Akemio Festa 2011, A Theatrical Play From Umusa Community, Nago City, Okinawa
LIVING IN OKINAWA #3 Okinawa × ”Omatsuri” Organizer ENGLISH
米須 邦雄（Kunio Komesu）/ 祭人（Omatsuri Organizer)
I think the basic of festival is the good connection of people and communities unites thanks to the festival.
There is a festival called “Ungami” designated as national cultural treasure in Shioya bay of Okinawa.
The festival is prayed for productiveness of grain and state of perfect health from 500 years ago. Also, female centered upon “Kami-nchu” leads the festival.. The biggest scene of the festival is “Uganbari”, the rowing competition.
It is so overwhelming, especially the behavior of women who wait for men. The women salute the men have a paddle as they are heading to a goal. At that time, the women beat drums with lower half of their body soaked in the sea.
This year, Kunio Komesu, executive committee member was greatly relieved at that “Kami-nchu” who is 45 years old rose out for the first time in 16 years.The traditional event is able to take over to next generation because of the birth of young “Kami-nchu”.Mr. Komesu said that the basic of festival is the good connection of people and communities unites thanks to the festival.
You would feel the value of Okinawa’s traditional event and the bond of local community if you participate in the festival.
“Ungami”Festival
157, Oganeku, Ogimi-son Kunigami-gun, Okinawa, 905-1305, Japan
tel:0980-44-3007
Unaijima ACET Word Trade Center
XII Congresso panameircano de lideres epresariais
THE PATH OF KUMIODORI - A short film from the magical island of Okinawa *ENG SUBS* 短編映画
DISCOVER MORE FILMS FROM THE ISLAND OF OKINAWA:
By day Takeshi works in a museum, by night he is a performer of the Ryukyuan performing art KUMIODORI.
The balance between work and stage takes its toll on his relationship with his son, who wants to grow up to be just like Takeshi, that is until he unexpectedly meets incarnation of traditional Ryukyuan performing art MARUMUN who lives in the theater…
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Eisa (drum dance) Okinawa
Eisa (Okinawan: エイサー Eisaa) is a form of folk dance originating from the Okinawa Islands, Japan. In origin, it is a Bon dance that is performed by young people of each community during the Bon festival to honor the spirits of their ancestors. It underwent drastic changes in the 20th century and is today seen as a vital part of Okinawan culture.
Modern eisa is danced by 20 to 30 young men and women, mainly in doubled lines or circles to the accompaniment of singing, chanting, and drumming by the dancers as well as by folk songs played on the sanshin. Three types of drums are used in various combinations, depending upon regional style: the ōdaiko (大太鼓), a large barrel drum; the shimedaiko (締太鼓), a medium-sized drum similar to ones used in Noh theatre; and the paarankuu (Okinawan: パーランクー), a small hand drum similar to ones used in Buddhist ceremony. The dancers also sometimes play small hand gongs and yotsutake castanets. Eisa dancers wear various costumes, usually according to local tradition and gender of the dancer; modern costumes are often brightly colored and feature a characteristic, colorful knotted turban. Special vests, leggings, and shoes are also popular.
Okinawa Eisa Festival
Traditional Okinawa Dance
The Killing Machine Shorinji Kempo(1080p). Sonny Chiba film. Martial Arts. 少林寺拳法
少林寺 拳法. The Killing Machine Shorinji Kempo(1080p). Sonny Chiba. Martial Arts.Whole movie. !!! - SUBTITLE IN MANY LANGUAGES - !!! PlAYLISTS:
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Words at War: The Ship / From the Land of the Silent People / Prisoner of the Japs
The Yugoslav Front, also known as the National Liberation War, was a complex conflict that took place during World War II (1941--1945) in occupied Yugoslavia. The war began after the Kingdom of Yugoslavia was overrun by Axis forces and partitioned between Germany, Italy, Hungary, Bulgaria and client regimes. Primarily it was a guerilla liberation war fought by the communist-led, republican Yugoslav Partisans against the Axis occupying forces and their locally-established puppet regimes, such as the Independent State of Croatia and the Nedić government. At the same time, it was a civil war between the Yugoslav Partisans and anti-communist paramilitaries, such as the Serbian royalist Chetniks and the Slovene Home Guard, whose level of collaboration and coordination with the Axis occupiers varied.
Both the Yugoslav Partisans and the Chetnik movement initially resisted the occupation. However, after 1941, the Chetniks adopted a policy of collaboration. They collaborated extensively and systematically with the Italian occupation forces until the Italian capitulation, and thereon also with German and Ustaše forces.[13][14] The Axis mounted a series of offensives intended to destroy the Partisans, coming close to doing so in winter and spring of 1943. Despite the setbacks, the Partisans remained a credible fighting force, gaining recognition from the Western Allies and laying the foundations for the post-war Yugoslav state. With support in logistics, equipment, training, and air power from the Western Allies, and Soviet ground troops in the Belgrade Offensive, the Partisans eventually gained control of the entire country and of border regions of Italy and Austria.
The human cost of the war was enormous. The number of war victims is still in dispute, but is generally agreed to have been at least one million. Non-combat victims included the majority of the country's Jewish population, many of whom perished in concentration and extermination camps (e.g. Jasenovac, Banjica) run by the client regimes. In addition, the Croatian Ustaše regime committed genocide against local Serbs and Roma, the Chetniks pursued ethnic cleansing against the Muslim and Croat population, and Italian occupation authorities against Slovenes. German troops also carried out mass executions of civilians in retaliation for resistance activity (Kragujevac massacre). Finally, during and after the final stages of the war, Yugoslav authorities and Partisan troops carried out reprisals, including the deportation of the Danube Swabian population, forced marches and executions of thousands of captured collaborators and civilians fleeing their advance (Bleiburg massacre), and atrocities against the Italian population in Istria (Foibe killings).
The Great Gildersleeve: Laughing Coyote Ranch / Old Flame Violet / Raising a Pig
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity.
On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. You're a haa-aa-aa-aard man, McGee! became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of Gildersleeve's Diary on the Fibber McGee and Molly series (Oct. 22, 1940).
He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family.
Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor.
In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company (If you want a better corset, of course, it's a Gildersleeve) and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity.
Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog).
The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons.
You Bet Your Life: Secret Word - Light / Clock / Smile
Julius Henry Groucho Marx (October 2, 1890 -- August 19, 1977) was an American comedian and film and television star. He is known as a master of quick wit and widely considered one of the best comedians of the modern era. His rapid-fire, often impromptu delivery of innuendo-laden patter earned him many admirers and imitators. He made 13 feature films with his siblings the Marx Brothers, of whom he was the third-born. He also had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life. His distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, glasses, cigar, and a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most ubiquitous and recognizable novelty disguises, known as Groucho glasses, a one-piece mask consisting of horn-rimmed glasses, large plastic nose, bushy eyebrows and mustache.
Groucho Marx was, and is, the most recognizable and well-known of the Marx Brothers. Groucho-like characters and references have appeared in popular culture both during and after his life, some aimed at audiences who may never have seen a Marx Brothers movie. Groucho's trademark eye glasses, nose, mustache, and cigar have become icons of comedy—glasses with fake noses and mustaches (referred to as Groucho glasses, nose-glasses, and other names) are sold by novelty and costume shops around the world.
Nat Perrin, close friend of Groucho Marx and writer of several Marx Brothers films, inspired John Astin's portrayal of Gomez Addams on the 1960s TV series The Addams Family with similarly thick mustache, eyebrows, sardonic remarks, backward logic, and ever-present cigar (pulled from his breast pocket already lit).
Alan Alda often vamped in the manner of Groucho on M*A*S*H. In one episode, Yankee Doodle Doctor, Hawkeye and Trapper put on a Marx Brothers act at the 4077, with Hawkeye playing Groucho and Trapper playing Harpo. In three other episodes, a character appeared who was named Captain Calvin Spalding (played by Loudon Wainwright III). Groucho's character in Animal Crackers was Captain Geoffrey T. Spaulding.
On many occasions, on the 1970s television sitcom All In The Family, Michael Stivic (Rob Reiner), would briefly imitate Groucho Marx and his mannerisms.
Two albums by British rock band Queen, A Night at the Opera (1975) and A Day at the Races (1976), are named after Marx Brothers films. In March 1977, Groucho invited Queen to visit him in his Los Angeles home; there they performed '39 a capella. A long-running ad campaign for Vlasic Pickles features an animated stork that imitates Groucho's mannerisms and voice. On the famous Hollywood Sign in California, one of the Os is dedicated to Groucho. Alice Cooper contributed over $27,000 to remodel the sign, in memory of his friend.
In 1982, Gabe Kaplan portrayed Marx in the film Groucho, in a one-man stage production. He also imitated Marx occasionally on his previous TV sitcom Welcome Back, Kotter.
Actor Frank Ferrante has performed as Groucho Marx on stage for more than two decades. He continues to tour under rights granted by the Marx family in a one-man show entitled An Evening With Groucho in theaters throughout the United States and Canada with piano accompanist Jim Furmston. In the late 1980s Ferrante starred as Groucho in the off-Broadway and London show Groucho: A Life in Revue penned by Groucho's son Arthur. Ferrante portrayed the comedian from age 15 to 85. The show was later filmed for PBS in 2001. Woody Allen's 1996 musical Everyone Says I Love You, in addition to being named for one of Groucho's signature songs, ends with a Groucho-themed New Year's Eve party in Paris, which some of the stars, including Allen and Goldie Hawn, attend in full Groucho costume. The highlight of the scene is an ensemble song-and-dance performance of Hooray for Captain Spaulding—done entirely in French.
In the last of the Tintin comics, Tintin and the Picaros, a balloon shaped like the face of Groucho could be seen in the Annual Carnival.
In the Italian horror comic Dylan Dog, the protagonist's sidekick is a Groucho impersonator whose character became his permanent personality.
The BBC remade the radio sitcom Flywheel, Shyster and Flywheel, with contemporary actors playing the parts of the original cast. The series was repeated on digital radio station BBC7. Scottish playwright Louise Oliver wrote a play named Waiting For Groucho about Chico and Harpo waiting for Groucho to turn up for the filming of their last project together. This was performed by Glasgow theatre company Rhymes with Purple Productions at the Edinburgh Fringe and in Glasgow and Hamilton in 2007-08. Groucho was played by Scottish actor Frodo McDaniel.
Author, Journalist, Stand-Up Comedian: Paul Krassner Interview - Political Comedy
Paul Krassner (born April 9, 1932) is an author, journalist, stand-up comedian, and the founder, editor and a frequent contributor to the freethought magazine The Realist, first published in 1958. More Krassner:
Krassner became a key figure in the counterculture of the 1960s as a member of Ken Kesey's Merry Pranksters and a founding member of the Yippies.
The Realist was published on a fairly regular schedule during the 1960s, then on an irregular schedule after the early 1970s. In 1966, Krassner published The Realist's controversial Disneyland Memorial Orgy poster, illustrated by Wally Wood, and he recently made this famed black-and-white poster available in a digital color version. The Realist also distributed a red, white and blue Cold War bumper sticker that read Fuck Communism.
Krassner's most notorious satire was the article The Parts That Were Left Out of the Kennedy Book, which followed the censorship of William Manchester's book on the Kennedy assassination, The Death of a President. At the climax of the grotesque-genre short-story, Lyndon B. Johnson is described as having sexually penetrated the bullet-hole wound in the throat of John F. Kennedy's corpse. According to Elliot Feldman, Some members of the mainstream press and other Washington political wonks, including Daniel Ellsberg of Pentagon Papers fame, actually believed this incident to be true. In a 1995 interview for the magazine Adbusters, Krassner commented: People across the country believed - if only for a moment - that an act of presidential necrophilia had taken place. It worked because Jackie Kennedy had created so much curiosity by censoring the book she authorized - William Manchester's 'The Death Of A President' - because what I wrote was a metaphorical truth about LBJ's personality presented in a literary context, and because the imagery was so shocking, it broke through the notion that the war in Vietnam was being conducted by sane men.
In 1966, he reprinted in The Realist an excerpt from the academic journal the Journal of the American Medical Association, but presenting it as original material. The article dealt with drinking glasses, tennis balls and other foreign bodies found in patients' rectums. Some accused him of having a perverted mind, and a subscriber wrote I found the article thoroughly repellent. I trust you know what you can do with your magazine.
Krassner revived The Realist as a much smaller newsletter during the mid-1980s when material from the magazine was collected in The Best of the Realist: The 60's Most Outrageously Irreverent Magazine (Running Press, 1985). The final issue of The Realist was #146 (Spring, 2001).
Krassner remains a prolific writer. In 1971 he published a collection of his favourite works for The Realist, as How A Satirical Editor Became A Yippie Conspirator In Ten Easy Years. In 1981 he published the satirical story Tales of Tongue Fu, in which the hilarious misadventures of the Japanese-American man Tongue Fu are mixed with a wicked social commentary. In 1994 he published his autobiography Confessions of a Raving, Unconfined Nut: Misadventures in Counter-Culture. In July 2009, City Lights Publishers will release Who's to Say What's Obscene?, a collection of satirical essays that explore contemporary comedy and obscenity in politics and culture.
He published three collections of drug stories. The first collection, Pot Stories for the Soul (1999), is from other authors and is about marijuana. Psychedelic Trips for the Mind (2001), is written by Krassner himself and collects stories on LSD. The third, Magic Mushrooms and Other Highs (2004), is by Krassner too, and deals with magic mushrooms, ecstasy, peyote, mescaline, THC, opium, cocaine, ayahuasca, belladonna, ketamine, PCP, STP, toad slime, and more.
The Great Gildersleeve: Gildy Is In a Rut / Gildy Meets Leila's New Beau / Leroy Goes to a Party
Aiding and abetting the periodically frantic life in the Gildersleeve home was family cook and housekeeper Birdie Lee Coggins (Lillian Randolph). Although in the first season, under writer Levinson, Birdie was often portrayed as saliently less than bright, she slowly developed as the real brains and caretaker of the household under writers John Whedon, Sam Moore and Andy White. In many of the later episodes Gildersleeve has to acknowledge Birdie's commonsense approach to some of his predicaments. By the early 1950s, Birdie was heavily depended on by the rest of the family in fulfilling many of the functions of the household matriarch, whether it be giving sound advice to an adolescent Leroy or tending Marjorie's children.
By the late 1940s, Marjorie slowly matures to a young woman of marrying age. During the 9th season (September 1949-June 1950) Marjorie meets and marries (May 10) Walter Bronco Thompson (Richard Crenna), star football player at the local college. The event was popular enough that Look devoted five pages in its May 23, 1950 issue to the wedding. After living in the same household for a few years with their twin babies Ronnie and Linda, the newlyweds move next door to keep the expanding Gildersleeve clan close together.
Leroy, aged 10--11 during most of the 1940s, is the all-American boy who grudgingly practices his piano lessons, gets bad report cards, fights with his friends and cannot remember to not slam the door. Although he is loyal to his Uncle Mort, he is always the first to deflate his ego with a well-placed Ha!!! or What a character! Beginning in the Spring of 1949, he finds himself in junior high and is at last allowed to grow up, establishing relationships with the girls in the Bullard home across the street. From an awkward adolescent who hangs his head, kicks the ground and giggles whenever Brenda Knickerbocker comes near, he transforms himself overnight (November 28, 1951) into a more mature young man when Babs Winthrop (both girls played by Barbara Whiting) approaches him about studying together. From then on, he branches out with interests in driving, playing the drums and dreaming of a musical career.