitarist Chad Gilbert, by way of explanation as to how they have managed to maintain the same lineup - Pundik, Gilbert, Steven Klein (guitar), Ian Grushka (bass) and Cyrus Bolooki (drums) - for over ten years. "You fight with your mom. You don't hang out with her all the time. But you love her! You're never going to hate her. We're family. It might sound cliche, but that's what it is."
That family first came together in Coral Springs, Florida in 1997. Nothing Gold Can Stay (1999) and New Found Glory (2000) became classics thanks to hard-touring and good natured relationship building the world over, which ensured the next two albums (Sticks and Stones and Catalyst) would both debut in the Top 5 on the Billboard 200 chart.
As happens all too often, the uber-successful and beloved band found themselves delivering Coming Home to a group of relative strangers who lacked the same investment in them as before. By 2006, many of the folks who worked with the band at the label had been replaced by new faces, from the president on down. "At major labels, people are always losing their jobs," Gilbert points out. "Someone can love your band one week and the next week that person is fired."
With their recording contract fulfilled and in between management, New Found Glory seized the opportunity to have some fun while weighing their options, releasing From the Screen to Your Stereo Part II (something their most ardent supporters had demanded for years) and a split EP with their alter-ego, International Superheroes Of Hardcore.
"It brought this different attention to our band that we hadn't had in a while," Gilbert says. "Through the major label years, some of those lines got blurred because of some of the things the label did representing our band. With the release on Bridge 9 Records, we were able to do things how we wanted to do them. It was awesome."
In the midst of all of this, the band continued to write their next album, which they ultimately decided to record before choosing a new label. That's where +44 / Blink 182's Mark Hoppus came in, agreeing to produce Not Without A Fight at the studio he co-owns with Travis Barker. "He's an old friend of ours," Gilbert explains. "We had no money to make the record so we wanted someone with the confidence to do the album for free and get reimbursed later."
Eventually, of course, the label situation needed sorted out, as the guys in New Found Glory have no desire to be in any kind of "business" other than than business of writing great songs, recording them and playing them live. "When we announced that we were no longer signed to Geffen two years ago, Brett Gurewitz was the first one to call me," Gilbert remembers. "'People at Epitaph are all music fans and have their shit together."
And as for that spectacular accolade from the man running their new record label home? "It's crazy!" Chad says, laughing. "The Descendents could take that crown way before we could, or Screeching Weasel, or Green Day. I don't know why he said that! He's crazy. It's flattering. It's really flattering. But I don't know what to say!"
New Found Glory's first Epitaph album has no guest appearances, no frills, nothing but fantastic songs and powerful performances. "If you really listen to our music, you can't pigeonhole it. We play music that we love." Not Without A Fight is alternately the band's most streamlined and direct but powerful and broad album thus far.
"New Found Glory is back to where we want it to be: we tour, we play music and it's from the heart." http://www.newfoundglory.com
http://www.myspace.com/newfoundglory
http://www.newfoundglorystuff.com
http://www.steveisthereason.tumblr.com
http://www.twitter.com/xchadballx
http://www.twitter.com/boomersaveus
http://www.twitter.com/steveisdareason
2 Views
18:18:46 12/29/11
New Found Glory - Live in Studio B Part 3 - My Friends Over You
[LESS INFO] 2 VIEWS | ADDED 18:18:46 12/29/11
Part 3 of New Found Glory performing live at Mevio Studios in San Francisco For the full performance CLICK HERE
New found energy, new found purpose: that's what Not Without A Fight is all about. The first New Found Glory album to bear the Epitaph logo brims with fresh promise, showcasing a band comfortable in their own skin and eager to get back to basics and present it all to the world. Not Without A Fight is arguably the strongest addition to an impressive catalog with no less than three gold records and ... some of the most memorable songs of the past decade.
Album opener "Right Where We Left Off" is an instant reminder of the keen self-awareness that endeared New Found Glory to millions of fans worldwide in the first place. And naming their album Not Without A Fight? That's a nod to that other side of the group Epitaph owner Brett Gurewitz called "the greatest pop-punk band in history," the side that is scrappy, that's from the do-it-yourself scene. The side of a band who probably never should have been lumped in with some of the more teeny-bop friendly fare they've often shared the rock radio and TRL charts with.
Lead single "Listen to Your Friends" flips the script by rocking a verse even catchier than its chorus; "I'll Never Love Again" boasts a killer singalong. "47" has a hooky scream that breaks new ground for the Florida-bred five-some while "Truck Stop Blues" summons the potent urgency of the burgeoning scene that New Found Glory arose from, recalling a bygone era when they shared small stages with their friends in Get Up Kids, Piebald and Saves The Day.
Not Without A Fight packs together the best elements of fan favorite albums like Sticks and Stones (2002) and Catalyst (2004) with a reinvigorated drive making for a declaration that's fresh and timely. There's pop, there's punk, there's crunch, there's those irrepressible melodies and Jordan Pundik's instantly recognizable voice is in fine form.
"Nobody in New Found Glory loves anything as much as this band," says guitarist Chad Gilbert, by way of explanation as to how they have managed to maintain the same lineup - Pundik, Gilbert, Steven Klein (guitar), Ian Grushka (bass) and Cyrus Bolooki (drums) - for over ten years. "You fight with your mom. You don't hang out with her all the time. But you love her! You're never going to hate her. We're family. It might sound cliche, but that's what it is."
That family first came together in Coral Springs, Florida in 1997. Nothing Gold Can Stay (1999) and New Found Glory (2000) became classics thanks to hard-touring and good natured relationship building the world over, which ensured the next two albums (Sticks and Stones and Catalyst) would both debut in the Top 5 on the Billboard 200 chart.
As happens all too often, the uber-successful and beloved band found themselves delivering Coming Home to a group of relative strangers who lacked the same investment in them as before. By 2006, many of the folks who worked with the band at the label had been replaced by new faces, from the president on down. "At major labels, people are always losing their jobs," Gilbert points out. "Someone can love your band one week and the next week that person is fired."
With their recording contract fulfilled and in between management, New Found Glory seized the opportunity to have some fun while weighing their options, releasing From the Screen to Your Stereo Part II (something their most ardent supporters had demanded for years) and a split EP with their alter-ego, International Superheroes Of Hardcore.
"It brought this different attention to our band that we hadn't had in a while," Gilbert says. "Through the major label years, some of those lines got blurred because of some of the things the label did representing our band. With the release on Bridge 9 Records, we were able to do things how we wanted to do them. It was awesome."
In the midst of all of this, the band continued to write their next album, which they ultimately decided to record before choosing a new label. That's where +44 / Blink 182's Mark Hoppus came in, agreeing to produce Not Without A Fight at the studio he co-owns with Travis Barker. "He's an old friend of ours," Gilbert explains. "We had no money to make the record so we wanted someone with the confidence to do the album for free and get reimbursed later."
Eventually, of course, the label situation needed sorted out, as the guys in New Found Glory have no desire to be in any kind of "business" other than than business of writing great songs, recording them and playing them live. "When we announced that we were no longer signed to Geffen two years ago, Brett Gurewitz was the first one to call me," Gilbert remembers. "'People at Epitaph are all music fans and have their shit together."
And as for that spectacular accolade from the man running their new record label home? "It's crazy!" Chad says, laughing. "The Descendents could take that crown way before we could, or Screeching Weasel, or Green Day. I don't know why he said that! He's crazy. It's flattering. It's really flattering. But I don't know what to say!"
New Found Glory's first Epitaph album has no guest appearances, no frills, nothing but fantastic songs and powerful performances. "If you really listen to our music, you can't pigeonhole it. We play music that we love." Not Without A Fight is alternately the band's most streamlined and direct but powerful and broad album thus far.
"New Found Glory is back to where we want it to be: we tour, we play music and it's from the heart." http://www.newfoundglory.com
http://www.myspace.com/newfoundglory
http://www.newfoundglorystuff.com
http://www.steveisthereason.tumblr.com
http://www.twitter.com/xchadballx
http://www.twitter.com/boomersaveus
http://www.twitter.com/steveisdareason
1 Views
17:17:37 12/29/11
New Found Glory - Live In Studio B
[LESS INFO] 1 VIEWS | ADDED 17:17:37 12/29/11
New Found Glory performs live at Mevio Studios in San Francisco
New found energy, new found purpose: that's what Not Without A Fight is all about. The first New Found Glory album to bear the Epitaph logo brims with fresh promise, showcasing a band comfortable in their own skin and eager to get back to basics and present it all to the world. Not Without A Fight is arguably the strongest addition to an impressive catalog with no less than three gold records and ... some of the most memorable songs of the past decade.
Album opener "Right Where We Left Off" is an instant reminder of the keen self-awareness that endeared New Found Glory to millions of fans worldwide in the first place. And naming their album Not Without A Fight? That's a nod to that other side of the group Epitaph owner Brett Gurewitz called "the greatest pop-punk band in history," the side that is scrappy, that's from the do-it-yourself scene. The side of a band who probably never should have been lumped in with some of the more teeny-bop friendly fare they've often shared the rock radio and TRL charts with.
Lead single "Listen to Your Friends" flips the script by rocking a verse even catchier than its chorus; "I'll Never Love Again" boasts a killer singalong. "47" has a hooky scream that breaks new ground for the Florida-bred five-some while "Truck Stop Blues" summons the potent urgency of the burgeoning scene that New Found Glory arose from, recalling a bygone era when they shared small stages with their friends in Get Up Kids, Piebald and Saves The Day.
Not Without A Fight packs together the best elements of fan favorite albums like Sticks and Stones (2002) and Catalyst (2004) with a reinvigorated drive making for a declaration that's fresh and timely. There's pop, there's punk, there's crunch, there's those irrepressible melodies and Jordan Pundik's instantly recognizable voice is in fine form.
"Nobody in New Found Glory loves anything as much as this band," says guitarist Chad Gilbert, by way of explanation as to how they have managed to maintain the same lineup - Pundik, Gilbert, Steven Klein (guitar), Ian Grushka (bass) and Cyrus Bolooki (drums) - for over ten years. "You fight with your mom. You don't hang out with her all the time. But you love her! You're never going to hate her. We're family. It might sound cliche, but that's what it is."
That family first came together in Coral Springs, Florida in 1997. Nothing Gold Can Stay (1999) and New Found Glory (2000) became classics thanks to hard-touring and good natured relationship building the world over, which ensured the next two albums (Sticks and Stones and Catalyst) would both debut in the Top 5 on the Billboard 200 chart.
As happens all too often, the uber-successful and beloved band found themselves delivering Coming Home to a group of relative strangers who lacked the same investment in them as before. By 2006, many of the folks who worked with the band at the label had been replaced by new faces, from the president on down. "At major labels, people are always losing their jobs," Gilbert points out. "Someone can love your band one week and the next week that person is fired."
With their recording contract fulfilled and in between management, New Found Glory seized the opportunity to have some fun while weighing their options, releasing From the Screen to Your Stereo Part II (something their most ardent supporters had demanded for years) and a split EP with their alter-ego, International Superheroes Of Hardcore.
"It brought this different attention to our band that we hadn't had in a while," Gilbert says. "Through the major label years, some of those lines got blurred because of some of the things the label did representing our band. With the release on Bridge 9 Records, we were able to do things how we wanted to do them. It was awesome."
In the midst of all of this, the band continued to write their next album, which they ultimately decided to record before choosing a new label. That's where +44 / Blink 182's Mark Hoppus came in, agreeing to produce Not Without A Fight at the studio he co-owns with Travis Barker. "He's an old friend of ours," Gilbert explains. "We had no money to make the record so we wanted someone with the confidence to do the album for free and get reimbursed later."
Eventually, of course, the label situation needed sorted out, as the guys in New Found Glory have no desire to be in any kind of "business" other than than business of writing great songs, recording them and playing them live. "When we announced that we were no longer signed to Geffen two years ago, Brett Gurewitz was the first one to call me," Gilbert remembers. "'People at Epitaph are all music fans and have their shit together."
And as for that spectacular accolade from the man running their new record label home? "It's crazy!" Chad says, laughing. "The Descendents could take that crown way before we could, or Screeching Weasel, or Green Day. I don't know why he said that! He's crazy. It's flattering. It's really flattering. But I don't know what to say!"
New Found Glory's first Epitaph album has no guest appearances, no frills, nothing but fantastic songs and powerful performances. "If you really listen to our music, you can't pigeonhole it. We play music that we love." Not Without A Fight is alternately the band's most streamlined and direct but powerful and broad album thus far.
"New Found Glory is back to where we want it to be: we tour, we play music and it's from the heart." http://www.newfoundglory.com
http://www.myspace.com/newfoundglory
http://www.newfoundglorystuff.com
http://www.steveisthereason.tumblr.com
http://www.twitter.com/xchadballx
http://www.twitter.com/boomersaveus
http://www.twitter.com/steveisdareason
0 Views
01:20:06 06/27/10
Mrh Issue 8 Building A Timbered Grade Crossing
[LESS INFO] 0 VIEWS | ADDED 01:20:06 06/27/10
Charlie Comstock builds a timbered grade crossing in Oakhill on his HO Bear Creek and South Jackson, as part 1 of the Modeling a Creek series in his Up the Creek column in Model Railroad Hobbyist magazine, Issue 8
10 Views
17:46:49 04/11/10
Date Night starring - Steve Carell and Tina Fey
[LESS INFO] 10 VIEWS | ADDED 17:46:49 04/11/10
Action-comedy maestro Shawn Levy, the director of the blockbuster “Night at the Museum” franchise, teams up with two of the comedy world’s biggest talents, Steve Carell (“The 40 Year Old Virgin,” “The Office”) and Tina Fey (“Baby Mama,” “30 Rock,” “SNL”) for an adventure that turns a run-of-the-mill married couple’s date upside down – way upside down, in DATE NIGHT.
Phil (Carell) and Claire Foster (Fey) are a sensible, loving couple with two kids and a house in suburban New Jersey. The Fosters have their weekly “date night” – an attempt at re-experiencing the spice of the dates of yesteryear, involving the same weekly night out at the local Teaneck Tavern. Their conversations quickly drift from barely-date talk to the same chore-chat they have at the dinner table at home. Exhausted from their jobs and kids, their dates rarely end in fore- or any other kind of play, let alone romance.
After seeing two of their best friends – another married couple with kids in suburban New Jersey – split apart from living the same life they themselves lead, Phil and Claire begin to fear what may lie ahead: a state of bland indifference and eventual separation.
In an attempt to take date night off auto-pilot, and hopefully inject a little spice into their lives, Phil decides a change of plans is in order: take Claire into Manhattan to the city’s hottest new restaurant. The Fosters, however, don’t have reservations. Hoping to be seated sometime before the clock strikes twelve, they steal a no-show couple’s reservations. What could it hurt? Phil and Claire are now the Tripplehorns.
The real Tripplehorns, however, it turns out, are a thieving couple who are being hunted down by a pair of corrupt cops for having stolen property from some very dangerous people. Forced on the run before they’ve even finished their risotto, Phil and Claire soon realize that their play-date-for-parents has gone hilariously awry, as they embark on a wild and dangerous series of crazy adventures to save their lives. . . and their marriage.
The ritual “date night” dinner is something all too familiar to most married couples – even directors of blockbuster movies. “I was in the process of making the second Night at the Museum film,” recalls filmmaker Shawn Levy, “and, as is kind of our ritual, once a week, my wife and I go out to dinner.”
At one such dinner, the Levys found themselves sitting at the restaurant they frequented, ordering the same food, talking about the kids, what’s coming up that weekend, who’s going to buy the gift for which birthday party, etc., etc. “In the middle of all that, I said to my wife, ‘Wouldn’t it be cool to do a movie about a date night, where you just did one thing differently? And, from there, you have an unraveling of everything, to the point of it threatening your life and your marriage, with all kinds of crazy stuff going on. But, in the midst of all that crazy stuff, you end up recapturing the vitality that date night was invented in the first place to preserve.’”
The next morning, Levy came in to his production company office and told his staff, “Okay, we’re going to do a movie called DATE NIGHT, and here’s what it’s about, and let’s get a writer. Let’s go.”
Levy’s search for a writer didn’t take very long. “I had written a small, quirky film, called ‘(Saint) Peter,’ which Shawn had read and fell in love with, recalls screenwriter Josh Klausner. “Shawn was determined to find something for us to work on together. He very graciously took a big chance and had me fly out, and we started brainstorming.”
Levy and Klausner met at Levy’s bungalow on the Fox lot, where they quickly broke the story. “We are both in the same stage of life,” Klausner says. “We both have children and go out on date nights, knowing what they’re supposed to be, but realizing they never end up being that anymore because there are so many other things that get in the way. So we started talking about those experiences.”
“We talked about our marriages,” Levy adds. “And we found that there are certain commonalities in trying to sustain a vibrant, romantic relationship,” and not simply becoming roommates. “It’s the question of in the midst of grownup life, how do you keep couple-hood fresh?”
DATE NIGHT was originally conceived as more of a suburban story centered around a parent-teacher conference night, but quickly evolved into, as Klausner calls it, “the perfect ‘North by Northwest’ setup” of mistaken identity.
“Shawn and I really wanted what spurs on the evening to be something that we all might do,” Klausner continues. “Phil and Claire simply can’t get a seat at a restaurant, and, since nobody’s answering the call for a reservation, they just decide, ‘What’s the harm in taking it?’ And it leads them down the rabbit hole. From there, they end up on the worst night of their lives, which ends up being the best night for their relationship.”
Levy describes the film as being “in the spirit of action comedies I remember fondly, like ‘Beverly Hills Cop’ or ‘48 Hrs.’ DATE NIGHT has a real hybrid tone, because it’s first and foremost a comedy. It also has a hefty dose of action, as well as a lot of heart, because it’s about the things that people deal with in relationships.”
For Levy, DATE NIGHT is a change from the family-friendly hits he’s helmed, like “Cheaper by the Dozen,” “Pink Panther” and “Night at the Museum.” DATE NIGHT is more of an adult-skewing comedy,” Levy points out. “In a way, it’s the other side of the movies I’ve done, which have been focused on the child-parent relationships. DATE NIGHT is focused on the marriage side – what happens after the children go to sleep.”
Levy was keen to keep the emotional side of the story intact through the mayhem experienced by the characters. “If you’re making a movie about relationships and being a married couple, it must be more than just funny, because life doesn’t work that way,” the director explains. “This movie has some surprising moments of poignancy.”
“A lot of comedies these days feel like a compendium of gags tied together to follow a narrative story,” notes Klausner. “DATE NIGHT, at its heart, is about marriage and being in love with somebody, but at the same time, life gets in the way. It’s honest, which is something Steve and Tina wanted, too. I’m proud that this movie has preserved that soul.”
When Levy learned that Steve Carell and Tina Fey were hoping to find a project on which they could work together, he knew he had found his DATE NIGHT duo. “We got an early draft of the screenplay to Tina and Steve, who always struck me as the dream pairing for a movie about marriage,” Levy says. “They said, ‘Yeah, we relate to this, we want to do an action comedy that’s also honest about relationships.’ So they said they were in.”
While Levy usually takes a break between completing one feature and beginning the next, he found himself prepping DATE NIGHT while editing “Night at the Museum: Battle of the Smithsonian,” in order to take advantage of his stars’ availability. “Steve’s and Tina’s series commitments [on, respectively, “The Office” and “30 Rock”] provides only a limited window for feature film work,” Levy explains. “They told us, ‘Look, we want to do this, but we’re free now, and we’re not going to be free in six months – what do we do?’ I said, ‘Well, we make the movie right now!’ I didn’t get a break between films, but I got a comedy with Steve Carell and Tina Fey, who are two of the most intelligent, interesting people working in comedy today. So a lot of my job was to come up with the idea, get the two perfect actors for the movie, and then get the hell out of the way.”
While slight alterations to the script were made to match the stars’ comedic voices, DATE NIGHT was essentially tailor-made for the pair. “It felt like the film was written for them,” says Klausner. Adds Levy: “Three minutes into this movie, you buy Steve and Tina as a married couple. They have a powerful chemistry together. They clicked completely on screen.”
Phil, says Carell, “feels underappreciated by his friends and family, but he sort of keeps that feeling close to his chest. He’s a very loving guy, but he and Claire have reached a plateau in their relationship. He needs to snap himself out of it, if possible. And the night that he and Claire experience together is a defibrillator for their marriage.”
Carell’s comedic skills, along with his ability to stir audiences’ hearts, made him the perfect choice for the role, Levy says. “Steve is super funny, and his chops as an actor are fantastic. He not only carries entire comedy sequences on his back, but three scenes later, he’s moving you to an emotional place with such sincerity and nuance. There’s no end to what he can do.”
Carell says his own date nights, like Phil Foster’s (and Levy’s and Klausner’s), leave much to be desired. “Sometimes the worst part of date night is actually leaving for the date – when you see your babysitter sitting down, getting all cozy, turning on the TV. That sometimes seems much better than the night that lies ahead.”
Fey, like Carell, has the ability to be riotously funny while still portraying the emotional side of her character realistically – to turn down the volume on jokes and simply allow them to happen. For example, in response to a nudge for sex from her husband, Fey’s Claire offers a very normal, ‘Yeah, hang on a minute” moment as she pulls out her dental mouth guard in preparation for sex with her husband, with enough drool to instantly turn off her mate.
“Besides being obviously really pretty and intelligent, Tina has a complete willingness to make an ass out of herself,” says Levy. She’s completely up for goofing on herself and being the butt of the joke, and that’s very charming.”
Fey describes Claire as “a working mom of two kids, who, like almost everyone I know, is just a little worn out by the day-to-day life of raising your kids, getting them out the door, getting them to school, having a job, keeping a house clean. She’s a good person who is just kind of worn into the ground a little bit. I certainly identify with how just physically tiring it is to be a parent and have a job – sometimes it feels like a real effort to just be present for your spouse.”
So which would be scarier – being in a boring marriage or being chased by the mob (both of which the Fosters experience in the film)? “I would say that being married to a person in the mob would be the scariest,” Fey jokes.
Along their night-from-hell journey, Phil and Claire encounter a cavalcade of characters on both sides of the law. Levy’s casting choices for these roles was sometimes unexpected – and always spot-on. His intent was to provide the story with a “Wizard of Oz”-like experience. “You’re with your heroes, but along the way, they’re being affected and changed by the people they meet, and I just thought wouldn’t it be fun if at every turn of the road, you’re surprised all over again by who has suddenly appeared in this movie. And the cast members fit the roles perfectly.”
The surprise apparently wasn’t limited to the audience. “I read the script,” says Fey,” and I thought, ‘Oh, these are really good parts for somebody.’ I never thought we would get this lucky to have that caliber of people in all these different parts.” Having what otherwise would have appeared to be small roles portrayed by big name actors only helps bring them alive, Carell notes. “When you see them acted out, they’re even better than they were on the page.”
And getting high-powered stars to join the DATE NIGHT team wasn’t just a matter of coincidence. “So many people were so keen to find a way to work with Steve and Tina – they just found a way to make it work,” says Levy.
Mark Wahlberg portrays a former real estate client of Claire’s the pair turns to in the middle of the night. “I play a guy named Holbrooke Grant, who is a security expert who Claire and Phil come to for help,” Wahlberg explains. “They just catch Holbrooke at a bad time – he’s with his beautiful Israeli girlfriend.” The pair ends up turning Holbrooke’s night upside down, as well.
Wahlberg had the simplest costume in the entire cast. “There is no wardrobe – just a pair of silk genie pants,” he recalls, noting that he regularly found himself freezing on the air-conditioned set. That the top half of his costume was missing (except for an ample supply of makeup covering Wahlberg’s countless tattoos), was a fact not lost on the female members of the cast and crew. “Mark was shirtless for three or four days,” Fey says, prompting a noticeable increase in the number of women who suddenly had additional tasks to address on set on the days he was on the job. “I had friends texting me, ‘Can I get on the Fox lot and visit you today?’” Fey laughs.
Also coming to the aid of the beleaguered couple is Taraji P. Henson, an Oscar® nominee for her work in “The Curious Case of Benjamin Button,” who plays NYPD Detective Arroyo, who, though she doesn’t exactly believe the Fosters “chased by bad guys” story, begins to become suspicious of a couple of her colleagues. “She’s sort of a hero,” the actress says.
Playing thugs Collins and Armstrong, who are after the Fosters (whom they believe are the Tripplehorns) are Common and Jimmi Simpson. Common is a familiar face to audiences for his role as a murderous cop in “Street Kings” and for his work as a musical artists (his hits include “Love of My Life” and “Testify”). Simpson has made occasional appearances as Lyle the Intern on “The Late Show with David Letterman.”
Common describes the duo as “one of the many catalysts to get this mundane couple out of their comfort zone – mainly by shooting guns at them.” The two are essentially hunters, he adds, noting, “I’m the muscle.”
Collins and Armstrong’s formidable boss is gangster Joe Miletto, from whom the Tripplehorns have apparently stolen something of importance that he wants back. The casting of acclaimed actor Ray Liotta as Miletto delighted Carell and Fey. “We were shooting a scene with Ray one night,” recalls Carell, “and Tina looked over and said, ‘I feel like I am in a 3D version of ‘Goodfellas. Ray Liotta is actually walking up and talking to me.’ It was like a ride at a theme park.”
Playing a heavy in a comedy, particularly for actors used to appearing in dramatic films, requires a special knack, one which DATE NIGHT’s group of toughs embraced with gusto.
“It’s really in the writing, so it’s dependent on your commitment to it,” explains Liotta. “If the situation’s just a little more heightened, you’re going to laugh.” Common agrees: “Shawn expressed to us from the beginning – you’ve got to keep it real. The more real it becomes – because you’re playing off Steve and Tina – the funnier it becomes.”
Portraying the “real” Tripplehorns – actually a drug dealer named Taste and his wacky stripper girlfriend, Whippit – are James Franco and Mila Kunis. Despite their different life circumstances, the pair has much in common with the Fosters, being in the same spot in their relationship as their clean-cut counterparts. Notes Josh Klausner: “Whether you’re a drug dealer or a suburban husband, you still feel the pangs of ‘You never look at me the way you used to’ and ‘You don’t have time for me.’ What the two couples are going through is exactly the same,” making the exchanges between the two couples both hilarious and poignant at the same time.
Kunis describes the pair as “very passionate – when they’re angry, they’re very angry, and when they’re happy, they’re madly in love.” Whippit, specifically, she describes as a “psycho, who is very up and down. She goes through three different emotions within two and a half script pages.”
The name “Taste,” Franco says, is left over from an earlier concept of the character – a 6 ft. 7 in. bald man with “TASTE” tattooed on his forehead. “So when they asked me to be in the movie, I said, ‘Well, I’m certainly not that.’” The character’s description was then rewritten, but the name stuck. “I was up for facial tattoos, too,” Franco says with a laugh. “We just went for the cheesy ‘Grim Reaper.’”
Kristen Wiig and Mark Ruffalo play the Fosters soon-to-be-splitting couple friends, Haley and Brad Sullivan. “Their parting brings up the question about getting bored with your spouse and moving on, or just sticking it out,” says Wiig. “I think Haley plants the seeds in Claire’s mind.”
Also taking on key roles are “Gossip Girl’s” Leighton Meester as the Fosters’ babysitter Katy, and “The Dark Knight’s” William Fichtner as district attorney Frank Crenshaw.
All the cast members appreciated Levy’s ability to balance action and comedy, which in turn allowed his actors the freedom to come up with their own gags. “That’s the only way you can afford to have time to play around or to improvise and do extra takes,” notes Fey. “That only happens if everyone – especially your director – really knows what they’re doing.”
For Levy, there’s a method to the potential madness of improv. “Sometimes, after we’d get what I want, Steve and Tina would come to me and say, ‘You know what? Could I get one more take? I’ve got an idea that might lead somewhere.’ Sometimes we couldn’t use it, but more often than not, it was gold and it ended up in the movie,” such as the duo’s restaurant shenanigans game of guessing what’s up with the couple sitting across the way.
“Every person in any field wants to go to work and feel respected for what they do,” says the director. “So when you say to an actor, ‘We’re going to do the script that I’ve written for you, but I want to hear what’s in your head. I actually think that the ideas you come up with might be as legitimate or better than what we scripted,’ it makes your actors feel like partners and collaborators, and not mouthpieces. It makes them feel like part of the creative team, rather than a piece of machinery.”
MEET THE TWINS
While attempting to escape their pursuers, the Fosters “borrow” Holbrooke Grant’s car, the much-too-powerful-for-Phil Audi R8. When Phil inadvertently smashes into a taxi cab, the two vehicles’ bumpers become hopelessly locked together. Nonetheless, the chase continues, the conjoined twin automobiles smashing their way down Manhattan streets.
The complicated sequence came about when Levy and Klausner were brainstorming ideas for a chase scene. Concerned about repeating the oft-used, cliché urban car chase, Klausner recalls, “I remember sitting in a room with Shawn, telling him, ‘You know, do we really have to do a car chase, because how many times have we seen a car chase in these movies? How interesting can that be?’”
Levy then related to his writer a story from his teenage years. “He was just learning to drive, and was trying to park, but he ended up smashing into another car in front of him and getting stuck on that car. His father just drove by and shook his head.” Thus was born the idea of conjoined cars.
But just having two cars barreling down the street wasn’t enough. “Shawn wanted to do something that nobody had ever seen before,” says 2nd unit director and stunt coordinator Jack Gill, who planned and executed the sequence. “Once we got the basic idea of conjoining the cars, we began figuring out not only how to build the cars, but how to make it work comically. I then started adding eccentricities, like spinning them around in circles and having characters fire guns at them.”
Besides having six different cars that, each of which handled a specific aspect of the chase stunts, Gill built a 40 foot frame, upon which the Audi and cab bodies were placed. “So there’s just one rigid frame,” he explains. The stunt driver was situated at the leading end of the conjoined vehicles. “So when the cab is facing forwards, with the Audi ahead of it facing the wrong way, the stunt driver is actually driving from inside the Audi’s trunk, looking out the back so he can see where he’s going and drive around corners.” In addition, for most shots, the rig’s rear wheels – those under the rear end of the conjoined vehicles – could also steer, in the same manner as those of a hook-and-ladder fire truck.
Needless to say, don’t try this at home on your own Manhattan street.
New York City ordinances limited the production to the types of stunts that could be filmed on Manhattan streets. So following a week of night work in New York, the stunt team moved to downtown Los Angeles to complete the sequence.
“We had about six blocks to work with on Broadway, which was great,” Gill recalls. “We needed a long stretch locked down, because when you conjoin two cars together, you’ve got a thing that’s forty feet long – getting it up to speed and shutting it all down can be tough. You can’t just do it in two blocks.” The sequence was filmed with up to six cameras, including a special “balloon cam,” with wheeled buoys on each corner, which allowed the camera to be sent into the path of the speeding car pair and getting hit head-on, without damaging expensive camera equipment.
Carell did actually drive the R8 himself for a number of shots. “We wanted the car to have way too much power for a guy like Phil to handle,” says Gill. “So I asked Audi to disconnect the all-wheel drive, which meant putting all 560 horsepower into the rear wheels.” So what was Carell’s impression? “He said it felt like somebody hitting him in the back of the head with a shovel when he stepped on the gas.”
In one shot, Phil must make his way to the cab while Claire is driving the Audi at high speed. “We did all the transfers across the hood with doubles – that was all real,” notes Gill.
Close-ups of Carell and Fey were done against a green screen set at Twentieth Century Fox. Since the chase acrobatics had already been filmed, besides their scripted lines, Carell and Fey filled in the gaps with their gut-busting ad-libs. “I’d show them footage and explain to them, ‘Here’s what we did last week downtown with the real cars – what do you think?’” Gill says. “And we’d bounce off ideas until something really clicked. And then Shawn was always there to say, ‘You’re right on track here – that’s really funny!’ It really helps when you have a collaboration where everybody can talk ideas out.”
Even with all the excitement, Levy kept the scene’s theme on track. “Once we had the concept of having the two cars stuck together, then we could find a way to thematically tie it in to what the movie’s about, which is this couple that has to learn to communicate to survive,” he explains.
Indeed, even with all that happens to them on this fateful night, the Fosters achieve their goal: to reinvigorate their relationship and reconnect with the love and excitement that brought them together in the first place.
“DATE NIGHT is kind of like a fable,” says Levy. “It takes place over a very short period of time, but in some way, it’s timeless, because it’s a story about a journey two people make in their relationship. And we leave the night feeling like they will go back to their lives and no one except for the people involved that night might ever know what happened. We’ve watched them experience this crazy night, but the real adventure of their married life, now that they’ve found each other again, is just about to begin.”
“They’re comfortable enough again with each other to be able to say ‘Knock it off’ and ‘I love you’ within the same five minutes,” says Steve Carell.
Tina Fey has just one last piece of relationship advice: “Go on a date night and see DATE NIGHT.”
ABOUT THE CAST
STEVE CARELL (Phil Foster) has emerged as one of the most sought-after comedic actors in Hollywood. First gaining recognition for his contributions as a correspondent on Comedy Central’s Emmy® Award-winning “The Daily Show with Jon Stewart,” Carell has successfully segued into primetime television and above-the-title status in the film world with equal aplomb.
Carell currently stars as Michael Scott, the pompous and deluded boss of a Pennsylvania paper company, in the Americanized adaptation of Ricky Gervais’ acclaimed British television series “The Office.” Now in its sixth season, the show continues to flourish in ratings and has earned Carell three Emmy Award nominations and four Golden Globe® nominations for his work on the show, and earned the Golden Globe in 2006. In the last two years, the show has won the Screen Actors Guild Award® for Outstanding Performance by an Ensemble in a Comedy Series.
Carell opened his first lead feature, “The 40-Year-Old Virgin,” which he co-wrote with director Judd Apatow, at #1, a spot it remained in for two straight weekends. The surprise hit of 2005 went on to gross more than $175 million worldwide and had #1 openings in 12 countries. The film generated over $100 million in DVD sales in North America alone. On an award level, the film was honored with an AFI Award® named one of 10 Most Outstanding Motion Pictures of the Year and took home Best Comedy Movie at the 11th annual Critics’ Choice Awards®. The film also earned Carell and Apatow a co-nomination for Best Original Screenplay by the Writers Guild Association.
In 2008, Carell starred as Maxwell Smart in the much-anticipated action-comedy “Get Smart,” opposite Anne Hathaway and Alan Arkin. The film grossed over $230 million worldwide. A sequel is due in 2011. He also lent his voice as “The Mayor of Whoville” in Twentieth Century Fox’s animated film “Dr. Seuss’ Horton Hears a Who!” based on the children’s book written by Dr. Seuss. Directed by Jimmy Hayward (“Finding Nemo,” “Monsters, Inc.”), Carell played opposite Jim Carrey, and helped launch the film as an international success earning over $295 million worldwide.
In 2006, as part of an ensemble, he starred in “Little Miss Sunshine,” which earned an Academy Award® nomination for Best Picture and won the SAG Award™ for Outstanding Performance by a Cast in a Motion Picture. The black comedy also starred Greg Kinnear and Toni Collette. Previous film credits for the actor include “Anchorman: The Legend of Ron Burgundy,” “Bewitched, and “Dan in Real Life.” Carell’s feature film breakout role in “Bruce Almighty,” opposite Jim Carrey, led to a sequel starring Carell in 2007, “Evan Almighty.”
Carell recently announced the start of his new production company, Carousel Productions. Carell’s endeavors and successes in acting, writing and producing were an organic segue in the creation of Carousel Productions. Born in Massachusetts, Carell now resides in Los Angeles with his wife, actress Nancy Walls (NBC’s “Saturday Night Live”), whom he met while at the Second City Theater Group in Chicago, where both were members. He is the proud father of a daughter and a son.
TINA FEY (Claire Foster), one of the most visible and popular figures in television today, writes, executive produces and stars in NBC's three-time Emmy Award-winning comedy series “30 Rock,” a workplace comedy which takes place behind-the-scenes of a live variety show. Her performance as head writer Liz Lemon on the fictional “TGS with Tracy Jordan” has earned Fey an Emmy, two Golden Globes, three SAG Awards, and a People’s Choice Award®. This year alone, “30 Rock” won five Emmy Awards and was nominated for many others.
Prior to creating “30 Rock,” Fey completed nine seasons as head writer, cast member and co-anchor of the “Weekend Update” segment on NBC’s “Saturday Night Live.” Fey is an Emmy winner and two-time Writers Guild Award winner for her writing on SNL, also receiving an Emmy for her spoof of vice-presidential candidate Sarah Palin.
Since her transition to being in front of the camera, Fey has won much acclaim, including being named one of Entertainment Weekly’s Entertainers of the Year, People Magazine’s Most Beautiful People (three times), and one of Time magazine’s Prestigious Time 100.
Other awards include, in 2008, a Producers Guild Award and a Writers Guild Award for Outstanding Comedy Series for “30 Rock.” She has also won two Gracie Awards and a Made in New York Award and has been nominated for a People’s Choice Award for Choice Comedy Actress and a SAG Award for Outstanding Performance by an Ensemble in a Comedy Series
Fey expanded to feature films in spring 2004 as both a screenwriter and an actress opposite Lindsay Lohan in the hit comedy “Mean Girls,” which earned her a nomination for a Writers Guild Award for Best Adapted Screenplay. Most recently she starred alongside “Saturday Night Live’s” Amy Poehler in the film “Baby Mama” for Universal Pictures, which exceed the $50 million dollar mark at the U.S. box office. Fey also starred in the Ricky Gervais comedy “The Invention of Lying,” released in 2009.
MARK WAHLBERG (“Holbrooke Grant”) earned Academy Award and Golden Globe nominations for his standout performance in Martin Scorsese’s acclaimed drama “The Departed.”
Wahlberg’s remarkable film career began with Penny Marshall’s “Renaissance Man” and “The Basketball Diaries” with Leonardo DiCaprio, followed by a star turn opposite Reese Witherspoon in the thriller “Fear.” He has enjoyed playing diverse characters for visionary filmmakers such as David O. Russell, Tim Burton and Paul Thomas Anderson.
Wahlberg’s breakout role in “Boogie Nights” established him as one of Hollywood’s most sought-after talents. He later headlined “Three Kings” and “The Perfect Storm” with George Clooney, and “The Italian Job” with Charlize Theron. He followed those with “I ♥ Huckabees,” “Four Brothers” and the football biography, “Invincible.” He then appeared in “Shooter,” based on the best-selling novel Point of Impact. Wahlberg reunited with “The Yards” director James Gray and co-star Joaquin Phoenix in “We Own the Night,” which Wahlberg produced.
In 2008, Wahlberg starred in M. Night Shyamalan’s “The Happening,” and in “Max Payne.” He recently appeared in director Peter Jackson’s adaptation of “The Lovely Bones.” Due out this year is “The Fighter” for director David O. Russell and “The Other Guys,” with Will Ferrell.
Wahlberg is an executive producer on “The Fighter” and “We Own the Night,” as well as on the HBO series “Entourage” and “In Treatment,” which have received six Golden Globe and three Emmy nominations.
Future projects include the new HBO series, “Boardwalk Empire,” with Martin Scorsese and “How to Make it in America,” along with other feature film projects. A committed philanthropist, he founded The Mark Wahlberg Youth Foundation in 2001 to benefit inner city children and teens.
TARAJI P. HENSON (“Detective Arroyo”) earned an Academy Award nomination for Best Supporting Actress portraying Brad Pitt’s mother in David Fincher’s highly acclaimed “The Curious Case of Benjamin Button.” Most recently, she starred in Tyler Perry’s “I Can Do Bad All By Myself,” which opened to number one at the box office.
For three years, Henson starred as Raina Washington, the youngest female detective on Lifetime’s “The Division.” She was also a regular on David E. Kelly’s “Boston Legal” and had a recurring role on ABC’s “Eli Stone.” Henson appeared in featured roles on “ER,” “Strong Medicine,” “CSI,” “House,” among others.
Henson received rave reviews for her role in Focus Features’ “Talk to Me” opposite Don Cheadle. Henson was named Outstanding Supporting Actress in a Feature Film at the 2005 Black Movie Awards and received the Best Actress nod at the 2006 BET Awards for her performance as Shug in the gutsy drama “Hustle & Flow,” produced by Oscar-nominated filmmaker John Singleton. She received two nominations at the 2006 MTV Movie Awards™ including Best Breakthrough Performance.
Upcoming films include “Karate Kid” opposite Jaden Smith and Jackie Chan, which filmed on location in Beijing for Columbia. Henson plays Rainn Wilson’s love interest in the upcoming indie comedy “Peep World,» also starring Sarah Silverman. In the indie drama “Once Fallen,” Henson stars with Ed Harris and Brian Presley. She starred in Sony’s “Not Easily Broken” opposite Morris Chestnut, and opposite Forest Whitaker in “Hurricane Season.” She starred in Tyler Perry’s “The Family That Preys” with Kathy Bates and Alfre Woodard.
Born and raised in Washington, D.C., the Howard University grad has a strong passion for helping disabled and less fortunate children and reveals, “I always stress to kids to have faith in themselves—the greatest recipe for success is self confidence.”
COMMON (Collins), a Grammy Award® winning artist, made his big screen debut as a musical performer in “Dave Chappelle’s Block Party,” in 2006. In January 2007, he made his acting debut co-starring opposite Jeremy Piven, Ben Affleck, Alicia Keys and Ryan Reynolds in “Smokin’ Aces.” Since then he’s co-starred opposite Denzel Washington in “American Gangster,” directed by Ridley Scott; David Ayer’s “Street Kings,” starring Keanu Reeves and Forest Whitaker; and “Terminator Salvation,” directed by McG, starring Christian Bale.
ABOUT THE FILMMAKERS
SHAWN LEVY (Director/Producer) is one of the most commercially successful film directors of the past decade. To date, his films have grossed over 1.5 billion dollars worldwide. Levy has honed his craft, seamlessly weaving comedy and heart into captivating stories that resonate with audiences. His youthfully enthusiastic approach to filmmaking is evident in the storylines and characters he creates – reflecting his joyful intensity for each project at hand.
Levy is currently developing several films to produce through his production company, 21 Laps, which is housed at Twentieth Century Fox. These projects include “The Ten Best Days of My Life” (with Amy Adams), “Neighborhood Watch,” “The Devil You Know” and “How to Talk to Girls” for Fox; “Factracker” for MGM; “The Extraordinary Adventures of Alfred Kropp” and “The Cutlass Islands” for New Regency, “Men of Magic” for Universal; “The Berenstain Bears” for Walden; and “The Spectacular Now” and “Table 19” for Fox Searchlight.
Currently, Levy is in pre-production on the futuristic father-son boxing drama, “Real Steel,” starring Hugh Jackman, for Steven Spielberg’s Dreamworks.
Levy’s 21 Laps recently produced the 2008 comedy «What Happens in Vegas,» starring Cameron Diaz and Ashton Kutcher, which went on to earn over $200 million worldwide.
Levy both produced and directed the blockbuster “Night at the Museum,” starring Ben Stiller, Robin Williams, Owen Wilson, Ricky Gervais, Dick Van Dyke and Mickey Rooney, which grossed over $580 million worldwide and “Night at the Museum: Battle of the Smithsonian,” starring a wide array of today’s most notable comedic talent including Ben Stiller, Amy Adams, Jonah Hill, Bill Hader, Hank Azaria, Owen Wilson, Ricky Gervais and Steve Coogan, which grossed over $400 million worldwide.
He directed the successful 2006 comedy, “The Pink Panther,” starring Steve Martin, Kevin Kline, Beyoncé Knowles, and Jean Reno and served as the executive producer of “Pink Panther 2.” Levy also directed “Cheaper By The Dozen” starring Steve Martin, Bonnie Hunt, Ashton Kutcher and Hilary Duff, which went on to gross more than $200 million worldwide.
In 2002, Levy directed both the hit romantic comedy “Just Married,” starring Ashton Kutcher and Brittany Murphy, which grossed over $100 million and the family comedy “Big Fat Liar,” for Universal Pictures, with Frankie Muniz, Paul Giamatti and Amanda Bynes.
Levy graduated at the age of 20 from the Drama Department of Yale University. He later studied film in the Masters Film Production Program at USC, where he produced and directed the short film Broken Record. This film won the Gold Plaque at the Chicago Film Festival, in addition to being selected to screen at the Director’s Guild of America.
JOSH KLAUSNER (Screenwriter) attended Princeton University, where he was involved in the theater community as an actor, playwright and director, and studied theater luminaries Bobby Lewis and Albert Innaurato. Klausner’s thesis play, “Scratch,” received the Francis LeMoyne Page Prize for Excellence in Theater. After graduation, Klausner co-created the short “Season of the Lifterbees,” which premiered at the Sundance Film Festival in 1992, and won the Time Warner Grand Prize at the Aspen Shortsfest and a regional AMPAS Student Academy Award for Best Dramatic Short.
In 1994, Klausner began working as an assistant to the Farrelly Brothers, on their first film, “Dumb & Dumber,” moving on to work as 2nd unit director on the Farrellys’ hit 1998 film, “There’s Something About Mary” and again in 2001’s “Shallow Hal.”
In 2000, Klausner wrote and directed HBO’s “The 4th Floor,” starring William Hurt, Juliette Lewis, Austin Pendleton and Shelley Duvall. He did additional screenplay work on “Shrek the Third,” and wrote the original screenplay and storyline for DreamWorks
Animation’s upcoming “Shrek Forever After,” to be released later this year.
Klausner is currently working on a number of feature film projects, including a live action adaptation of “Thomas the Tank Engine,” and an adaptation of Adena Hapern’s The Ten Best Days of My Life for Shawn Levy’s 21 Laps, which will star Amy Adams. He is also collaborating with Sir Paul McCartney on “High in the Clouds,” an upcoming animated feature film based on the former Beatle’s children’s book.
JOE CARACCIOLO, JR. (Executive Producer) began his career in film as a production manager on director Sidney Lumet’s “Running on Empty” and “The Verdict.”
Caracciolo executive produced the hit comedies “Marley & Me” starring Owen Wilson and Jennifer Aniston, “What Happens in Vegas” starring Cameron Diaz and Ashton Kutcher (for 21 Laps), and “The Devil Wears Prada” starring Meryl Streep and Anne Hathaway. His other executive producing credits include “Just My Luck,” starring Lindsay Lohan, “Hide & Seek,” a psychological thriller starring Robert De Niro and Dakota Fanning, and “Uptown Girls,” a comedic New York fairy tale starring Brittany Murphy and Dakota Fanning. Additionally, he produced the teen thriller “Swimfan,” directed by John Polson.
Caracciolo’s other feature film credits include James Foley’s “Glengarry Glen Ross,” Jon Amiel’s “Copycat,” and “The Man Who Knew Too Little,” and writer-director John Waters’ “Serial Mom,” “Pecker,” and “Cecil B. Demented.”
JOSH McLAGLEN (Executive Producer) has worked as an assistant director on dozens of blockbuster films alongside some of Hollywood’s top directors. He has been 1st AD on “Tango and Cash,” “Alien 3,” James Cameron’s “Titanic,” “The X-Files,” “Cast Away,” “The Polar Express, and “Beowulf,” the latter three for director Robert Zemeckis, and again for Cameron on “Avatar.”
In 2002, McLaglen began wearing a producer’s hat, working his way from associate producer (“The Polar Express”) to co-producer (“Beowulf,” “Avatar”) to executive producer. In 2006, he began working with director Shawn Levy, as both 1st AD and co-producer on “Night at the Museum,” becoming executive producer for that film’s sequel, “Night at the Museum: Battle of the Smithsonian,” as well as for “Date Night” and the upcoming “Real Steel.”
TOM McNULTY (Executive Producer) is the president of production at 21 Laps, a production company based at Twentieth Century Fox in Los Angeles. McNulty joined 21 Laps at its inception with the company’s principal, director Shawn Levy and has set up over a dozen film projects at Fox, Universal, Warner Brothers and New Line. 21 Laps films include “Cheaper By The Dozen 2,” as well as the hit comedy “What Happens In Vegas” starring Cameron Diaz and Ashton Kutcher, “St. Peter” starring Elizabeth Banks and Sam Rockwell, and “The Rocker,” the latter marking their first producing effort together.
Prior to joining Levy, McNulty was the executive vice president of production at Adam Sandler’s Happy Madison Productions for over six years. There, he oversaw the development of the entire slate of films, notably “Mr. Deeds,” “Anger Management,” “50 First Dates,” “Are We There Yet,” “Click” and “Dickie Roberts Former Child Star.”
Prior to joining Happy Madison, McNulty was an executive at Out Of The Blue Entertainment, where he was an executive on “Big Daddy” and “Deuce Bigalow Male Gigolo.”
McNulty arrived in Hollywood as an actor, appearing in “Boys on the Side” opposite Whoopi Goldberg and “Escape from L.A.” with Kurt Russell. McNulty grew up on Long Island and attended The Catholic University of America in Washington DC.
DEAN SEMLER, ACS/ASC (Director of Photography) began his career in his native Australia, lensing “Mad Max 2” (aka “The Road Warrior” in North America) in 1982 for George Miller, for which Semler received an Australian Film Institute (AFI) nomination. Semler reteamed with Miller for “Mad Max Beyond Thunderdome.” Semler won both the AFI and Australian Cinematographers Society awards for the Aussie thriller “Razorback.”
By the late ‘80s, Semler was serving as director of photography on several U.S. productions, including “Cocktail” with Tom Cruise and Bryan Brown, and the western “Young Guns.” The following year, he returned to Australia for “Dead Calm,” starring Nicole Kidman and Sam Neill, for which Semler won the AFI award.
After filming the “Young Guns” sequel in 1990, Semler shot Kevin Costner’s “Dances With Wolves,” for which Semler received multiple honors, including an Academy Award and American Society of Cinematographers (ASC) Award. He reteamed with Costner in 1995 for “Waterworld.”
Throughout the ‘90s and into the following decade, Semler shot the comedies “City Slickers,” “Nutty Professor II: The Klumps,” “Bruce Almighty,” and “Get Smart.” He also filmed Mel Gibson’s epic “Apocalypto.”
Most recently, Semler was director of photography on Roland Emmerich’s “2012,” and on “Secretariat,” starring Diane Lane and Scott Glenn.
DAVID GROPMAN (Production Designer), after working in television and independent films, designed the studio features “Of Mice and Men,” “Waiting to Exhale,” and “The Cider House Rules,” for which he was nominated for an Oscar.
Gropman received an Art Directors Guild award and BAFTA nomination for his design for “Chocolat.” Gropman worked on John Waters’ “Hairspray,” for which Gropman was nominated for a Satellite Award. The Art Directors Guild once again recognized Gropman with a nomination for period film design for “Doubt,” which takes place in the 1960s.
CHRISTOPHE BECK (Composer) reunites with Shawn Levy, after composing the scores for the Levy-helmed projects “Just Married,” “Cheaper by the Dozen,” “The Pink Panther. Recently, Beck reteamed with director Chris Columbus on “Percy Jackson & The Olympians: The Lightning Thief,” after composing the score for Columbus’ “I Love You, Beth Cooper.”
The Montreal native started piano lessons at age five and was writing music for his first-ever band, Chris and The Cupcakes, before his teen years. During high school, Beck studied flute, saxophone, trombone and drums, and performed in rock bands. While studying music at Yale University, Beck had an epiphany, discovering that his talent for composing exceeded that for performing. He wrote two musicals with his brother Jason (a.k.a. Chilly Gonzales, the Berlin-based hip-hop recording artist), as well as an opera based on The Tell-Tale Heart by Edgar Allen Poe
Upon graduation from Yale in 1992, he moved to Los Angeles to attend USC's prestigious film scoring program, where he studied with Oscar winner Jerry Goldsmith, among others. Beck was immediately attracted to the creative challenges unique to the marriage of music and picture, and a personal recommendation from the head of the USC Music Department led to his first professional assignment, the Canadian TV series “White Fang.” Soon thereafter, he was asked to score a new TV series (then in its second season), “Buffy, the Vampire Slayer,” based on the 1992 cult classic film, for which he received the Emmy for Outstanding Music Composition during his three seasons with the show.
The prolific talent has scored 40+ feature films and nearly twenty television shows since 1993. His film compositions include a wide array of projects and genres including the action films “The Sentinel” and “Elektra,” the comedies “The Hangover,” “Drillbit Taylor,” “What Happens in Vegas,” “Charlie Bartlett,” “Pink Panther 2,” and “Bring It On,” and the dramas “Under the Tuscan Sun,” “Year of the Dog,” “Phoebe in Wonderland” and the Sundance Film Festival Grand Jury nominee “The Greatest.”
Beck has also composed scores for “The Seeker: The Dark is Rising,” “School for Scoundrels,” “License to Wed,” “Fred Claus,” “We Are Marshall,” “Confidence,” “Yours, Mine and Ours,” “Taxi,” “A Cinderella Story,” “Saved!,” “Garfield” and its sequel, “Garfield: A Tail of Two Kitties” “Cheaper by the Dozen,” “American Wedding,” “Post Grad,” and “All About Steve.”
MARLENE STEWART (Costume Designer) earned her first credits working on music videos, including memorable designs for fashion-forward pop superstar Madonna. Stewart created image-shaping costumes for 11 Madonna videos, including “Vogue,” “Material Girl,” “Like a Prayer” and “Express Yourself.”
Stewart’s film work spans a wide variety of genres, periods and looks. She has collaborated with an intriguing array of directors, ranging from Alejandro González Iñárritu on “21 Grams” to Oliver Stone on “The Doors” and “JFK” to Michael Mann on “Ali” and Beeban Kidron on “To Wong Foo Thanks for Everything, Julie Newmar.”
Most recently, Stewart designed the costumes for Ben Stiller’s “Tropic Thunder,” Nancy Meyers’s romantic comedy “The Holiday” and Kimberly Peirce’s drama “Stop-Loss.”
Her credits also include Andy Tennant’s “Hitch,” James Cameron’s “Terminator 2: Judgment Day” and “True Lies,” Mary Lambert’s “Siesta,” Joel Schumacher’s “Falling Down,” James L. Brooks’s “I’ll Do Anything,” Curtis Hanson’s “The River Wild,” Joe Pytka’s “Space Jam,” Rob Bowman’s “The X Files,” Tony Scott’s “Enemy of the State,” Dominic Sena’s “Gone in 60 Seconds,” David McNally’s “Coyote Ugly,” and Antoine Fuqua’s “Tears of the Sun.”
After earning a degree in History at the University of California, Berkeley, Stewart studied at the Fashion Institute of Design and Merchandising in Los Angeles. She received the Bob Mackie Award for Design for her student work and began her design career by launching her own women’s clothing line, Covers. A Boston native, Stewart designed the costumes for three Madonna tours as well as tours for Cher, Paula Abdul, and Gloria Estefan. She created music video looks for Janet Jackson, Rod Stewart, Bette Midler, Debbie Harry, Smashing Pumpkins, the Bangles, and the Eurythmics, and was the first recipient of the American Music Awards’ Best Costume Design Award for the video “Material Girl.”
6 Views
21:53:59 01/31/10
Mark Thomas Mtp 04 02 Iraqi Sanctions
[LESS INFO] 6 VIEWS | ADDED 21:53:59 01/31/10
* Iraqi sanctions o Politicians say Saddam is mad as a hatter but when did they decide, when they sold him the gas or when he used it. o I think you'll find his madness is linked to the price of oil. o CIA sponsor dissident groups to unseat him o Myth of the smart bomb. Why did they destroy 600 schools in the 1st Iraq war o Clinton, at the height of his Lewinski impeachment he ordered the bombing of Baghdad with operation Desert Fox. o People died because somebody sucked his cock o Sanctions are crucial thing. Nothing gets in to Iraq without an export license + Ping pong balls + Pencils + Pencil sharpeners + Notepads + Medical texts + Sanitary towels - some of them have got wings you see o Unicef estimate a quarter to half a million children under 5 have died as the result of sanctions. o Met Voices in the Wilderness people who go sanction busting. Top people, Christians but lovely o Exported medicines, toys etc. Have been fined over 200,000 dollars for importing an Iraqi water bottle and a stamp o Went to Washington to talk to them and decided to visit some senators, congressmen etc. about it o Went to whitehouse. The whitehouse is really odd, for a start it's off-cream. o When we go in get stopped by security while all the crew are let through, thinking he wouldn't get in. o Suddenly a voice shouts "Fucking Hell, it's Mark Thomas". It's 3 English lads. "You're not fucking with them are ya?" They ask. "Will you keep it down" says Mark. o 0-10 scale of evil, where would Saddam come, Mark asked David Leavy, Whitehouse National Security Council Spokesperson. He says he's at the higher end. o Evidence of black market dealing in the goods being supplied in return for oil. Evidence that Saddam is building a Hotel with an amusement park including a Ferris Wheel. o Weird that he's got a Ferris wheel but jut as wierd that they are using it as a propaganda tool. o Mark puts the child mortality figures to David Leavy who says that is Saddam's fault not the sanctions. o Taking beanie babies out to Iraq without a license. Mr Leavy cuts short the interview fairly soon. o Head across town and suddenly get an angry call from David Leavy saying "It is not appropriate to use a Beanie Baby in an interview!". o Go to see Congressman Robert Menendez (Democrat, New Jersey - House International Relations Committee) with a video of sanction busting in Iraq with some cancer medicine for a young boy, which is in violation of US law. o Part 2 - There's a British Law "Intent to conspire to Export without an Export License". What does this mean? If I want to take something to Iraq and I think about it am I intending to? o Got a bag of medicines and a ticket to Oman(Amman?) in Jordan. o Phoned up Crimestoppers and shops himself o Suggest he goes to Scotland Yard they send him to the DTI o Goes to DTI, they send him to Customs and Excise who take him in. o Bit Sweeney like characters and shops himself. The law is only used retrospectively when someone has attempted to leave the country. o Mark asks why people who have been caught haven't been prosecuted. They say it's up to the Attorney General. o Cut to outside Attorney General's office with Mark handcuffed to a cage and phones him, speaks to Rupert Cazalet, Private Secretary to the Attorney General. o Tries to present evidence. Police turn up and advise him he can be arrested for chaining himself to the railing and can he move. o Asks if there is a policy not to prosecute due to fear of the publicity. o They claim Customs haven't handed them any papers. o Packing up the gear and he phones back and says they have had reports but no prosecution. Decision because it wasn't felt that it was needed. o He says Mark sounded like a Nazi. Is that actionable? o So where exactly is the point when you will be prosecuted. o Mark goes on the Big Breakfast show 8:30am, 23rd September 1999. o Going to try and take a teddy bear to a little girl in hospital in Baghdad. o Phones up customs and excise. Some confusion over who would issue a license for the bear until they realise it's not a real bear. o Then speaks to Mark Thompson, Customs and Excise at 9:45 am who suggests they check with French customs when they get there. o Next day they phone the DTI to ask if it is OK for them to get stuff to Amman for pick up by someone from Iraq. o Bloke there says "this is only provisional, but if it is known that any item is going to Iraq, from the UK, an application must be made for a UK export license beforehand." Which contradicts the Customs and Excise advice. o Absurd behaviour over the export of a Teddy Bear. o We have to lift the sanctions on Iraq and make sure they don't sell him any guns. o Kathy Kelly from Voices in the Wilderness video over titles with a harrowing story about the death of a child.
7 Views
16:53:00 01/10/10
Plant A Million Trees By Surfing the Web - Mokugift
[LESS INFO] 7 VIEWS | ADDED 16:53:00 01/10/10
Nerd Stalker interview with co-founder Hans Chung of Mokugift at a recent Failcon conference in San Francisco.
http://www.mokugift.com/ About mokugift
Our Mission
* To create fun and meaningful gift experiences that benefit the environment.
Our name
Definition: mokugift [mōe-koo gift]
* moku means "tree" in Japanese.
* moku means "island" in Hawaiian.
Our mission
Our mission is to foster environmental solidarity by making it easy and rewarding for anyone to fight climate change and by providing the tools to inspire others to do the same. Mokugift makes it possible for concerned citizens, even those lacking access to planting space, to plant real trees for $1 apiece, either for themselves or as gifts to others. Gifting a mokugift tree is similar to sending an e-card, and recipients can display their trees online at Facebook, MySpace, MyYahoo, iGoogle and other popular Web sites. Award-winning nonprofit organizations specializing in agroforestry project—which restore depleted lands and boost the agricultural productivity and incomes of indigenous peoples in some of the poorest parts of the world—plant the actual trees purchased via mokugift.
Why trees?
Trees and forests help regulate the climate by absorbing heat-trapping carbon gasses, and there's a growing consensus that tree planting in tropical latitudes is one of the most efficient way to remove CO2 from the atmosphere. On average, each tree planted in the humid tropics absorbs 50 pounds of carbon dioxide every year for at least 40 years, amounting to one ton over the course of the tree's lifetime.
In addition, although the majority of carbon dioxide in the atmosphere comes from burning fossil fuels, unsustainable, slash-and-burn agriculture and other poor land-management practices have resulted in forestry itself becoming a leading source of greenhouse gas emissions. Restoring tree cover through agroforestry programs, and ensuring that local communities receive a fair share of the benefits, is the most effective long-term approach to the problems of deforestation and land degradation.
Our platform
Mokugift is not just a Web site for planting/"gifting" trees but also a platform that enables individuals to inspire others to plant trees. Visual and interactive elements make receiving a mokugift tree fun, uplifting and memorable. Businesses and nonprofits can also leverage this technology to reward and motivate customers, donors or employees. As an eco-reward, mokugift is a great way to motivate up-sells and tap into growing environmental awareness and interest in sustainable lifestyles.
Mokugift provides personal Web pages (Tree Islands) that track and display tree-planting achievements. As individuals plant trees themselves or "gift" trees to friends and associates (who in turn receive their own Tree Islands), the system tracks how inspiration spreads from one person to another. You receive recognition not only for the trees you've planted but also for those planted by your friends and their inspired friends (3 degrees). You can see the total number of people you've inspired and the total number of trees planted by them. You can also see which friends you've inspired and their individual achievements. Active promoters of tree planting are rewarded with free tree planting.
Mokugift is an excellent fit for companies looking to reinforce a brand's environmental equity and reward customers for making environmentally responsible choices. To learn more about how businesses and institutions can use mokugift for rewards and incentive programs, click here .
Mokugift provides a fast and easy fundraising option for schools, religious groups and non-profits. Your members can promote tree planting online in support of your organization and mokugift takes care of all order taking and processing. Your organization will receive 50% of all proceeds. Focusing on online promotion makes it easier and more effective for your members.
Partnerships
Mokugift is an official partner of the United Nations Environment Programme's "Plant for the Planet: Billion Tree Campaign. Launched at the Climate Convention meeting in Nairobi in 2006, the campaign originally set a goal of planting one billion trees but has since issued a new target of seven billion trees—roughly one tree for every living person on the planet.
"We are honored to partner with mokugift as part of the UNEP Billion Tree Campaign. Mokugift is taking creative approaches with its online gifting service and iPhone application to help the Billion Tree Campaign achieve a target of seven billion trees. In the spirit of the Billion Tree Campaign, mokugift empowers ordinary people to be part of the solution." — Satinder Bindra, Director, United Nations Environment Programme
Mokugift seeks to expand distribution through partnerships with relevant sites and services. We have, for instance, partnered with eBase Solutions in a joint venture to bring mokugift to Japan (mokugift.jp). Please contact us about partnerships via our contact form, and we will get back to you promptly.
Artists & Athletes Program
The idea: to inform, inspire and empower fans to plant trees in support of UNEP's Billion Tree Campaign. By visiting Artist & Athlete Tree Islands on mokugift.com, fans can plant trees and send a message to the artist or athlete. Anyone planting a tree with a participating artist or athlete can see their message posted on the Tree Island, along with the number of trees they've planted. For their part, artists and athletes can build goodwill by offering to plant a tree for each tree they receive as a gift. To help generate awareness, mokugift is approaching media companies for PSA ad spots and encouraging interested artists and athletes to participate in the spots and assist with outreach.
News
Please refer to our blog for the latest news about mokugift: mokugift.blogspot.com
Participate
Mokugift's affiliate program offers rich media ads that are engaging and stylistically consistent with our Web site. To join our affiliate network, click here .
Founders
Mokugift co-founders Hans Chung (Idea Guy) and Krates Ng (Build-It Guy) are high school friends who both gravitated to the San Francisco Bay area's technology sector. The selling of "virtual gifts"—teddy bears on Facebook, roses on dating sites—sparked the idea for mokugift. Why not have virtual tree gifts represent real trees planted in places fighting deforestation?
Their pursuit of online tree "gifting" coincided with a growing awareness that climate change was no longer just an abstract scientific and public-policy topic, but also a lifestyle issue calling for tangible action on the part of ordinary people everywhere. In researching agroforestry and prospective tree-planting partners, they realized that planting trees not only benefits the environment (by absorbing greenhouse gas emissions) but also can serve as a foundation for sustainable economic development for communities that have been adversely affected by poor land-management practices. Conceived as a social venture focused on customer experience, profit and tangible, positive benefit to the environment and society, mokugift launched on November 20, 2007.
Prior to mokugift, Hans founded CrispAds, a blog advertising network that wound up being acquired by a lead-generation company. He also worked at consulting firms such as The McKenna Group, as a strategy consultant for technologies companies including Japan's NTT. Hobbies: martial arts, cooking, furniture design. Residing in San Francisco's SOMA District, Hans has been on a mission to reduce his apartment's power consumption. He takes public transportation to work and the gym, and shops for local groceries at the farmers' market and Mission District grocery stores.
Krates is a typical startup engineer, preferring to join a team early on. Prior to mokugift, he was with a real-time computer server monitoring company, Wily Technologies, which was acquired by Computer Associates. Before that, he was an engineer at Andromedia (acquired by Macromedia, which, in turn, was acquired by Adobe). Hobbies: ice hockey, triathlon, cooking, scuba and travel. Krates lives with his wife and cats in the San Francisco Bay area, drives a Honda Civic Hybrid, eats less meat than before, recycles everything he can, and shops for local groceries at the farmers' market.
6 Views
01:15:36 02/12/08
Virtual Worlds Libraries Education And Museums Conference Saturday March 8 2008 In Second Life
[LESS INFO] 6 VIEWS | ADDED 01:15:36 02/12/08
“Virtual Worlds: Libraries, Education, and Museums”Saturday, March 8, 2008 in Second Life - New Media Consortium Conference Center.http://www.alliancelibraries.info/virtualworlds/Purpose of the Conference: To provide a gathering place for librarians, information professionals, educators, museologists, and others to learn about and discuss the educational, informational, and cultural opportunities of virtual worlds. Please note: Although the conference will be held in the virtual world Second Life, presentation and paper proposals about LEM developments in other virtual worlds are encouraged. Tentative Schedule 9:00 a.m. Second Life Time (Pacific Time) "Ancient Mesopotamia: Engaging Online Resources from the Oriental Institute," Presented by Wendy Ennes and Lisa Perez Wendy Ennes, Teacher Services and e-Learning Coordinator for the Oriental Institute Museum of the University of Chicago, will present information about the new, engaging website Ancient Mesopotamia: This History, Our History. In this highly useful online resource, students and educators can learn about various aspects of Mesopotamian culture. They can participate in the interactive "Dig into History", playing the role of an archeologist or a museum curator. Also, they can peruse the "Learning Collection", zooming in on various teacher-selected artifacts. Teachers can also locate primary source materials, lesson plans, and recommended learning activities. This presentation will be useful to teachers, librarians, students, and history aficionados. This presentation is brought to you in collaboration with the Chicago Public Schools Department of Libraries and Information Services. "Persistent Worlds: Will They Ever Go Away?" Presented by Dr. Susan Hazan Now that Second Life has hit the front page of Newsweek it seems Neal Stephenson's vision of the Metaverse has crossed over -- from being a fringe fantasy land for pure escapists to a persistent world for play, commerce, creativity and exploration. It's time to take a close look at this synthetic world. Presented by three leading avatars directly from Second Life, this panel will showcase some of the leading cultural institutions from their 3D graphic locations, and will explore how they welcome visitors, guests and colleagues in-world. "The State of Librarianship in Second Life" Presented by Lauren Pressley This session examines the idea of librarianship in Second Life, specifically focusing on reference practices and the development of a library's presence in a virtual world. The session will conclude with a discussion of possible virtual world library services that have not yet been designed and implemented. "Reflections in Wonderland" Presented by Alison (Wynne Merlin) Williams & Mary (Merry Mayo) Hudson This paper takes a reflective approach concentrating on the authors' explorations of Second Life. These explorations were undertaken as part of a project to assess how the university library might operate in such an environment to support student learning. An introduction briefly outlines the project and we then go on to describe our initial experiences of Second Life, and of participation in courses and meetings. In the light of these experiences we reflect on the possibilities offered by this type of environment, before concluding with our thoughts on the way forward. "Reconstructing Maya: Student Created Poems" Presented by Beth Ritter-Guth (SL Desideria Stockton) The students in College English II: Literature at Lehigh Carbon Community College are creating interactive poems to celebrate the poetry of Maya Angelou. Conference participants will be able to view the work of students, meet them, and construct a poem of their own. The workshop will require the use of voice and participants should download a free recording program like Audacity. Students will showcase their interactive poem "Still I Rise" by Maya Angelou. A notecard with the instructions on how to build the poem will be provided, and participants will work together to create a collaborative poem using WAV files, objects, and scripts. 10:00 a.m. Second Life Time (Pacific Time) "Voice vs. Text Chat: Solutions for Teaching/Presenting in Two Languages Simultaneously" Presented by Chris Haskell As voices ring out over the virtual landscape, some oppose vocal communication for its technical imperfections, infrequent use, and VW cultural bias. Educators, presenters, and facilitators in the Metaverse need solutions to communicate in both "native" languages. This session demonstrates tools and techniques currently being employed to engage multiple learning and communication styles in this expanding virtual space. "Immersion Environments and Recreational Learning: Opportunities for Informal Education on the Virtual Landscape" Presented by Aldo Stern and JJ Drinkwater When the residents of an online three-dimensional platform such as Second life are able to create their own immersion environments, learning opportunities abound. Experience with a number of recent experiments has indicated that the educational potential of these builds comes not just within the context of a formal, institutionally-managed didactic approach, but also--and in some cases, more successfully--in the context of informal, self-directed learning opportunities. Panelists Aldo Stern and JJ Drinkwater draw upon their real world backgrounds in the museum and library fields, along with their extensive experience in a variety of experimental collaborative educational, cultural and recreational environments created on the SL platform, to discuss the relative success of traditional "classroom" approaches in various builds, and the surprisingly vibrant informal learning dynamic that has developed alongside--or as an alternative to--the attempts at structured, hierarchical didacticism. The panelists also will seek to explore how what has transpired in-world is analogous to the real world living history/reenacting "hobby" movement of the 1970s-1990s and other recreational self-directed learning opportunities, and consider issues of how institutions and organizations might utilize the potential of online creative platforms in the future to more effectively foster and encourage self-directed learning, and to integrate it into their programming in ways that it could compliment and enhance more traditional approaches to engaging and educating diverse audiences. "Whatcha Gonna Do?: An Academic Health Sciences Library in Second Life Embraces New Roles" Presented by PF Anderson (Perplexity Peccable); Gillian Mayman (Gillian Oh); Anne Perorazio (Kaiya Qunha); and Jane Blumenthal (Wrenaissance Jewell) Academic health sciences libraries support the educational, research, clinical, and service missions of the universities and healthcare institutions of which they are a part. In the recent past, this has meant primarily building print and web-based collections of health and research information, and providing classes and services that facilitate the use and integration of these collections into the skillset of the local academic healthcare community. In Spring of 2007, the University of Michigan Medical School purchased an island in Second Life. In supporting the activities associated with this initiative, we have found that many of the activities and services we have traditionally offered are not immediately relevant in the new environment, are needs that are being filled by others, or are beyond the scope of what is possible with the resources currently available to us. Examples of these might include teaching how to search Medline, offering classes relating to health skill sets, building collections of health information. Similarly, many of the activities and services we have found ourselves embracing in Second Life are hard to imagine ever happening in our real life libraries. Examples of these might include building freebie collections, teaching classes on how to make clothes, setting up a Spirit Shop for the university (along with making the inventory), hosting in-world and out-world events to engage community, setting up a patient support group, as well as helping folks navigate Orientation and Help Islands. Here we present information about the similarities and differences between what we do in which environment and why we do or do not offer similar services in the other environment, as well as discuss the planning process and skill sets required. We would particularly like to focus on tools that have formed the basis of our community building efforts, which have largely depended on resources that bridge Second Life and the broader online and analog environments. So, when it comes to leading the way in a new and emerging technological environment, what are librarians going to do? Our answer: whatever needs to be done. "Interaction, Visibility and Searchability in Virtual Worlds: The Possibilities, Benefits and the Future" Presented by Namro Orman Interaction with the Web should be a major focus point for libraries in virtual worlds. Resources, news, and communication are needed, and not only with Second Life Residents. The merging with other social networks looks promising, but a lot can be improved/gained inside Second Life as well to make library services and resouces more visible, and findable, also on the Web. This goals of this session are to improve awareness of current possibilities, to show developments, and to offer a sketch of the future. "The 3D3C Metaverse" Presented by Yesha Sivan Dr. Yesha Sivan, founder of Metaverse Labs, is interested in interoperability. He also has been looking into how virtual world simulations can interface with the real world. 11:00 a.m. Second Life Time (Pacific Time) "Applying Distance Educational Theory to Virtual Worlds" Presented by Rebecca Hedreen Current adult educational theory is student-centered and those students have experience, abilities, and preferences that affect or control the learning process. This presentation will show (and tell) you how to use these theories, and the practices that spring from them, to improve your Second Life presentations. In the process, we'll cover some techniques that also improve accessibility and decrease the chance that a technological glitch will ruin your work. "The Museum Phenomenon in Star Wars Galaxies" Presented by Annie Platoff Annie Platoff, the Director of the Wookiee Cultural Center, the premier Wookiee museum in Star Wars Galaxies, will discuss the museum phenomenon in Star Wars Galaxies. "My Life as an Avatar (So Far)" Presented by Sir Arthur Conan Doyle This presentation is intended for teachers, librarians, and those who work in museums; as well as amateur history buffs. In this discussion I will provide an account of how I came to portray one of the best known authors of the Victorian era; the development of a plausible "back story" to cover my inadequacies; my successes and failures in Second Life; my views on the educational potential of ReCreationism; and, finally, my advice to aspiring ReCreationists. "The Festival of European Languages in Second Life" Presented by Birdie Newborn (Birdie Newcomb in SL) This session will look at the Festival of European Languages recently held on Belle Isle in Second Life. It was a venture in outside-the-classroom education. It was a 6-hour festival over half the island with a schedule of speakers, demonstrations, booths, and a giant map of Europe with landmarks to every known language community in Second Life. 6:00 p.m. Second Life Time (Pacific Time) "Self-directed Group Learning in Virtual Worlds" Presented by Nick Noakes This will be a mix of an interactive discussion session on the affordances of Virtual Worlds with respect to self-directed group learning, followed by a tour of Boracay sim to see one way self-directed group learning can be implemented. "Virtual Museums: When Do They Become "Real"?" Presented by Annie Platoff With the launch of massively multiplayer online roleplaying games (MMORPGs), players were given the opportunity to build their own communities within the confines of virtual worlds created by the game developers. When Star Wars Galaxies was launched in June 2003, players were also given the opportunity to manipulate their environment. SWG Developers not only allowed players to place structures within the landscape of the game, but also gave them the opportunity to decorate the interiors of their buildings. It wasn't long before players began to open their own museums. At first, the museums were nothing more than decorated houses containing developer-made paintings and objects. Eventually, however, the museums evolved and now there are quite a number that include interpretive labels, thematic exhibits, and more. While some of these museums are quite well known within their communities, they are virtually unknown by those who do not play the game. That is not the case for the museums in another virtual community, however. The emergence of museums in the virtual world of Second Life has been the topic of much discussion in the museum community. Also launched in 2003, Second Life presents itself as a 3-D virtual world rather than a game. In the world of Second Life players can create just about anything they can imagine and add it to the environment including, of course, museums. Some of those museums have been replicas of real-life museums created by private individuals. Other museums in this virtual environment were created as initiatives of established real-world museums. But there are some museums in Second Life that only exist in that virtual landscape. The International Space Museum, one such museum, has spawned a real-life non-profit organization to support the work of the virtual museum. All of this activity in virtual museums brings with it some interesting questions for members of the museum community. Are virtual museums "real" museums? And if they are, what are the implications for established real-life museums? This paper will examine a variety of museums in two virtual environments ? the MMORPG Star Wars Galaxies and the virtual world of Second Life. It will apply established definitions of what is a museum and determine which of those virtual museums appear to meet the criteria. Finally, it will draw conclusions about the "realness" of virtual museums and the potential of these institutions for reaching new audiences. "An Overview of Science-Related Stuff in Second Life" Presented by Dr. Troy McConaghy (Troy McLuhan in SL) Troy will give examples of how Second Life is being used for science education, public outreach, prototyping, and research Intendend Audience: Scientists, science educators, science librarians, and science museum professionals. "Immersive Education: New Models for Lifelong Learning" Presented by Kevin Roebuck Open source technologies for virtual worlds, on-line games, and new media have tremendous potential to offer new models for lifelong learning. Sun Microsystems Global Education & Research Group has formed a new community to explore these new immersive worlds and their application with the Project Wonderland 3-D tool-kit, Project Darkstar Game Server and SunSPOT sensor platforms. The new Sun Immersion Special Interest Group has announced a joint initiative with the Immersive Education Initiative at Media Grid including a $25,000 set of "Immersion Grants" to see pilot projects in K12 schools, community college, and higher education institutions. This session will feature Kevin Roebuck, Community Manager for Immersive Technologies at Sun, to give a brief overview of the communities activities, initiatives and worldwide projects in open source and open content for Immersive Education. 7:00 p.m. Second Life Time (Pacific Time) "Using Second Life to Enhance Student Research and Presentations" Presented by Robert Walker The presentation will look at an exciting Second Life assignment being used at Labette Community College in the Music Appreciation classes to enhance student presentations. This assignment could easily be adapted for use in any class that requires students to research and present that research to the class. It is useful for both onground and online classes. Students are given the following assignment, using Second Life, prepare a museum exhibit on the following composer. You should include written information, audio, images and perhaps video. Your presentation should not only include biographical information about the composer, but information about the period that the composer was writing. That information should include people of historical interest, other artists of the period, clothing and architectural styles of the time. This presentation will show the mechanics of managing an assignment like this. What tools do the students need? What knowledge/tools does the instructor need? These concerns will all be discussed and examples of previous semester projects will be reviewed as well as the assignment and the rubric. "Virtual Worlds for Learning" Presented by Ann Crewdson and Sachin Patil Virtual Worlds offer a quick and inexpensive ways of simulating information artifacts(in libraries and museums) into multi-faceted synthetic learning environments that merit interaction, immersion and information equally. The Federation of American Scientists, as part of its "Virtual Worlds for Learning" research program, has created a Virtual World Sim (Mesopotamia) in Second Life that leverages collective intelligence by enabling interdisciplinary communities of scholars such as archeologists, librarians museologists, historians, technologists, artists, and academia to share data and their expertise. The prototype has developed a web-integrated inworld tool, called Medulla, to collaborate on 3D content creation, peer-review the content for authenticity and edit it continuously based on new academic & research findings. In the near future, this tool will support functionalities for incorporating game-like features to make simulation experience more interactive and engaging. This presentation will describe content creation & management processes we have developed to collect, render, manage, evaluate and preserve digital assets for 3D virtual environments. Attendees, mainly librarians and museum administrators, will learn how virtual worlds together with web technologies can be used for a wide variety of learning opportunities, scholarly interaction, and the collection, development and management of digital assets for 3D virtual environments. "Standing on the Shoulders of Giants" Presented by Rochelle Mazar This presentation will demonstrate and explore the ways that digital objects have been archived in older virtual environments, their contribution to a competitive gift economy, and the kinds of lessons those practices bring to bear on the work being done by librarians and educators in Second Life. In text-based MOO spaces, object archives function as museum spaces, shops for finding useful objects to use in one's own builds, and as a structure that reinforces and supports a functioning gift economy. In worlds without built-in money economies, archiving and "generics" organization allows new users to see what has been built before, to take advantage of that older work by taking their own copy of these generic objects to build upon, and provides a form of feedback and recognition for those who build the best objects across the entire MOO community world-wide. With a long tradition of including the builder's name as part of the object, a successful builder can build a reputation across many different virtual worlds as others request archived copies of their objects. This gift economy encourages builders and programmers to donate their work for use by others as well as to create more and better generic objects for general use. Their active participation in the gift economy thereby assists in the creation of richer online spaces for all. Could this model work in Second Life, in spite of its existing money economy? This presentation would consist of audio content detailing the structure of these digital archives and their use, as well as detail about the gift economy and how it encouraged more and better objects to share with the community, and would include discussion with participants about its pros and cons and feasibility for use in Second Life. 8:00 p.m. Second Life Time (Pacific Time) "Education on the Teen Grid: The View from Eye4You Alliance Island" Presented by Kelly Czarnecki (Bluewings Hayek in SL), Anthony Curtis (Stone Semyorka in SL), and Beth Kraemer (Alice Burgess in SL) So what's it like to be an educator on the teen grid? Eye4You Alliance Island has been a source of education, creativity and fun on the teen grid since 2006. Librarians, professors, authors, technology specialists, subject matter specialists, and teens from around the world are involved in projects ranging from classes about SL and RL skills; recurring events like book discussions, space talks and island management meetings; special events like the recent literary festival, last year's college fair and craft fair; and a host of other activities. The presenters will provide an overview of what it's like to be an adult educator on the teen grid, describing the challenges and opportunities, and will discuss recent activities and plans that are underway. We'll compare the experience with education on the main grid and discuss our view of the future of education for teens in Second Life. The presentation may also incorporate comments from the teen residents themselves. "VW Libraries and Education: The Purpose and the Potential" Presented by Valerie Hill (Valibrarian Gregg in SL) Virtual worlds seem to be exploding into existence online. For everyone from toddlers to senior citizens, a virtual world beckons. Valibrarian Gregg, a Second Life librarian (and real life school librarian) shares her journey learning in a virtual world to help understand the purpose and potential for librarians and educators. Read some of the latest Virtual World news at iVinnie.com. "Providing Library Services in Second Life" Presented by Margaret Ostrander and Anne Mostad-Jensen Margaret Ostrander will share her research in progress exploring information seeking behavior in Second Life. All research is taking place in-world, combining structured interviews and ethnographic fieldwork. Research questions include: What are the information needs of everyday Second Life residents? What kinds of information are people in SL utilizing, and how do they go about finding it? This research explicitly studies SL residents in non-library contexts. A more robust understanding of such "native" information seeking behavior can help inform SL library services. This research is under the supervision of Dr. Michael Stephens of Dominican University (Illinois, U.S.A.). Read more about Margaret's research at Librarian Dreamer. Anne Mostad-Jensen will present her research in progress focused on the new user's experience in Second Life. Research questions include: How do new users approach and use virtual worlds? What are the information needs of new users and what are their information seeking behaviors? Research subjects will be observed while utilizing the Second Life interface for the first time, accompanied by pre- and post-interviews. This research will inform how libraries in Second Life can help meet the needs of new users. This research is under the supervision of MLIS faculty member Dr. Joyce Yukawa of the College of St. Catherine (Minnesota, U.S.A.). Both Anne and Margaret will share their findings to date, along with learnings about the methodologies and research instruments they have adopted.CREDITS: This machinima was filmed on location with the help of avatars in the teen grid and main adult grid of Second Life: Info International, Talis, and Eye4YouAlliance Island, funded by the Public Library of Charlotte & Mecklenburg County (PLCMC). http://infoisland.orghttp://www.talis.comhttp://www.plcmc.org/teens/secondlife.aspMachinima: Bernadette Daly Swanson / HVX Silverstar in Second LifeMusic: Revostock.com
0 Views
05:00:00 01/30/07
Make Your Own Teddy Bear - Part 1
[LESS INFO] 0 VIEWS | ADDED 05:00:00 01/30/07
http://www.WatchMojo.com video on how to build your own Teddy Bear.
0 Views
05:00:00 01/30/07
Make Your Own Teddy Bear - Part 2
[LESS INFO] 0 VIEWS | ADDED 05:00:00 01/30/07
http://www.WatchMojo.com video on how to build your own Teddy Bear.
