Has L.A. managed to flip the script and become a fashion show city at long last?

Independently of one other, a handful of designers who normally show at New York Fashion Week elected to mount events here instead, shining an even brighter spotlight on the City of Angels during an already buzzy time, with the Grammy Awards this weekend and the Oscars around the corner.

Certainly, five events over five days Rebecca Minkoff on Saturday, Raquel Allegra and Rachel Zoe on Monday, Rachel Comey on Tuesday and the grand finale of Tommy Hilfiger tonight are a mere drop in the New York bucket of more than 150 official shows. But the micro trend ensures that theyre each getting maximum attention before the New York Fashion Week onslaught.

I think the cluster of designers showing in L.A. is a nice coincidence that puts another spotlight on L.A. and the interest fashion has in whats happening in the city in terms of art and culture. That has been something weve seen for a while now, said Steven Kolb, chief executive officer of the Council of Fashion Designers of America.

Fashion, it seems, is following the art scene and the cultural zeitgeist in the age of gender fluidity, we now have fashion week fluidity.

Fashion week is at a point where we are in a moment of experimentation; you see it evolving and not as defined. Designers are crossing in and out of the paths of Paris, London, Milan and New York; its more fluid, Kolb said.

The five events in Los Angeles this week didnt fit the uniform show mold either. There were see-now-buy-now shows and collections presented via short film and art installations. European labels are also getting in on the action this week: Kenzo will premiere its latest fashion film in L.A. for the second time on Thursday, and Vetements will unveil a capsule collection with Maxfield at a shopping event the same night.

We are in a time where in fashion week, the structure is less important in new cities. Its about taking shows to cities that make sense for the brand. But stamping a date and time to it that is old-fashioned, Kolb said.

That the city has never been able to keep its homegrown runway shows to a week sometimes stretching them out for over a month has continually frustrated editors, so to be sure, some boundaries make sense.

Following his New York see-now-buy-now show in September, Hilfiger comes to Los Angeles with a more fine-tuned approach, secure in the knowledge that hell be receiving the lions share of attention before New York shows even start.

We listened to our consumers, analyzed last seasons results, and built on the learnings to evolve the TommyNow platform even further as the ultimate expression of my brand philosophy, he said. In addition to the runway show, we will once again have the Tommy x Gigi pop-up shop, rides and unique experiences throughout the event. Weve also added a lot of newness that celebrates local California culture and puts music and entertainment at the heart of the event, he said.

Hilfiger will show a spring 2017 collection inspired by the casual, cool, chic vibe thats so signature to California in a created, Venice Beach carnival setting, that, while not open to the public, will draw its share of local onlookers and virtual voyeurs and hopefully, live and online shoppers.

Were constantly pushing boundaries to further democratize the runway and get closer to our consumers, he said. Our shoppable live-stream is back, along with TMY.GRL, our personalized virtual stylist-bot for Facebook Messenger. An exciting new addition this season is the Tommyland Snap:Shop app, which allows our users to shop the Tommy x Gigi collection from photos of the runway show, ad campaign, editorial shots and product in store.

On Monday night, after her presentation that was followed by a sit-down dinner, Zoe said, Im thrilled Tommy is showing here. Hes one of my greatest mentors and hes going to take over L.A. in a big way. Why shouldnt we just embrace L.A. for its own culture and stop trying to make it New York and Paris and London?

Minkoff, who pulled off a takeover at The Grove with style and energy (and virtually no logistical snags or user friction, itself a notable achievement in the age of hours-long show delays), said, I think L.A.s status as a city was already shifting. You could feel when Hedi Slimane came here. Theres plenty of companies that have huge success, so now more than ever more companies are getting wise to that. I think you might even see a rebalancing where a bunch of them are like, Screw this New York weather, lets move to L.A.

Los Angeles retailers are only too happy to embrace more events here. The Groves owner Rick Caruso said he was already angling to get more fashion shows. Absolutely, wed love to do this more often and Rebecca has really opened the door for us to do that. Our team is excited about working with more designers.

From an operational standpoint, its a no brainer because these shows are in our backyard. From a vibe standpoint, we get that validation, said Revolves Raissa Gerona, who attended Zoes show with the e-tailers cofounder and co-ceo Michael Mente. As a retailer, having to sell what customers see is a win-win situation. You join in on the fun and capture your audience. As a designer, youre not competing with a hundred other shows, so you have their attention a little longer.

Looking forward, the movement toward Los Angeles opens the door to other cities as well. As fashions search for new will inevitably continue, what will the next city du jour be, and which designer will catapult it into the spotlight? Chances are it will be a brand with the financial might to stage a remote show and the production infrastructure to support a see-now-buy-now collection. After all, the likes of Chanel, Dior, Gucci and Louis Vuitton already take their resort and pre-fall shows on the road, including, in the past, to L.A.

Said Hilfiger, I can imagine our show to be like a touring rock band, reaching consumers globally and staging shows in a different city each season, including going back to New York.

Echoed Kolb, Its a great idea to take that show on the road and be in front of another group of consumer. Will it be Miami next year? Will it come back to New York?

Kolb thinks New York, Paris, Milan and London will continue to be the core base of fashion weeks, just as L.A. will continue to attract designers to really touch city in terms of consumers and culture.

As more brands open stores here, events to drum up sales will follow. For Rachel Comey, who opened a store last June, Tuesday nights dinner/performance/presentation at Hauser Wirth & Schimmel Gallery for a mix of West Coast retailers, editors and celebrity clients was also designed to support business.

After New York, L.A. is definitely our biggest market. I dont have grand plans to open up 100 other stores around the U.S. so keeping these two strong are a priority, she said.

Comey said shes looking to do more types of events in L.A. while aiming to use her store as a base for personal one-on-one shopping and styling, noting, Fashion week can mean whatever you want it to mean for your brand.

The rest is here:

If Los Angeles Becomes a Bona Fide Fashion Show Destination, What's Next? - WWD

It went, roughly, like this: Over the weekend, Melissa McCarthy made a surprise appearance on Saturday Night Live, making sweaty, swaggery fun of Donald Trumps combative press secretary, Sean Spicer. On Monday, Politico reported that Trump had been angered by SNLs mockery of Spicernot, it contended, because of McCarthys eviscerating portrayal of him, but because of the person of McCarthy herself. More than being lampooned as a press secretary who makes up facts, Politico noted, it was Spicers portrayal by a woman that was most problematic in the presidents eyes, according to sources close to him. As a top Trump donor added, bringing another voice to an idea that has become prominent in the early days of the new presidential administration: Trump doesnt like his people to look weak.

From there it went, roughly, like this: You know, people began asking on Monday, what Trump would probably really, really hate? Say, just for instance, that SNL found a woman to play top presidential advisor Stephen Bannon. And say that they found not just any woman, but the woman Trump has sparred with more publicly, and more reliably, than any other. The one the president has referred to, over the course of their more-than-decade-long feud, as a real loser and a total trainwreck and crude, rude, obnoxious, and dumb and a fat pig and a slob.

The idea spread. Recruit Rosie! the people cried. Enlist ODonnell! Who better than Trumps so-called pig to really get his goat!

Rosie, it seems, read the tweets. And on Monday evening, jokingly-or-maybe-not-so-jokingly summoning George Washington and William Sherman and Franklin Roosevelt, the comedian gave her succinct reply: I will serve, ODonnell tweeted.

It was all, on the one hand, a low-stakes jokenot so much at the expense of Steve Bannon as it was at the expense of a president who seems to be unprecedentedly thin-skinned. But Recruit Rosie was also, despite its tempest-in-a-tweetstorm setting, much more than a joke: It operated on the premise that jokes can effect significant changes in the daily operations of the White House. It assumed that one bitODonnell playing Bannon, the real loser playing the person who seems to be, in Trumps mind, the ultimate winnercould have not just a comedic punchline, but also a political upshot. Recruit Rosie took for granted that satire can be, at this moment, and with this president, not just a distraction or an amusement, but indeed a weapon of resistance.

In one sense, certainly, thats an extremely old and bland idea. Call it the banality of comedy: Politics and satire have been intertwined since at least the earliest days of democracy. The Roman poet Juvenal, famed practitioner of the art of Satura, noted that it was hard not to write satire, living as he did within the corruption and decadence of the unjust City. Juvenal was, of course, not alone in that sentiment. Shed of the particularities of geography or generation or political system, it is a very human tendencyperhaps the human tendencyto puncture those in power. And American democracy, in particular, with its lively media culture and its hosting of Thomas Nast and Ambrose Bierce and the writers of SNL, has been a particularly eager adopter of the practice. We, the people have become, over the years, extremely adept with our side-eye.

But heres where Recruit Rosie breaks, just a little bit, with all that. Many of the most recent, and most memorable, of the presidential satiresRonald Reagan, secret genius; Gerald Ford, obvious klutz; George W. Bush, sworn enemy of the English languagehave existed not just to amuse their audiences, but also to influence the peoples perception of their targets. They have aimed at the zeitgeist, and, as such, have been less concerned with direct impact than with a softer kind of power: They have generally been concerned with shaping the public impressions that congeal into historical memory. Did George W. Bush, the person, talk about strategeryor did his SNL persona? Satire, when done well, makes it hard to remember for sure. Satire, traditionally, has played the long game.

The Genius of Melissa McCarthy as Sean Spicer on Saturday Night Live

Trump, however, is not a traditional president. And the satire aimed at him and his administration has been, along with so much else, adjusting accordingly. And thus: Recruit Rosiewhich is about humor, sure (ODonnell as Bannon! Can you even imagine?), but which is also, and more directly, premised on action. It sees itself, as @CaptJaneway2017 suggested, as part of #TheResistance. Its real punchline is that President Trump is so sensitive about his public image that an unflattering portrayal of his primary advisorwhich is also an unflattering portrayal of the presidentmight remove that advisor from the presidents good graces. Taken to its logical extreme it might even get Bannon fired.

The news cycle that hosted the Politico piece about Trumps SNL-driven anger with Spicer also featured another story: The New York Times reported that Trump has been spending the early evenings of his young presidency by retiring to the residence of the White House and watching cable news. It was a revelation that would surprise nobody who follows the presidents cable-driven Twitter feed (though Spicer, for the record, dismissed the entire Times story as one more instanceand, indeed, the epitomeof fake news).

Coupled with the Politico story, though, the Timess reporting suggested just how powerful television has become as a means of shaping not just the publics worldview, but also the presidents. Savvy lobbyists are now buying ads that air during the Fox News Channel and MSNBC shows the president is known to watch, on the assumption that its more efficient to buy presidential attention through ads than it is to try to obtain that most precious of commodities through more traditional means. And, now, people are suggesting that SNL and its satire can function in a similar way.

Recruit Rosie, that meme-y movement, acknowledges how protective of his public image the current occupant of the West Wing seems to be. It recognizes the extent to which President Trump, as a creature of reality TV, remains deeply concerned about his ratings, whether they be manifested through Nielsen scores or crowd sizes or polling numbers or, indeed, late-night comedy sketches. Progressivesand non-progressives along with themhave been publicly wondering how to resist the new president and his policies. Recruit Rosie hints at a tool that might have been overlooked, so far, in those discussionsone that is powerful precisely because it is so basic: Americans abilityat once cherished and time-tested and constitutionally stipulatedto laugh at their leaders.

Visit link:

'Recruit Rosie': When Satire Joins the Resistance - The Atlantic

A rare film featuring the Scottish pop artist Eduardo Paolozzi in a leading role is to be part of Scotland's silent movie festival.

Lorenza Mazzetti's 1956 film Together features a young Paolozzi in a lead role as a deaf-mute dock worker.

The role was apparently relished by the artist, born in Leith in 1924, and he modelled his performance on Marlon Brando.

Bill Hare, honorary fellow at the Edinburgh College of Art, writes in an introduction for the film: "For those more familiar with Paolozzis brightly coloured jazzy Pop Art work from the 1960s onwardsTogethermight seem strangely different to their expectations.

"In the 1940s and 1950s however, his work was closely connected with austere angst-ridden zeitgeist of the post-war, cold war era, where the dominant avant garde movement was Art Brut."

He adds: "Paolozzi was also fascinated by the world of science in all its forms, including medicine.

"So it would not be surprising that the exclusively visual world of the deaf-mute would attract him and their artificial created system of communication."

Mr Hare said that Paolozzi may also have been influenced by the Oscar-winning classic movie On The Waterfront.

He adds: "In the previous year the film which swept the Oscar awards was one with a similar gritty dockland subject - [Elia]Kazans On the Waterfront.

"So it is possible that Paolozzi is trying his hand at a bit of method acting inTogether- though admittedly he is no Marlon Brando."

Other films in the 2017 Hippodrome Silent Film Festival include the original screen version of Chicago from 1927, The Informer, a film set in revolution-torn Dublin in 1922, and Whats The World Coming To? a 1926 film that takes place 100 years from now when men have become more like women and women more like men and was co-written by Stan Laurel.

All films in the programme feature live scores by an international line-up of musicians.

The 2017 festival includes four musical commissions, with new scores composed by Scottish Album of the Year award-winning musician RM Hubbert, for 1926 Soviet film By The Law.

Raymond MacDonald and Christian Ferlaino have created the music for Together, and Jane Gardner and others for for Festival opener The Grub Stake, from 1923.

One of the themes of the festival, known as HippFest, this year is the "pioneering but largely forgotten women of early cinema, a time when there were more women working at every level in the film industry than there are today."

The Festival opens on 22 March with The Grub Stake, a 1923 adventure created by Nell Shipman, a silent movie star who turned down a studio career to work entirely outside of the Hollywood system.

Lorenza Mazzetti was a novelist, painter and director.

Mazzetti, part of the British Free Cinema movement, is now 89 and was celebrated last year at the Venice Film Festival in a new documentary titled Because I Am a Genius!

Alison Strauss, director, said: At HippFest we are all about making cinema special engaging the best musicians to accompany rarely screened titles, presenting those films in beautiful and atmospheric settings, seeking out the best restorations from the worlds archives, and generating an atmosphere of inclusion and fun with our audience.

"Since we established the Festival in 2011, more and more people are finding out that early cinema is not clunky and out-dated, but rather is fresh and relevant, sometimes even colourful and never actually silent.

"Within our programme people will find unparalleled comedians, experimental work and revelatory new scores alongside youth projects, workshops for school children and grown-ups, a Speakeasy, walks, talks and exhibitions."

Tickets for HippFest 2017 are now on sale.

Original post:

A movie of the artist as a young man: Paolozzi silent film stars in film festival - Herald Scotland

c/o AMC

The nations chicken wing-stained hands, trembling by their beating hearts, did not dare reach for the remote during Super Bowl LIs commercials Sunday, for the very decency of American democracy was on sale alongsidelight beer and mid-size sedans. With the nations wealthiest companies paying more than $165,000 for each second of their ads, who couldresist the temptation to temporarily escape from the game, and maybe even be sold something along the way?

Perhaps some were drawn to the television out of hope that Lady Gaga would make a political statement during halftimewhich came onlyinsofar as the in-character Gaga performance itself was politicalyet they didnt need to wait for the halftime show to encounter highly contrivedpolitical theater.

EachAmerican mega-brand, whether as current asAirBnB or as timeless as Coca-Cola, that had a memorable ad in last nights lineup addressed the rise of Trump in some manner.Though Proctor & Gambles Mr. Clean shook his CGI booty in a bold yet poor apolitical ad, the brands that came out of Super Bowl Sunday with a press boost costing$5 million per 30 seconds had to take hold of the current political movement to strike an oppositional tone towardthe Trump administration and the alt-right.

Normally, touching on anything remotely political in advertising is a cardinal sin that narrows the market (just ask Mad Men creator Matthew Weiner 87). However, all good advertising has an aspirational core that, at its veryessence, is political it just cant initially appear that way. (Again, ask Matthew Weiner).

For some brands, this was easy. Coca-Cola, for example, recycled a 2014 America the Beautiful ad that features a diverse choir of childrensinging the titular song in several different languages interwoven with the English. Thebeverage magnate was able to strategically tap into the anti-Trump zeitgeist while appearing as if that was not its central intention. Any act of curation, however, is as inherently deliberate as making a new ad altogether, but credit for a deft touch is due when necessary.

Budweiser, on the other hand, went for a daringapproach in their primetime ad by running with a loosely historically accurate immigration narrative following its founder through his journey from Germany to the States, facing discrimination and ill will from nationalists along the way.In a country like the United States, there would normally be nothing overtly political about an immigration story. Domestic goods take this approach in advertising all of the time. Yet featuring anti-immigration sentiment toward the hero of the ad a week after Trumps travel ban indicates a clear political choice taken by Budweiser and its corresponding ad agency, Momentum Worldwide. By most accounts, Budweiser seems to have rolled the dice in its own favor here despite a premature #BoycottBudweiser campaign that sprouted up in circles of the internet normally dominated by headlines from Breitbart and InfoWars.

In the realm of gender equality, Audi stuck the landing on the launch of its powerful voiceover ad which centered ona daughter whose father ponders whether or not to tell her about the limits and inherent societal inequality that comes with being a woman. The composition and narrative were balancedwell enough to make the ad an easy hit for the first half, and even wentviral before the start of the game.

Many brands splurged for celebrity shills, stickingto schtick if all else failed. From the gyrating Mr. Clean to the toned cross-fit models selling 95-calorie bottles of Michelob Ultra, plenty of companies with the resources to take a gamble on the political moment kept their chips at bay.

After 50 years, half a century, its all feeling a little formulaic,said Andrew Essex, the chief executive of Tribeca Enterprises and former C.E.O. of the independent ad agency Droga5 (whose clients range from Google andChase to Honey Maid, Trident, and Under Armour) in an interview with Sapna Maheshwari of The New York Times. I find myself, as someone whos not doing this anymore, wondering if this is the single greatest act of economic immolation on the planet.

Mr. Essex may be right. But for the bold few, Super Bowl Sunday wasnt just a time to over-invest in increased revenue, but a timeto get right with history. What is advertising if not the commodificationof our hopes and dreams? If we truly desire to be a diverse and inclusive nation, the proof is in the pudding when the demographic studies turn up, indicating that we should be sold those very same ideals. In a strange, uniquely American way, the best barometer of progress is the reification of our values in advertising, or perhaps merely our anxieties. Either way, Madison Avenue is watching, and itsselling the American Dream.

Jake Lahut can be reached at jlahut@wesleyan.edu and on Twitter @JakeLahut.

Continued here:

Super Bowl Ads Capture Zeitgeist and Commodify Diversity - The Wesleyan Argus

Newspapers and magazines around the world have turned to US President Donald Trump for fodder for their front pages.

However, capping off a week that saw the US president sign an executive order banning immigrants from seven majority-Muslim countries from traveling to the United States, journals appear to have taken a more somber tone in their depictions of Trump; perhaps none more so than German weekly "Der Spiegel."

Its latest cover has caused afurorand stirred heated debate. Even some of those who don't generally sympathize with Trump's politics see the cover as going too far, even potentially damaging the integrity of the magazine's journalism.

It depicts a recognizable figure of Trump holding up the bleeding head of the Statue of Liberty in one hand, and a bloodstained knife in the other. Inthis week's editorial, "Der Spiegel" editor-in-chief Klaus Brinkbumerdubbed the president "Nero Trump," after the notoriously brutal ancient Roman emperor.

Trump's action and pose depicted on the cover clearly invokes that of Islamist terrorist - and that was always its intention.

The cover's illustrator, Edel Rodriguez, a Cuban political refugee in the US,told the"Washington Post" newspaper that he was prompted to channel his anger into the piece of art following Trump's visa ban.

"It's a beheading of democracy, a beheading of a sacred symbol,"Rodriguez said. "And clearly, lately, what's associated with beheadings is ISIS, so there's a comparison.Both sides are extremists, so I'm just making a comparison between them."

Many Americans havewelcomed the cover as a reflection of how the rest of the world views the new US president.

US filmmaker Morgan Spurlock tweeted: "In case anyone was confused, this is how the world sees the new presidency."

Chris Cillizza of the "Washington Post" described the cover as "stunning."

However, German news organization N24 decried the cover and said it did an injustice to journalism. Journalist Clemens Wergin wrote that the cover"confirms the prejudices many people hold, namelythat the 'mainstream media'does not report without prejudice and that many journalists prefer to promote their own worldview, rather than objectively reporton what is going on in the world."

"Those who allow their own standards to shift will find themselves part of the very zeitgeist that Trump embodies," Wergin added.

Detractors sawconflating Trump with extremism as not just lazy journalismbut also as downplaying the very real threat posed by Islamic jihadism.

Writing in the Daily Wire, right-wing commentator Ben Shapiro described the illustration as "idiotic," especially with Germany facing its own terror threats.

However, while "Der Spiegel's" cover is controversial, those whoassociate themselves with the self-described alt-right movement - a loose collection of right-leaning nationalistic and white-supremacist pundits - are no strangers to posting provocative content.

"Der Spiegel" wasn't the only magazine to depict Trump on its cover this week. US magazine "The New Yorker" adopted a non-violent tone, showing the Statue of Liberty's extinguished torch, while British magazine "The Economist" featured Trump sporting a red "Make America Great Again" cap and getting ready to throw a Molotov cocktail.

Perhaps the most controversial cover this week depicted the president with a sniper's crosshairs superimposed on his head, with a caption reading "Why not." The publication, Ireland's "Village Magazine," ran the cover as part of a feature exploring tyrannicide and democratic lawand came to the conclusion that violence was not the answer to differences of opinion with the US president.

He may just be two weeks into his presidency, but Trump has seen that when he attacks the media, the media attacks back.

See the original post:

'Der Spiegel' magazine sparks furor as cover depicts Trump beheading Lady Liberty - Deutsche Welle

Last week the great and the good of the luxury world descended upon Geneva Airports Palexpo convention centre for the Salon International de la Haute Horlogerie which basically translates as glamorous showcase of mindbogglingly complicated timepieces.

So glamorous, in fact, that even the iron-clad bleakness of Palexpo was not enough to dissuade a healthy crop of A-list visitors, among them Patrick Stewart, Lewis Hamilton and that loveable puppy of hunk, Ryan Reynolds Piagets latest signing alongside equally fabulous Jessica Chastain.

When hes not extolling the virtues of BT Smart Hubs wi-fi reach, Reynolds is persuading newly wealthy millenials that Piaget is no longer the preserve of retired bankers or Steve Martin in Planes, Trains and Automobiles and quite right too; the 60th-anniversary Altiplano pieces he was at SIHH to promote are as crisp and contemporary as youd want from a dress watch (the fact it was his love of that Eighties roadtrip movie that convinced him to sign with Piaget simply makes Ryan even more loveable).

What all this overlooks, however, is the technical mastery involved in realising such a slimline mechanical watch, while maintaining an accuracy that barely wobbles beyond 3 seconds a day. This trademark expertise began in 1957, when Valentin Piaget presented his ultra-thin 9P manual-winding movement to the Basel watch fair.

Being just 2mm thick, the 9P was universally hailed for the elegance of its profile, as well as for its performance and its reliability. Above all, it enabled a broader 20.5 mm dial opening, heralding a new, clean, expansive aesthetic hence the Altiplano name, after the Atacama Deserts pancake-flat Bolivian Plateau.

Ticking inside Ryans new 38mm-diameter is a worthy modern-day heir to the 9P, the manual-winding calibre 430P at just 2.1 mm thick, its combination of winding barrel, geartrain and ticking balance no more voluminous than a two-franc coin.

As confirmed by our two other examples below, and befitting Mr Reynolds zeitgeist appeal, the thinner watch is clearly having something of a moment no bad thing after so many years of flashy, outsized cuff-busters but Piagets is the one to get, and probably will be for another 60 years.

The starting price for the Piaget Altiplano 60th Anniversary pieces is 16,100 (for blue dial model in white gold); Ryan Reynolds green-dial version in yellow gold, pictured, is 22,400. For more information, visit piaget.com

Read the original here:

Piaget Altiplano turns 60, and it's still the choice of today's jetset sophisticate - City A.M.

Actor Jeffrey Tambor said that that when he first read the script for "Transparent," he was so excited about the possibilities he told creator Jill Soloway "I'm in 50,000 times," he told ABC News.

But he also said he realized that playing the part of Maura Pfefferman, a transgender parent, carried with it a "responsibility" that "makes me tremble."

"I met Jill at this Le Pain Quotidien [to read the script years ago] ... I think I said, 'I'm in 50,000 times,' she couldn't get a word in edgewise. I knew it was such a great script, but I had no idea I would be standing at the GLAAD Awards [being honored]," he said. "I'm as equally if not more joyous about the responsibility, though it makes me tremble."

He continued, "lives are at stake."

Tambor, who spoke to ABC News while he was in Houston for Super Bowl LI, promoting a commercial he shot with Tide, said he believes the show, which debuted in 2014, is part of a bigger movement.

"What Jill Soloway [the show's creator] did was shoot this arrow into the zeitgeist, the revolution was already there," he told ABC News. "I just think the timing was amazing and momentous."

Tambor has been lauded for his portrayal of a father coming to terms with who he really is later in life, becoming Maura. For his efforts, he's earned Golden Globe, Emmy and SAG awards, among others. He's called "Transparent" the role of a lifetime, but never imagined he'd be this on-screen symbol of hope for the transgender community.

Tambor said he's seen a change in how people perceive the transgender community and even approach him as the show is enters its fourth season.

He told a story of a man "from the other side of the spectrum," approaching him in public. He believed something nefarious might happen, buy instead, "he just put his hand in mine and said 'Thank you for teaching me about something I didn't know.' That's the whole thing."

The man wasn't the only person who's treated the acclaimed actor differently.

"When I started this I would get the odd comment or odd tweet that was less than salutary," he said. "That doesn't happen anymore. I'm so grateful ... I'm more aware as a citizen, as a husband, as a guest, as a parent if you will. It woke me up and I think everyone is waking up."

See the rest here:

Tambor Felt Great 'Responsibility' to Transgender Community in ... - ABC News

Itd be easy to pitch Syfys The Magicians by calling it Harry Potter for adults, but thats just the kind of simplification the series avoids. Not only does a Brakebills magical education involve a kind of intellectual rigor that was never present at Hogwarts (Harry never went to class), but actually casting magic in The Magicians requires complicated finger work without the easy crutch of a wand. Children wave sticks and speak some Latin; Brakebills students must learn movements that are not only complex, but they have meaning and purpose that tie into the greater narrative of the stories.

Wands and staves have long been the default tools of unimaginative witches and wizards, but these days, its all about complex hand gestures, or finger tutting. According to Paul Becker, the series choreographer on Syfys The Magicians, the zeitgeist around magic is transforming: I think finger tutting could replace the magic wand. Its way cooler and takes more skill, he told Inverse. I think people are tired of seeing Abracadabra.

Indeed, outside of Harry Potter, magic has taken a turn for the tut. Becker credits Step Up 3D for first introducing tutting to the mainstream, and now its really come into focus with not only The Magicians, but also Marvels hit film Doctor Strange, which was filled with weird conjuring motions. Becker gave Inverse the inside word on all things tutting as the show finds its groove in its second season.

In the books theres relatively little specificity about spellcasting beyond the vague description of intricate finger gestures. How has the development of magic with finger tutting on The Magicians unfolded?

Weve actually developed our own vocabulary a language, if you will and if you compare Seasons 1 and 2, its actually evolved so you can recognize some of the tuts, because some of them have the same meaning. For example, opening a lock or door have some of the same meanings, as does turning heat up and down.

Some of the spells are new; some are a bit of old combined with the new in a sequence, depending on the meaning. Weve really created a vocabulary of spells, and it keeps growing as the causes and effects change. Its been a lot of fun creating it. Choreography isnt just dance steps. Its telling a story, and I think thats why I was brought on: to help tell that story.

Whats the creative process behind developing that vocabulary? How do you decide what motions take on certain meanings?

The whole show is a collaborative process. The producers, the director, and the writers are all giving notes on the tuts, so theres a lot of revisions and even going back to the drawing board at times. Its not as straightforward as a simple finger movement. Its quite intricate.

First, the writers send over the scripts, and a lot of the times it has a brief description probably the type of tut and it generally says what the cause and effect of the tut is. For example, it might cause all of the candles to ignite. So I thought, What might cause candles to ignite? Well, increasingly temperature would do that. So we created a tut that is a general turn the temperature up or down. Things like that, we think deeper than what it says on paper, so thats sort of the process. We try to think, What would cause this? What kind of a gesture would make sense?

I put the tuts on tape, and the actors practice on their own. Then, on the shoot day, I go to set, and then from set we just refine it. Well do set visits and practice with them. Theyre practicing their tuts for a good week or so before they have to shoot it.

And were in different worlds this season, too. Were in Fillory, which is a very earthy, natural, organic world where the spells are very spiritual, if you will. And in Brakebills, its very classical, where the tuts are very geometric and rigid in style. And when we are in New York, its very rough. So weve got three kinds of styles, and three different worlds, and three vocabularies.

Do all characters perform the same spells the same way, or are there subtle variations from character to character?

They should be performing it in the same way because its the same language, but each actor has his or her own limitations. Some have different flexibilities and cant do the same thing. So on the fly, sometimes we have to revise spells because an actor cant move their hand one way or the other. Tutting is quite difficult, so those kinds of limitations have really shaped the language.

What about for special characters like the Beast, who has 12 fingers?

Well, the cool thing about the Beast is that hes so advanced in his tutting and his magic that he doesnt have to do much. He can make the smallest gesture, and itll cause destruction. For the Beast, its small gestures, but that takes years and years of training as a magician.

How did the show as a whole settle on really focusing on tutting as the medium for developing spellcasting?

Obviously, with The OA and Doctor Strange, people are seeing what tutters have done, and theres this developing desire to take tutting to different places and explore it in new ways. For The Magicians, using tutting was something that was developed in the pilot that was shot in Atlanta, that I wasnt involved in. By the time the second episode was ready to shoot, they called me in.

They brought me on board because of my experience with tutting, but almost more so because of my experience with storytelling through choreography; because were not just tutting here its storytelling. And in Season 1, I also got to do the dance number in Quentins mind. We had a lot of fun with that.

But choreography is the art of movement, and a choreographer shouldnt just be able to do dance steps. They should be able to tell a story in a pedestrian way. So I dont think if you just brought on a regular tutter to do this job, you would have the kind of vocabulary weve developed along the way.

Are there any spells that were your favorites?

Yeah, a lot of the ones in Season 2, because were tutting like crazy but I cant talk about many of them yet. But I will say that in the second season theres triple the tuts in every episode. There are way more spells being cast, and with some of the Fillorian spells, theyre very organic and spiritual.

Youve also done some choreography for shows like Once Upon a Time and Legends of Tomorrow. Whats that been like?

With shows like that, a lot of times with choreography, its not a musical number, right? Its movement thats meant to draw the story forward, to advance the plot. So all the scenes I do in shows like that, there are scenes within the scene that move things along. I always say that choreography in general, in a music number, or in any narrative if its not progressing the story, it doesnt belong in the script.

A musical number has to have a beginning, a middle, and an end just like any story, and it has to move the story forward. Thats also what I love about choreography.

Season 2 of The Magicians airs Wednesdays at 9 p.m. Eastern on Syfy.

This interview has been edited for brevity and clarity.

Corey Plante is a multimedia journalist and copy editor living in Brooklyn, NY with his fiancee and two cats. He loves bears, beets, and Battlestar Galactica.

Go here to see the original:

Here Is Everything You Ever Need to Know About Magical Tutting - Inverse

If you are new to this site, or to the movement and are not fully aware as to exactly who and what the Zeitgeist Movement is, then please allow us to take a moment to introduce ourselves to you. Zeitgeist means "the spirit of the age and its society". It describes the intellectual, cultural, ethical, political and spiritual climate, ambience and morals of an era or also a trend.

The International Canadian Zeitgeist Movement is a chapter arm of a global social network in the thousands all across the planet. We have a common goal and advocate a possible alternative solution to our current failing social experiment 'the monetary system'. People from all walks of life are awakening and joining together forming the biggest 'conscious army' of light and love the world has ever seen. We are remembering who we really are and what our purpose is here, you are welcome to join because you are family, the door is open...

The Zeitgeist Movement, is NOT a Political Movement, we do not recognize Nations, Races, Religions, Governments, Legal, Religious or Corporate Institutions, Social or Financial Class or Power of Position or the Monetary System. Our understandings conclude that these are false, outdated distinctions which are far from positive factors for true collective human growth and potential. Their basis is in power division and stratification, not unity and equality, which is our goal. We recognize and stand for Humanity, Compassion, Fairness, Peace, Abundance and Intelligent Advancement through Co-operation, Education, Nature, Science, Technology which leads us on our path of Spiritual Oneness.

The Zeitgeist Movement aims to make everyone understand that the integrity of human beings and the integrity of the Earth are directly related. Human creativity creates technology that makes our lives progress. The system based on money, religion and politics is outdated and must come to an end. The Zeitgeist Movement offers awareness in ways that will allow us to achieve a social system which functions without politics or money. The old system will phase itself out and education will flourish allowing for the transformation of a RESOURCE BASED ECONOMY.

No human being can understand everything completely. The Zeitgeist Movement is not here to tell you what to believe. It may appear challenging to replace a system of distorted values which is currently running our lives but it must be started somehow. Any single person can do their part in shaping this vision. Education is the most important step and connecting with others at a local level is the next. This Canadian site lists all local chapters active in towns and cities across Canada. If there is not one near you, then please see our Starting a chapter section, and see how easy it is to start a chapter in your area. The Zeitgeist Movement will provide you with materials to help you along.

FOR ADDITIONAL EDUCATIONAL INFORMATION PLEASE VISIT THE VENUS PROJECT

Continue reading here:

What is the Zeitgeist Movement

Top Five Zeitgeist The Movie Myths!

1) The Zeitgeist Movement is all about support of Zeitgeist: The Movie!

Actually, as per my experience over the past 6 years, most within The Zeitgeist Movement (TZM) do not subscribe or agree with this film in general, although mixed reactions are most common. Zeitgeist: The Movie was created years before TZM was formed. TZM was created originally to support Jacque Frescos Venus Project (TVP). After TVP and TZM split three years later, TZM became a self-propelling institution with its own body of work. The text The Zeitgeist Movement Defined is the core source of Movement interests and expresses what TZM is about clearly.

As of 2015, any ongoing association with TZM and Zeitgeist: The Movie is often perpetuated by those merely with malicious intent. As the rest of this list will express, Zeitgeist: The Movie has been a point of extreme attack and bigoted reactions since its inception. Having been seen by literally hundreds of millions of people, it is no surprise so many in vehement disagreement rise to the top. I wish I counted the number of death threats and the amount of cyber stalking I have personally endured. I have spent upwards of $20,000 in legal fees fighting constant defamation by those offended by that film.

As an aside, many have suggested that a simple name change (remove Zeitgeist) would have solved the problem. Yet, if a name change alone is that persuasive, isnt that actually indicative of a deep lack of critical thought? Where a mere superficial title changes peoples sense of association? I find this troubling if so. But regardless, the genie cannot go back in the bottle. Love it or hate it, Zeitgeist: The Movie isnt going anywhere and its content/implications 8 years later seem to only get stronger and more validated. According to my online distributor, it is one of the most popular docs on Netflix, now in many languages/regions there.

2) Its all been debunked!

The term debunked has become a mantra of sorts by the anti-ztm crowd. You also see this kind of overly zealous absolutism in other communities as well, such as the atheist community. As an atheist myself, I have learned that compassion is much more powerful than ridicule and if the goal of any communication is to change minds, taking a condescending and absolute approach does nothing but inflate the initiators ego not help educate others.

In that, many interpreted the first section of Zeitgeist: The Movie as an attack on religion. I would say it is providing a contrary view of its history and it does so in a non-derisive way. It is very academic in its presentation and to call it an attack is without merit.

That noted, Zeitgeist: The Movie was an art piece first and foremost and a great deal of liberty was taken in its expression. In the very first edition, I had a section with John F. Kennedy talking about the grand conspiracy of Communism and overlaid it onto his assassination footage. I knew what I was doing and did so because it was an amazing artistic effect. It wasnt until the film was grossly misinterpreted in its mixed genre style and artistic license that I later went back and made such editorial changes to conform it to a more documentary form.

I was sad to have to do this, in fact but It seems it was too advanced a piece for common culture and people were not ready to be critical of such liberties; understand the context. Zeitgeist: The Movie was the ultimate expression of demanding critical thought. It wasnt made to declare, it was made to challenge.Same goes for the long held up cry of manipulative filmmaking, such as when footage of the Madrid subway bombing was used to introduce a section on the 7/7 London Bombings. How dare I show a different explosion!

In 2010, I cleaned it up to conform to a more traditional documentary form and produced a free 220 booklet to support the literally 100s of claims made in the work. To date, no one has addressed this text. I would also add that while points made in the film from the origins of religion, to the events of Sept 11th, to the history of war for profit and social manipulation by financial interests are subject to interpretation and could perhaps be wrong, no single opposing claim or group of contradictions debunks the whole film. As the filmmaker, I will state that even I am not sure about some of the claims as far as what the absolute truth is. But again, that isnt the purpose of this work.

3) There are no sources!

I have seen this claim posted in reviews constantly. Zeitgeist: The Movie is likely the most sourced film in documentary history. I know of no other work that has painstakingly shown where the content came from. Again, one can argue about the truth of any given idea, but to say it is made up is beyond absurd. Companion Source Guide : http://www.zeitgeistmovie.com/Zeitgeist,%20The%20Movie-%20Companion%20Guide%20PDF.pdf

4) Its anti-semitic!

This one really took me by surprise when I starting hear about it, especially since I end the film with one of the most heart warming/human unity quotes of all time by Carl Sagan. It appears to have started with a woman named Michelle Goldberg. She essentially stated that my use of a 1941 anti-war speech by Charles A. Lindbergh implied this, as Lindbergh was supposedly anti-semitic.

In the opening section of part 3 of the film, she claims Charles A. Lindbergh was talking about the jews when describing warring interests trying to bring American into WWII. This is just about as wrong and irresponsible as it comes. Sadly, this theme has carried forward through history as the echo of pro-war/pro establishment media propaganda redefines reality. Long story short, Charles A Lindbergh was a famous American aviator, author, inventor, explorer, and social activist. He was the son of Congressman Charles Lindbergh Sr. who was extremely outspoken against the banking system a generation prior, writing texts on the Money Trust, referring to the financial system and its power. (He too was often called anti-semitic with no validation as a means of personal attack.) Charles A. Lindbergh deeply opposed US involve in WWII. He was an isolationist. In this crusade, he was attacked as anti-semitic in order to pollute his message. (sound familiar?) Its that simple. To his discredit, his speaking skills were poor and he often spoke primitively about groups. He held some bad science views that were very common of the time and its easy to look back on such un-informed issues and find false relationships. Yet, his non-racist stance is very clear to those paying attention.

For example, he once stated: I am not attacking either the Jewish or the British people. Both races, I admire. But I am saying that the leaders of both the British and the Jewish races, for reasons which are as understandable from their viewpoint as they are inadvisable from ours, for reasons which are not American, wish to involve us in the war. We cannot blame them for looking out for what they believe to be their own interests, but we also must look out for ours. We cannot allow the natural passions and prejudices of other peoples to lead our country to destruction This was a political statement, not a racist one but the press at the time ran that it was anti-semitic, which, again, is a good ploy if you want people to distrust someone. We see this technique being used today, constantly. Here are the last lines of the speech used in Zeitgeist: The Movie (that was called anti-semitic), along with the next sentence, not included in the film (in bold):

Our theaters soon became filled with plays portraying the glory of war. Newsreels lost all semblance of objectivity. Newspapers and magazines began to lose advertising if they carried anti-war articles. A smear campaign was instituted against individuals who opposed intervention. The terms fifth columnist, traitor, Nazi, anti-Semitic were thrown ceaselessly at any one who dared to suggest that it was not to the best interests of the United States to enter the war. Men lost their jobs if they were frankly anti-war. Many others dared no longer speak.

Later in the speech he then states: No person with a sense of the dignity of mankind can condone the persecution of the Jewish race in Germany.

Does this sound like a racist to you? In a book written by his wife, she states: His prewar isolationist speeches were given in all sincerity for what he thought was the good of the country and the worldHe was accused of being anti-semetic, but in the 45 years I lived with him I never heard him make a remark against the jews, not a crack or joke, and neither did any of our children. So what we have is a victim of the media culture, glamorized through history with the vile horror of hindsight given the horrors/persecutions around WWII. Lindbergh might not have been the smartest and most strategic in his manner of activism and communication but there is no evidence he was a racist.

5) Its an anti-New World Order Conspiracy Film!

Proponents who talk about the New World Order, (long before Zeitgeist The Movie) have always agitated me. I have never supported this bizarre and esoteric body of assumptions and, to this day, can honestly say I have no idea how the current ideas even came about given the origin of the original term. New World Order is a term put forward by H. G. Wells in his book of the same title. In this, he speaks about the world unifying as one for the better. Since that time, however, the term has been skyrocketed into bizarro land.The only times I have ever sympathized with anyone who does have this pop culture belief was when I tried and get behind it and talk about root causes of human behavior and power abuse. And yet, even the current Wikipedia entry on Zeitgeist: The Movie says it is about New World Order forces But then again its Wikipedia the encyclopedia that lets random opinion and select news sources serve as historical fact.

Anyway, while the very original version of the film did talk about global government run by corporate power as an Orwellian 1984 type assumption for the future, this was artistically presented and deduced as a result of global financial power and the tendency to constantly concentrate this power. I later removed this section entirely (in 2010) as I was disgusted by the constant misinterpretations.

Likewise, the notion of a Conspiracy film is equally as misguided. This is simply derision by categorical association. No different than how the term communist was used to force people to shy away from any information or ideas that were against the status quo during the Mcarthy Era in the 1950s.

Zeitgeist: The Movie takes three subjects and bridges them within the context of social myth. This context is then evidenced to show how people become biased and can be manipulated based upon those dominant shared (bogus) beliefs (hence the term zeitgeist itself).

In the context of the real world, power abuse is obvious since the nature of our economy supports massive class division and the movement of power and money to a small group. This isnt conspiracy it is a system reality. We live in a war system and massive gaming for personal/group self-interest is happening at every moment.

Thats enough for now.

~Peter Joseph, Feb 22nd 2015

Go here to see the original:

Top Five Zeitgeist: The Movie Myths! | Peter Joseph

Welcome to the official California chapter of The Zeitgeist Movement

The term Zeitgeist can be defined as: The intellectual, moral, and cultural climate of an era. The term "movement" implies motion or change. The Zeitgeist Movement is thus a social aim that urges change in the intellectual, moral and cultural climate of the time. Specifically, to values and practices that would better serve the well-being of the whole of humanity.

What TZM advocates, in short, can be phrased as: "The application of the Scientific Method for social concern", which is currently not done since the main modes of social problem-solving are through monetary economics and politics.

If you are new to The Movement or ZMCA, we highly recommend viewing Zeitgeist: Moving Forward or reading our new book - TZM Defined - to accurately understand this social direction.

Be sure to sign up for our Newsletter!

(Site registration only needed for Forum posting and accessing our meeting content.

Once you login new menu items will appear)

Go here to read the rest:

ZMCA Homepage

Peter Joseph (creator of Zeitgeist) believes that I'm mentally ill because I disagree with him. You can read all about it on his forums (linked from this forum post). You better not disagree with him, or you'll be labeled insane next. Perhaps I'm crazy for pointing out his forum post?

Before we go anywhere, I want to talk about The Venus Project and before you read my analysis I would appreciate it if you read this part first.

First of all, as I described on my about page, I am a huge believer in technology. The first time I heard of The Venus Project was sometime prior to 2000, around 15 years ago, and from the beginning I was in love with the idea of putting technology in a position to help us rather than hold us back. And as I investigated this whole idea more, I found a lot of people confused the idea with communism, socialism, or whatever their latest hate was.

The Venus Project, in essence, is Technocracy, which you can learn about on Wikipedia and at the Technocratic Movement's web site. The only difference between the two is how Jacque Fresco and Technocracy, Inc. thought production should be tracked. A concept so small and unimportant it's a shame, to me anyway, that Jacque Fresco is no longer a member of Technocracy, Inc.

Whether you choose to support the Venus Project or Technocracy Inc. doesn't matter, so long as you keep the conspiracy bullshit out of the current technocratic (or "resource based economy") movement. It is hard enough to discuss technocracy and The Venus Project with people, we do not need to also talk about conspiracies. Whether you like it or not, conspiracy theories scare people away, period, and they won't listen to anything you have to say.

If you are a member of the Zeitgeist Movement and want to spread the ideas of The Venus Project, please keep the conspiracy jargon to the minimum - in fact I've seen that Peter Joseph has already moved away from that, but many fans of the films are still obsessed with conspiracies.

How much money does Peter Joseph make from the sales of Zeitgeist? Find out

I am not going to discuss The Venus Project/Technocratic parts of the film, for two reasons.

Firstly, untried economic and political ideas are essentially opinions and anyone, from any side, can debunk anything else from any opposing side -- so it's a waste of time; you can find a million free marketers, libertarians, anarcho-capitalists, and so forth that will disprove technocracy with what they believe to be evidence -- but when it comes to politics and economics, it's really a severe waste of time to debunk anything.

Secondly, I myself am a Technocrat, and I believe in such ideas. I watched the Zeitgeist: Addendum movie when it was first released early morning (my time) on October 4th. At first I was torn, because while I agreed with promoting the interview and such with Jacque Fresco, I did not like the idea that the first 50 minutes of the movie were essentially propping up more lies. Regardless, I decided to say something about the other parts of the movie.

<- You can navigate through the various sections on the left.

Read the original here:

Zeitgeist: Addendum, Debunked - Skeptic Project

As of June 2016, The Zeitgeist Movement has formed an official 501c3 non-profit, tax exempt entity to help administration. As has been suggested for years, this new aspect of TZM has been created to assist core administrative tasks and costs, allowing for greater project development. See Intro Video

The 8th Annual Global 'Zeitgeist Day' Symposium Promotes Sustainability, Global Unity, and a Post-Scarcity Society

The 2016 event, featuring prominent speakers and guests from around the world, will be held in Athens, Greece on Saturday, March 26th, 2016

Press Release

June 2015 "Zeitgeist founder, Peter Joseph, joins Jesse Ventura to discuss the concept of a resource-based economy. With all of Earths resources in decline, it is time to scientifically manage the ones we have left. In this brand new episode of Off the Grid, Peter Joseph talks about the benefits of moving away from a market economy toward one that is based on resource management." Watch Now

The Zeitgeist Movement Education project is now live! The aim of the project is for every chapter of TZM to initially try to go into just one school or university to promote/discuss sustainable values and practices with the next generation.

To find out more and to get involved in the project please visit the website at http://www.tzmeducation.org

http://www.tzmeducation.org

Great activist tool. This 2 DVD set contains the talks from The Zeitgeist Movement's flagship awareness event known as "Zeitgeist Day" (aka Zday). This DVD Set is from the 5th annual Main Event that was held in Los Angeles, CA on March 17th, 2013. 12 Lectures in 6 Hours. Go Here

The Zeitgeist Movement's new Orientation Guide "The Zeitgeist Movement Defined" has been released.

Read Book

THANK YOU FOR THE GREAT 2014 EVENTS!

Uniting the world through the power of art, the Zeitgeist Media Festival is back for its fourth annual main event. Occurring at The Federal in North Hollywood, Saturday, October 4th, 2014 from 6pm-11pm, this not-for-profit activist arts festival features live music, comedy, short films, spoken word and more.

More Info/Press Kit

3rd Annual News Coverage

WATCH INTERVIEW

Peter Joseph exclusive interview with Abby Martin of "Breaking The Set" on Russia Today.

Economic Calculation in a Natural Law/Resource-Based Economy, Nov. 12th 2013

Watch Video

Thank you TZM Germany for a great event.

Published on Mar 14, 2013 "This week, Cenk Uygur sits down with Peter Joseph, founder of the Zeitgeist movement. The Zeitgeist movement's goal is to create global sustainability by changing established social systems. Can people save the world by changing socially? Is the market economy responsible for corruption, and is it serving its original purpose? Does the market economy leave room for true freewill, and is it truly possible to shed ourselves of material goods?

Free TZM Global Show Archives: Free Archive

Huge Thanks to our dedicated Chapters Coordinators for this helpful contribution!

OFFICIAL TZM CHAPTERS WEBSITE

NEW CHAPTERS GUIDE

Founded in 2008, The Zeitgeist Movement is a sustainability advocacy organization, which conducts community based activism and awareness actions through a network of global/regional chapters, project teams, annual events, media and charity work.

The movement's principle focus includes the recognition that the majority of the social problems that plague the human species at this time are not the sole result of some institutional corruption, absolute scarcity, a political policy, a flaw of "human nature" or other commonly held assumptions of causality. Rather, the movement recognizes that issues such as poverty, corruption, pollution, homelessness, war, starvation and the like appear to be "symptoms" born out of an outdated social structure.

While intermediate reform steps and temporal community support are of interest to the movement, the defining goal is the installation of a new socioeconomic model based upon technically responsible resource management, allocation and design through what would be considered the scientific method of reasoning problems and finding optimized solutions.

This Natural Law/Resource-Based Economy" (NLRBE) is about taking a direct technical approach to social management as opposed to a monetary or even political one. It is about updating the workings of society to the most advanced and proven methods known, leaving behind the damaging consequences and limiting inhibitions which are generated by our current system of monetary exchange, profit, business and other structural and motivational issues.

The movement is loyal to a train of thought, not figures or institutions. The view held is that through the use of socially targeted research and tested understandings in science and technology, we are now able to logically arrive at societal applications that could be profoundly more effective in meeting the needs of the human population, increasing public health. There is little reason to assume war, poverty, most crime and many other monetarily-based scarcity effects common in our current model cannot be resolved over time. The range of the movement's activism and awareness campaigns extend from short to long term, with methods based explicitly on non-violent methods of communication.

The Zeitgeist Movement has no allegiance to any country or traditional political platforms. It views the world as a single system and the human species as a single family and recognizes that all countries must disarm and learn to share resources and ideas if we expect to survive in the long run. Hence, the solutions arrived at and promoted are in the interest to help everyone on Earth, not a select group.

Follow this link:

TZM - Mission Statement - The Zeitgeist Movement

The 8th Annual Global 'Zeitgeist Day' Symposium Promotes Sustainability, Global Unity, and a Post-Scarcity Society Read More >

Promotes Global Unity, Social Betterment and a More Humane Society Read More >

Features Live Music, Short Films, Comedy and Art, Promotes Social Consciousness Through the Power of Art Read More >

Toronto Main Event and Beyond Read More >

A New Book by The Zeitgeist Movement Read More >

In this episode Casey Davidson (Australian national coordinator for TZM) discusses whether the Zeitgeist Movement should interact with political parties, how to find a balance between making ethical choices and connecting with larger audiences as well as introducing the Brisbane chapter's amusing 'Tinfoil hat scale'.

This episode of TZM global is hosted by Jasiek Luszczki from the Polish chapter of TZM. Today's show features an interview with two activists of the Rotterdam TZM Chapter (Holland) - Anthony Jacobi and Robert Schram.

They talk about their way of utilising the NLRBE-like philosophy and code of conduct within the confines of today's monetary system. They present some ideas on how to move away from "business as usual" (working for profit) to "awareness as usual" (generating social capital) mindset.

This episode of TZM global is hosted by UK chapter member and TZM education coordinator James Phillips and involves an interview with fellow TZM members Jasiek Thejester and Stefan Kengen from the Polish and Danish chapters of TZM respectively about the recent European meeting held in Rotterdam.

This episode of TZM global is hosted by UK chapter member and co-coordinator of the movements global educational activism project; TZM education, James Phillips.

Along with other movement related news this episode includes a conversation with fellow TZM education member and Hungarian chapter coordinator, Sztella Kantor regarding her experience of taking the materials of TZM education into schools in Hungary.

If you are interested in taking part in this global initiative then please visit: http://www.tzmeducation.org

*At the time of publication there was an issue with our podcast provider, blogtalk radio. Therefore the show could only be uploaded in it's edited format to you tube at this time. The full version will be released as soon as this issue is resolved.

Ep 178 European TZM meeting show - Rotterdam. This episode of TZM Global is hosted by UK chapter team member and co-coordinator of TZM Education (www.tzmeducation.org) James Phillips.

This episode includes an interview with the Global Chapters Administration Coordinator Gilbert Ismail regarding the upcoming European TZM Meetup in Rotterdam next month. For more information, please visit the following link: https://www.facebook.com/events/91743...

Also included in this show is a request for more content for TZM Global Radio. Please send pre-recorded submissions to: submit@thezeitgeistmovement.com.

Original post:

The Zeitgeist Movement Global

News:

- Peter Joseph Directs Official Black Sabbath Music Video featuring The Zeitgeist Film Series.

- Zeitgeist: Moving Forward has US Broadcast Premiere via FreeSpeechTv.

- Zeitgeist: Moving Forward passes 21,000,000 Views via single You Tube Post.

- Peter Joseph finishes Season One of his Online Web Series: "Culture in Decline"

- The Zeitgeist Film Series noted in "The Top 10 Films that Explain Why the Occupy Movement Exists

- The Zeitgeist Film Series noted in "A Movie Guide to Occupy Wall Street"

- Peter Joseph Satirized on Juice Media: "Rap News " | Featured on Russia Today

- Current TV Users Vote The Zeitgeist Film Series as 4th in "Top Ten Must See Documentaries". - Peter Joseph featured at Leaders Causing Leaders Conference, 2011 Video Lecture Here

- Zeitgeist Films featured in 2011 season of the Italian Show "Il senso della Vita " CLIPS

- John Perkins 1 hour video extra posted. - Peter Joseph performs "Zeitgeist: Requiem for One" at the first annual Zeitgeist Media Festival

The rest is here:

The Zeitgeist Film Series Gateway | Zeitgeist: The Movie ...