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Sunday, December 31, 2017

Happy New Year 2018 ♫ ♪ Johann Strauss ♪♫ ♪

♫ ♪πŸŽ† ♪♫ Happy New Year !♫ ♪πŸŽ†♪♫
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♫ ♪♫ ♪♫ Johann Strauss ♫ ♪♫ ♪♫
The Blue Danube
πŸŽ† πŸŽ‡ πŸŽ‡ πŸŽ†

πŸŽ„ ❄ πŸŽ„ ☃️ πŸŽ„ 🎁 😊 🌟 πŸŽ† πŸŽ‡ πŸŽ… πŸŽ„
🌟New Year's Concert 🌟
πŸŽ‡Happy New YearπŸŽ† https://78.media.tumblr.com/4e0a600a2e14271c18161f8088815d76/tumblr_p1sd9uJz5H1v3adc7o2_1280.gif https://78.media.tumblr.com/e5822c9dd31819e28c7844e048030845/tumblr_p1sd9uJz5H1v3adc7o4_r1_500.gifhttps://78.media.tumblr.com/e5822c9dd31819e28c7844e048030845/tumblr_p1sd9uJz5H1v3adc7o4_r1_500.gifhttps://78.media.tumblr.com/e5822c9dd31819e28c7844e048030845/tumblr_p1sd9uJz5H1v3adc7o4_r1_500.gif
πŸŽ„ ❄ πŸŽ„ ☃️ πŸŽ„ 🎁 😊 🌟 πŸŽ† πŸŽ‡ πŸŽ… πŸŽ„
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Saturday, December 30, 2017

Midnight Run in Central Park

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NYRR  New York City
4 Miles
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Run around Central Park at midnight with like-minded revelers, while fireworks explode overhead. The NYRR Midnight Run is typically populated with costumed and, presumably, not-entirely sober runners, but there is a competitive contingent as well, with prize money for the top three men and women. 
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Kick off the new year at the NYRR Midnight Run! Join the fun and celebrate with music and dancing (starting at 10:00 p.m.) as 2017 comes to a close. 
With a countdown to midnight beginning at 11:59 p.m., the four-mile run will start on the stroke of midnight, as will a spectacular fireworks display to light up the night and the start of 2018.
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Pre-Race Festival
The fun begins at 10:00 p.m. with a rockin’ dance party at Rumsey Playfield for runners and their guests. Stop by our face painting station to add a finishing touch to your festive look, then add your New Year’s resolution to our Resolution Wall for all to see.
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Location and Entry - View Map of the start area.
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In compliance with NYPD security plans, the start area and Pre-Race Festival, located at Rumsey Playfield in Central Park, will be open to registered runners and their guests only; these areas will not be open to the general public. To access these areas, runners and their guests must enter the park at West 72nd Street and Central Park West or East 72nd Street and Fifth Avenue in order to go through security screening. Runners attempting to use other park entrances will experience delays in getting to the start and risk not starting the race on time. 
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Each runner will be permitted one guest and receive a wristband at number pickup to give to their guest. Guests must display a wristband and runners must display a bib for entry into the park at 72nd Street and into the Pre-Race Festival and start area.
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The general public may still view fireworks from south of 69th Street inside the park, and will be subject to security screening at any park entrance south of the entrances at 72nd Street.
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Friday, December 29, 2017

Ice Bubble Magic ❄️❄️ ❣

Ice Bubble Magic
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❄️  ❄️  ❄️ ❄️

Freezing Soap Bubbles
At -15 Celsius
Warsaw

Music: "Ice Chimes" by Lee Rosevere (http://happypuppyrecords.ca)
❄️  ❄️  ❄️ ❄️
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Freezing Soap Bubble
This is a video of a soap bubble as it freezes in very cold weather.

❄️  ❄️  ❄️ ❄️ ❄️  ❄️  ❄️ ❄️
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❄️  ❄️  ❄️ ❄️
❄️❄️❄️❄️❄️
❄️❄️❄️

Thursday, December 28, 2017

The 21 Best Movies of 2017

The 21 Best Movies of 2017
From Lady Bird and Dunkirk to Get Out and The Big Sick, it was an extraordinary year at the movies.
 

In the introduction to her review anthology For Keeps: 30 Years at the Movies, the legendary film critic Pauline Kael wrote, “I’m frequently asked why I don’t write my memoirs. I think I have.” She meant what most movie critics realize at some point: that reading your past reviews and revisiting the lists of films you liked most during the year reveals not just something about a particular year in cinema, but something about you as well.

That’s the feeling I get constructing my list of the best films of 2017, a year that overflowed with great films in every genre, from horror and romantic comedy to documentary and arthouse drama. Some of the films on my list have commonalities — ghosts, meditations on memory and interpersonal connection, and women who refuse to behave — but mostly they underscore just how vibrant cinema remains as an art form, even in the midst of massive cultural shifts in the industry and beyond. And it is a keen reminder to me of all the 2017 conversations I’ve had around and at the movies — and the ways I will never be the same.

Here are my top 21 films of 2017, with 14 honorable mentions.



I am as shocked as anyone that a Star Wars movie found its way onto my list — but I was bowled over by The Last Jedi, which may be one of the series’ best. In the hands of writer-director Rian Johnson (who will also oversee a new Star Wars trilogy), The Last Jedi is beautiful to look at and keeps its eye on the relationships between characters and how they communicate with one another, in addition to the bigger galactic story. The same characters are back, but they seem infused with new life, and the galaxy with a new kind of hope. The movie’s best details are in the strong bonds that develop between characters, and I left the film with the realization that for the first time in my life, I loved a Star Wars movie. Now I understand the magic.



The unusual documentary Faces Places (in French, Visages Villages) turns on the friendship between the accomplished street artist JR and legendary film director AgnΓ¨s Varda, whose work was central to the development of the French New Wave movement. The pair (whose difference in age is 55 years) met after years of admiring each other’s work and decided to create a documentary portrait of France — by making a number of actual portraits. The film chronicles a leg of the "Inside Outside Project," a roving art initiative in which JR makes enormous portraits of people he meets and pastes them onto buildings and walls. In the film, Varda joins him, and as they talk to people around the country, they grow in their understanding of themselves and of each other. The development of their friendship, which is both affectionate and mutually sharpening, forms Faces Places’ emotional center.



Ingrid Goes West is a twisted and dark comedy — part addiction narrative, part stalker story — and yet it’s set in a world that’s almost pathologically cheery: the glossy, sunny, nourishing, superfood- and superlative-loving universe of Instagram celebrity. But despite Ingrid Goes West’s spot-on take on that world, the best thing about the film is that it refuses to traffic in lazy buzzwords and easy skewering, particularly at the expense of young women. Instead, the movie conveys that behind every Instagram image and meltdown is a real person, with real insecurities, real feelings, and real problems. And it recognizes that living a life performed in public can be its own kind of self-deluding prison.



Lady Macbeth is no placid costume drama. Adapted from an 1865 Russian novella by Nikolai Leskov, the movie follows Katherine (the astounding Florence Pugh), a woman in the Lady Macbeth line characterized by a potent cocktail of very few scruples and a lot of determination. She's a chilling avatar for the ways that class and privilege — both obvious and hidden — insulate some people from the consequences of their actions while damning others. Lady Macbeth is also a dazzling directorial debut from William Oldroyd, a thrilling combination of sex, murder, intrigue, and power plays. It’s visually stunning, each frame composed so carefully and deliberately that the wildness and danger roiling just below the surface feels even more frightening. Each scene ratchets up the tension to an explosive, chilling end.


17) BPM (Beats Per Minute)

BPM (Beats Per Minute) is a remarkably tender and stirring story of the Paris chapter of ACT UP, an AIDS activism group, and the young people who found themselves caught in the crosshairs of the AIDS crisis in the early 1990s. The film follows both the group's actions and the individual members’ shifting relationships to one another — enemies becoming friends, friends becoming lovers, lovers becoming caretakers — as well as their struggles with the disease wracking their community. As an account of the period, it’s riveting; as an exploration of life and love set at the urgent intersection of the political and the personal, it’s devastating.



Few 2017 movies could top the charm and tenderness of The Big Sick, which hits all the right romantic comedy notes with one unusual distinction: It feels like real life. That’s probably because The Big Sick is written by real-life married couple Emily V. Gordon and Silicon Valley's Kumail Nanjiani, and based on their real-life romance. The Big Sick — which stars Nanjiani as a version of himself, alongside Zoe Kazan as Emily — is funny and sweet while not backing away from matters that romantic comedies don’t usually touch on, like serious illness, struggles in long-term marriages, and religion. As it tells the couple’s story, which takes a serious turn when Emily falls ill with a mysterious infection and her parents (played by Holly Hunter and Ray Romano) come to town, it becomes a funny and wise story about real love.


15) Mother!

There’s so much pulsing beneath the surface of Mother! that it’s hard to grab on to just one theme as what it “means.” It’s full-on apocalyptic fiction, and like all stories of apocalypse, it’s intended to draw back the veil on reality and show us what’s really beneath. And this movie gets wild: If its gleeful cracking apart of traditional theologies doesn’t get you (there’s a lot of Catholic folk imagery here, complete with an Ash Wednesday-like mud smearing on the foreheads of the faithful), its bonkers scenes of chaos probably will. Mother! is a movie designed to provoke fury, ecstasy, madness, catharsis, and more than a little awe. Watching it, and then participating in the flurry of arguments and discussions unpacking it, was among my best moviegoing experiences of 2017.




Director David Lowery filmed A Ghost Story in secret, then premiered it at the Sundance Film Festival to critical acclaim. The movie starts out being about a grieving widow (Rooney Mara) trying to live through the pain of losing her beloved husband, but it soon shifts focus to the ghost of her husband (Casey Affleck, covered in a sheet), evolving into a compelling rumination on the nature of time, memory, history, and the universe. Bathed in warm humor and wistful longing, it's a film that stays with you long after it’s over, a lingering reminder of the inextricable link between love and place.







12) Dunkirk

Dunkirk, a true cinematic achievement from acclaimed director Christopher Nolan, backs off conventional notions of narrative and chronology as much as possible, while leaning headfirst into everything else that makes a movie a visceral work of art aimed at the senses: the images, the sounds, the scale, the swelling vibrations of it all. You can’t smell the sea spray, but your brain may trick you into thinking you can. Nolan’s camera pushes the edges of the screen as far as it can as Dunkirk engulfs the audience in something that feels like a lot more than a war movie. It’s a symphony for the brave and broken, and it resolves in a major key — but one with an undercurrent of sorrow, and of sober warning. Courage in the face of danger is not just for characters in movies.



11) Rat Film

Rat Film is about rats, yes — and rat poison experts and rat hunters and people who keep rats as pets. But it’s also about the history of eugenics, dubious science, “redlining,” and segregated housing in Baltimore. All these pieces come together to form one big essay, where the meaning of each vignette only becomes clearer in light of the whole. It’s a fast-paced, no-holds-barred exploration of a damning history, and it accrues meaning as the images, sounds, and text pile up.




A Quiet Passion is technically a biographical film about Emily Dickinson, but it transcends its genre to become something more like poetry. It’s a perplexing and challenging film, crafted without the traditional guardrails that guide most biographical movies — dates, times, major accomplishments, and so on. Time slips away in the film almost imperceptibly, and the narrative arc doesn’t yield easily to the viewer. Cynthia Nixon plays Emily Dickinson, whose poetry and life is a perfect match for the signature style of director Terence Davies: rich in detail, deeply enigmatic, and weighed down with a kind of sparkling, joy-tinged sorrow. A Quiet Passion is a portrait, both visual and narrative, of the kind of saint most modern people can understand: one who is certain of her uncertainty, and yearning to walk the path on which her passion and longing meet.



9) Columbus

Columbus is a stunner of a debut from video essayist turned director Kogonada. Haley Lu Richardson stars as Casey, a young woman living in Columbus, Indiana, who cares for her mother, works at a library, and harbors a passion for architecture. (Columbus is a mecca for modernist architecture scholars and enthusiasts.) When a visiting architecture scholar falls into a coma in Columbus, his estranged son Jin (John Cho) arrives to wait for him and strikes up a friendship with Casey, who starts to show him her favorite buildings. The two begin to unlock something in each other that’s hard to define but life-changing for both. Columbus is beautiful and subtle, letting us feel how the places we build and the people we let near us move and mold us.




Sean Baker’s The Florida Project unfolds at first like a series of sketches about the characters who live in a purple-painted, $35-a-night motel called the Magic Castle down the street from Disney World. The film is held together by the hysterical antics of a kid named Moonee and her pack of young friends, as well as long-suffering hotel manager Bobby (a splendid, warm Willem Dafoe), who tries to put up with it all while keeping some kind of order. But as The Florida Project goes on, a narrative starts to form, one that chronicles with heartbreaking attention the sort of dilemmas that face poor parents and their children in America, and the broken systems that try to cope with impossible situations.




Luca Guadagnino’s gorgeous film Call Me by Your Name adapts AndrΓ© Aciman’s 2007 novel about a precocious 17-year-old named Elio (TimothΓ©e Chalamet), who falls in lust and love with his father’s 24-year-old graduate student Oliver (Armie Hammer). It’s remarkable for how it turns literature into pure cinema, all emotion and image and heady sensation. Set in 1983 in Northern Italy, Call Me by Your Name is less about coming out than coming of age, but it also captures a particular sort of love that’s equal parts passion and torment, a kind of irrational heart fire that opens a gate into something longer-lasting. The film is a lush, heady experience for the body, but it’s also an arousal for the soul.



6) Personal Shopper

In her second collaboration with French director Olivier Assayas, Kristen Stewart plays a personal shopper to a wealthy socialite, with a sideline as an amateur ghost hunter who’s searching for her dead twin brother. Personal Shopper is deeper than it seems at first blush, a meditation on grief and an exploration of “between” places — on the fringes of wealth, and in the space between life and death. Some souls are linked in a way that can’t be shaken, and whether or not there’s an afterlife doesn’t change the fact that we see and sense them everywhere. (Personal Shopper also has one of the tensest extended scenes involving text messaging ever seen onscreen.)



5) Princess Cyd

Stephen Cone is a master of small, carefully realized filmmaking; his earlier films such as The Wise Kids and Henry Gamble’s Birthday Party combine an unusual level of empathy for his characters with an unusual combination of interests: love, desire, sexual awakenings, and religion. Princess Cyd is his most accomplished film yet, about a young woman named Cyd (Jessie Pinnick) who finds herself attracted to Katie (Malic White), a barista, while visiting her Aunt Miranda (Rebecca Spence, playing a character modeled on the author Marilynne Robinson) in Chicago. As she works through her own sexual awakening with Katie, Cyd unwinds some of the ways Miranda’s life has gotten too safe. They provoke each other while forming a bond and being prodded toward a bigger understanding of the world. It is a graceful and honest film, and it feels like a modest miracle.



4) Get Out

Racism is sinister, frightening, and deadly. But Get Out (a stunning directorial debut from Key & Peele's Jordan Peele) isn’t about the blatantly, obviously scary kind of racism — burning crosses and lynchings and snarling hate. Instead, it’s interested in showing how the parts of racism that try to be aggressively unscary are just as horrifying, and it’s interested in making us feel that horror in a visceral, bodily way. In the tradition of the best classic social thrillers, Get Out takes a topic that is often approached cerebrally — casual racism — and turns it into something you feel in your tummy. And it does it with a wicked sense of humor.



3) The Work

The Work is an outstanding, astonishing accomplishment and a viewing experience that will leave you shaken (but in a good way). At Folsom Prison in California, incarcerated men regularly participate in group therapy, and each year other men from the “outside” apply to participate in an intense four-day period of group therapy alongside Folsom’s inmates. The Work spends almost all of its time inside the room where that therapy happens, observing the strong, visceral, and sometimes violent emotions the men feel as they expose the hurt and raw nerves that have shaped how they encounter the world. Watching is not always easy, but by letting us peek in, the film invites viewers to become part of the experience — as if we, too, are being asked to let go.



2) Ex Libris

Frederick Wiseman is one of the towering giants of nonfiction film, a keen observer of American institutions — ranging from prisons to dance companies to welfare offices — for the past half-century. Ex Libris is his mesmerizing look at the New York Public Library and the many functions it fills, which go far beyond housing books. Wiseman works in the observational mode, which means his films contain no captions, dates, or talking-head interviews: We just see what his camera captured, which in this case includes community meetings, benefit dinners, after-school programs, readings with authors and scholars (including Richard Dawkins and Ta-Nehisi Coates), and NYPL patrons going about their business in the library’s branches all over the city. The result is almost hypnotic and, perhaps surprisingly, deeply moving. It makes a case for having faith in the public institutions where ordinary people work — away from the limelight, without trying to score political points — in order to make our communities truly better.




Lady Bird topped my list almost instantly, and only rose in my estimation on repeated viewings. For many who saw it (including me), it felt like a movie made not just for but about me. Lady Bird is a masterful, exquisite coming-of-age comedy starring the great Saoirse Ronan as Christine — or “Lady Bird,” as she’s re-christened herself — and it’s as funny, smart, and filled with yearning as its heroine. Writer-director Greta Gerwig made the film as an act of love, not just toward her hometown of Sacramento but also toward girlhood, and toward the feeling of always being on the outside of wherever real life is happening. Lady Bird is the rare movie that manages to be affectionate, entertaining, hilarious, witty, and confident. And one line from it struck me as the guiding principle of many of the year’s best films: “Don’t you think they are the same thing? Love, and attention?”

 
Honorable mentions: Marjorie Prime, Phantom Thread, Casting JonBenet, The Post, The Shape of Water, Logan Lucky, I, Tonya, The Lost City of Z, Graduation, Spettacolo, Loveless, Restless Creature: Wendy Whelan, In Transit, The Reagan Show

CLICK HERE for More + Video Trailers:

Monday, December 25, 2017

Petit Papa NoΓ«l πŸŽ…πŸŽ„Tino Rossi πŸŽ…πŸŽ„

πŸŽ„❤πŸŽ„πŸŽ… Petit Papa NoΓ«l πŸŽ…πŸŽ„❤πŸŽ„
Tino Rossi

πŸŽ„ πŸŽ„ πŸŽ€πŸŽ„πŸŽ…πŸŽ„⛄❄️πŸŽ„⛄ πŸŽ… πŸŽ„πŸŽ€ πŸŽ„
Paroles: ❄⛄πŸŽ„❄⛄
1. C'est la belle nuit de NoΓ«l
La neige Γ©tend son manteau blanc
Et les yeux levΓ©s vers le ciel
A genoux les petits enfants
Avant de fermer les paupières
Font une dernière prière
πŸŽ…

refrain:
πŸŽ…

Petit Papa NoΓ«l
Quand tu descendras du ciel
Avec tes jouets par milliers
N'oublie pas mon petit soulier
πŸŽ…

2. Mais avant de partir,
Il faudra bien te couvrir
Dehors, tu vas avoir si froid
C'est un peu Γ  cause de moi. 
Il me tarde tant que le jour se lève
Pour voir si tu m'as apportΓ©
Tous les beaux joujoux
Que je vois en rΓͺve
Et que je t'ai commandΓ©s
πŸŽ…

3. Le marchand de sable est passΓ©
Les enfants vont faire dodo
Et tu vas pouvoir commencer
Avec ta hotte sur le dos
Au son des cloches des Γ©glises
Ta distribution de surprises
πŸŽ…

4. Et quand tu seras sur ton beau nuage
Viens d'abord sur notre maison
Je n'ai pas été tous les jours très sage
Mais j'en t'en demande le pardon

πŸŽ… πŸŽ… πŸŽ… πŸŽ… πŸŽ… πŸŽ… πŸŽ… πŸŽ… πŸŽ…

πŸŽ„ πŸŽ„ πŸŽ„πŸŽ…πŸŽ„⛄πŸŽ„⛄ πŸŽ… πŸŽ„ πŸŽ„πŸŽ„

❄⛄πŸŽ„πŸŽ€❤Merry Christmas Everyone❤πŸŽ€πŸŽ„❄⛄
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❄⛄πŸŽ€❄⛄πŸŽ„πŸŽ„πŸŽ€

Saturday, December 23, 2017

Mummies - AMNH

Mummies
Through January 7, 2018
American Museum of Natural History
Discover when, how, and why ancient Egyptians and Peruvians were mummified in a new show featuring an up-close look at rarely-exhibited mummies as well as interactive touch tables, rare artifacts, and cutting-edge imaging.
For thousands of years, peoples around the world practiced mummification as a way of preserving and honoring their dead.
Mummies brings you face to face with some of these ancient individuals and reveals how scientists are using modern technology to glean stunning details about them and their cultures.
Discover when, how, and why ancient Egyptians and Peruvians were mummified and find out who they were in life. This show features an up-close look at rarely-exhibited mummies as well as interactive touch tables, rare artifacts, and cutting-edge imaging.
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Exhibition Highlights

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Mummification was practiced by numerous cultures in what is now Peru, beginning more than 7,000 years ago.



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In our imagination, mummies are linked with ancient Egypt, and not without reason.ummification was practiced there for thousands of years.

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New imaging technologies allow researchers to respectfully see inside these mummies.



Mummies is co-curated by David Hurst Thomas, curator of North American Archaeology in the Division of Anthropology and John J. Flynn, Frick Curator of Fossil Mammals in the Division of Paleontology.
Mummies was developed by The Field Museum, Chicago.
The Museum gratefully acknowledges the Richard and Karen LeFrak Exhibition and Education Fund.

Visit Mummies at the American Museum of Natural History from March 20, 2017 to January 7, 2018.
  • Learn more at http://www.amnh.org/exhibitions/mummies
  • Mummies was developed by The Field Museum, Chicago.
  • The Museum gratefully acknowledges the Richard and Karen LeFrak Exhibition and Education Fund.
  • Mummies is proudly supported by Chase Private Client.
  • Video AMNH /L. Stevens
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The Field Revealed:
Gilded Lady, The Mummy
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Using state of the art technology, Anthropologists from The Field Museum had the opportunity to examine Egyptian mummies for the first time. Check out the amazing images that can be produced with a medical CT scanner. These mummies have been part of the Museum collections for many years and thanks to proper conservation methods, researchers are now able to work with them without causing any damage.
*******
Mummies Revealed
Part of the Mummies exhibition.
As new technologies emerge, scientists reexamine museum collections, which often yield new information. Today, new imaging technologies are helping researchers to see inside these centuries-old specimens without damaging them. In Mummies, see the latest research and find out what cutting-edge science can tell us about these individuals—including mummy #30007, also known as the Gilded Lady.
Side horizontal view of upper body and head of mummy, covered in dark wrappings with a gilded face.
Ancient Egyptian mummy #30007. © 2015 The Field Museum, A115214d_016A, photographer John Weinstein
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This beautifully preserved mummy with intricate linen bindings, a gilded headdress, and painted facial features is from Roman-era Egypt (30 BC–AD 646). Still never unwrapped since she was carefully preserved, this mummy's inner secrets remained hidden until examined by computerized tomography (CT) scanning in 2011.
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CT scanning of The Field Museum’s mummies rendered extremely detailed views of bones, muscles, and even the hair of the persons inside their wrappings and coffins. This image of mummy #30007’s skeleton was composed by putting together thousands of “slices” of images of only bones, no tissue.
Wrapped mummy on left and the skeleton that is revealed by CT scan on the right.

Intact form of mummy #30007; Skeleton of #30007 rendered from CT scan.
© 2015 The Field Museum, A115214d_030A, photographer John Weinstein; CT scan composite © 2015 Field Museum, Katarina Kaspari
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The headdress is made of cartonnage, a papier-mΓ’chΓ© like substance made from glued layers of papyrus or linen, then covered with gilding, a thin layer of gold. Ancient Egyptians believed the gold would enable the person’s eyes, nose, and mouth to stay intact for the afterlife. The golden skin was used to show divinity because after death, she would be transformed into the god Osiris, who had skin of gold.
Detail view of the layers of the headdress made from papyrus and linen, topped with a gold-painted face.
© 2015 The Field Museum, A115214d_035B, photographer John Weinstein
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CT scanning of mummy #30007 revealed that she was a woman in her forties with curly hair and a slight overbite. It also uncovered evidence that she may have died from tuberculosis, a common and frequently deadly ailment in ancient Egypt.
Scan reveals skull and also the outlines of tissue and hair.
CT scan of mummy #30007. © The Field Museum

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This hyper-realistic sculpture, created by forensic artist Élisabeth Daynès, portrays the woman behind the gilded mask as she may have looked during her life in ancient Egypt.
Realistic sculpture of the head and shoulders of a woman, featuring kohl-rimmed eyes, shoulder length braided hair with bangs and a gold circlet.
Gilded Lady sculpture by DaynΓ¨s.  © 2012. Photo: E. DaynΓ¨s–Reconstruction Γ‰lisabeth DaynΓ¨s Paris


 
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Friday, December 22, 2017

AndrΓ© Rieu πŸŽ„ O Holy Night πŸŽ„

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Fra Angelico Nativity 1440 - 1441

πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„⛄πŸŽ„⛄πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„
πŸŽ„ AndrΓ© Rieu πŸŽ„
 O Holy Night
AndrΓ© Rieu & His Johann Strauss Orchestra performing O Holy Night live in London. Taken from the DVD Christmas in London. 
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Original Lyrics:
O holy night! The stars are brightly shining,
It is the night of our dear Savior's birth.
Long lay the world in sin and error pining,
Till He appear'd and the soul felt its worth.
A thrill of hope, the weary world rejoices,
For yonder breaks a new and glorious morn.
Fall on your knees! O hear the angel voices!
O night divine, O night when Christ was born;
O night divine, O night, O night Divine.
Led by the light of Faith serenely beaming,
With glowing hearts by His cradle we stand.
So led by light of a star sweetly gleaming,
Here come the wise men from the Orient land.
The King of Kings lay thus in lowly manger;
In all our trials born to be our friend.
He knows our need, to our weaknesses no stranger,
Behold your King! Before Him lowly bend!
Behold your King, Before Him lowly bend!
Truly He taught us to love one another;
His law is love and His gospel is peace.
Chains shall He break for the slave is our brother;
And in His name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.
Christ is the Lord! O praise His Name forever,
His power and glory evermore proclaim.
His power and glory evermore proclaim.
For concert dates and tickets visit: http://www.andrerieu.com
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πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„⛄πŸŽ„⛄πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„ πŸŽ„


Thursday, December 21, 2017

Animal Odd Couples - Wild Things

Wild Things
Animal Odd Couples
Full Documentary

Biologist Liz Bonnin explores why some of the most bizarre and surprising animals pair up with each other and with us. She scours the globe in search of the most extraordinary and cute animal relationships, investigating why such odd couples sometimes form. 

From dogs mothering baby tigers and polar bears befriending huskies, to buffaloes bonding with grown men and lions behaving like our brothers.

Liz will discover how oxytocin, the love hormone, plays a vital part in bringing the oddest animals together. 
The biological need to mother can shake up the natural order to such an extent that we see cats mothering ducklings and deer adopting dogs as their own young. 
There’s even the rhino and the sheep that love spending time with each other so much that they become ill if they are separated.

Click here for more documentaries: http://bit.ly/2gSPaf6 
Content licensed DRG Distribution and produced by Oxford Scientific Films LTD.

Any queries, please contact us at: wildthings@littledotstudios.com