Justice, New Lands official music video debut by Production company Canada. No not the entire country of Canada, the Barcelona based production company Canada. There is a Red Bull connection to Justice but who cares this video rocks even if the start of the song sounds a lot like the AC/DC song For Those About To Rock.
Credits:
Client: Justice
Directed, Edited and Written by: Canada's trio of directors; Luis Cerveró, Nicolás Méndez & Lope Serrano. Production Company: Partizan.
Tune in to the VMAs for a preview of the new song from Eminem featuring SIA, "Guts Over Fear" in this new trailer for Denzel Washington's new movie, The Equalizer.
In The Equalizer, Denzel Washington plays McCall, a man who believes he has put his mysterious past behind him and dedicated himself to beginning a new, quiet life. But when McCall meets Teri (Chloë Grace Moretz), a young girl under the control of ultra-violent Russian gangsters, he can't stand idly by -- he has to help her. Armed with hidden skills that allow him to serve vengeance against anyone who would brutalize the helpless, McCall comes out of his self-imposed retirement and finds his desire for justice reawakened. If someone has a problem, if the odds are stacked against them, if they have nowhere else to turn, McCall will help. He is The Equalizer.
The Rome based Latte Creative Ad Agency recently created a 2 minute PSA promo spot for Solidar entitled "Rights First".
Solidar is a European network of NGOs working to advance social justice in Europe and worldwide. The 59 member organisations in 25 countries which include national NGOs in Europe, as well as some non-EU and EU-wide organisations, brought together by its shared values of solidarity, equality and participation.
SOLIDAR voices the concerns of its member organisations to the EU and international institutions by carrying out active lobbying, project management and coordination, policy monitoring and awareness-raising across its different policy areas.
Credits:
Ad Agency: Latte Creative, Rome
Brand: Solidar
Advertising Agency: Latte Creative, Rome, Italy
Creative Director / Copywriter: Eugenio Orsi
Illustrator: Camilla Falsini
Animator: Emanuele Colombo
A rudely awoken baby chases a Samsung Motion Sync vacuum cleaner around the house at high speed, looking to deliver a little justice. The vacuum cleaner proves harder to catch than he expects. Very entertaining and very cute.
The ad is the work of London's The Viral Factory.
Credits:
Advertising Agency: 72andSunny, USA
Production Company: Golden Wolf
Chief Executive Officer: John Boiler
Chief Creative Officer: Glenn Cole
Creative Director: Aaron Howe
Senior Copywriter: Eric Burnett
Designer: Jaclyn Markle
Copywriter: Ryan Iverson
Junior Film Producer: Helena Yueh
Senior Film Producer: Ellen Pot
Film Producer: Erin Goodsell
Brand Manager: Autumn Abbruzzi
Brand Coordinator: Jaimie Mazzola
Strategist: Kelly Wright
Business Affairs: Cecilia Harvey
Production /Editorial / Animation / Design: Golden Wolf
Ingi Erlingsson: Creative Director
Art Director / Director: Ewen Stenhouse
Producer: Ant Baena
Lead Designer: Norm Breyfogle
Storyboards: Ewen Stenhouse, Norm Breyfogle, Yohan Auroux
Animators: Ewen Stenhouse, Tim Whiting, Peter Dodd, James Duveen, Carlos De Faria, Sam Taylor, Jerry Forder, Joe Sparrow, Matthew Timms, Isobel Stenhouse
Compositors: Alex Fernadez and Stefano Ottaviano
Designers: Norm Breyfogle, Ewen Stenhouse, Jonathan Djob Nkondo, James Duveen, Marie Ecarlat, Yohan Auroux, Bobbie Jean Litsenberger
Music: Willy Moon, "What I Want"
Sound Effects: Barking Owl
Sound Designer; Michael Anastasi
Executive Producer / Creative Director: Kelly Bayett
Mixer: Brock Babcock
Finishing: Barking Owl
Executive Producer: Elexis Stern
Producer: Abisayo Adejare
VFX Artist; Mark Holden
Pointe-à-Callière presents a major exclusive international exhibition, The Aztecs, People of the Sun. Visitors will have the unique privilege of learning about the people who founded the fabulous city of Tenochtitlan, capital of the Aztec Empire and the site where Mexico City was built after the Spanish Conquest in 1521. The exhibition, presented from May 30 to October 25, offers insights into the dazzling world of a people who reigned over much of Mexico for two centuries.
The exhibition, produced by Pointe-à-Callière in collaboration with the Mexican National Council for Culture and the Arts – National Institute of Anthropology and History (INAH), showcases some 265 items from 16 Mexican museums, including the Templo Mayor Museum, an archaeological site museum like Pointe-à-Callière itself, and the Mexican National Museum of Anthropology. The tremendously varied objects are both spectacular and moving. Masks and statues, gold jewellery, figurines of women, children and animals, stamps for creating patterns on fabric and skin, sculptures and objects relating to the sacrifices required to keep the Sun on its daily journey, chests, boxes for offerings, vases and ceramics, all reflect the mysteries surrounding this people.
Stunning artifacts
The highlights of the Montréal exhibits include some of the most remarkable remains from the Aztec civilization. Two statues from the Templo Mayor Museum, each weighting 250 kg and standing 170 cm (nearly 6 feet) tall, are sure to appeal to visitors’ imaginations. The terra cotta statue of an eagle warrior, with jagged claws protruding from his knees front and back and his face emerging from an eagle’s beak, could also represent the rising Sun. This true work of art was found in the House of the Eagles, next to the Templo Mayor, used for rituals and penitential ceremonies. The terra cotta statue of Mictlantecuhtli shows the god of death leaning forward toward humans. With his skull-like face, pierced with holes for hair to be inserted, his shredded skin and clawed hands, stained with human blood, he is a terrifying sight!
Other items with splendid colours, like the vessel representing Tlaloc, the rain god, tell us more about the Aztecs’ lifestyle and deities. This vase is considered one of the masterpieces of Aztec art, and shows the god with his typical “goggles” and fangs, in his usual blue colour. The pyramid shapes on his headdress are references to the mountains where the Aztecs believed Tlaloc stored the water that would later fall as rain.
A wooden mask inlaid with turquoise, shell and mother-of-pearl is one of the rare Aztec “turquoise masks” to have survived. It may be a reference to the god Quetzalcoatl, whose face is emerging from the mouth of a serpent. This rare piece comes from the “Luigi Pigorini” National Museum of Prehistory and Ethnography, in Rome.
A ceramic piece with three faces, adorned with 13 circular gems, or chalchihuitl, evoking the 13 months of the sacred calendar, is also stunning. It decorated a brazier or a funerary urn, and shows the three phases of existence: in the centre, youth opening its eyes to the world, followed by an image of old age, and then the face of inescapable death, with its eyes closed, all referring to passing time. This sublime piece expresses the cyclical principle of duality, so important in Aztec thought, where life is reborn from death.
There are also images drawn from historic codices, photos of archaeological sites and remains, and different videos. Then there are some 150 unique hand-built and painted figurines made in Mexico to create a colourful, joyous scene depicting the vast Tlatelolco market held north of Tenochtitlan in days gone by.
Exhibition themes
The exhibition focuses on the founding of Tenochtitlan, capital of the Aztec Empire, their daily lives, the Templo Mayor, and of course the question of human sacrifices and the two Aztec calendars. It looks at many themes in their rich history: the Aztecs’ migration, guided by their god Huitzilopochtli, and the founding of Tenochtitlan; the remarkable urban planning and land use development in this “Venice of Mexico”; the Aztec art of war and the tribute paid by conquered peoples, as well as their agricultural techniques and the chinampas, the ingenious floating gardens that made the city self-sufficient. It also looks at the organization of Aztec society, with its different classes, a fascinating subject that addresses the role of women, education and the administration of justice. Aztec writing and the famous codices, manuscripts made up of glyphs or pictograms illustrating the spoken language, are examined in depth. Religion, an essential and omnipresent part of Aztec society, along with their various deities and rituals, are described. And lastly, the exhibition closes with a description of the Spanish conquest and the fall of the Aztec Empire, and the legacy of the Aztecs today.
Who were the Aztecs?
The story of the Aztecs began around the year 1000, when a warrior tribe, probably driven by famine, set out on a long southward migration. Despite many difficulties on their odyssey, they persevered, trusting in the god watching over them to reveal the place where they could finally found their city. And so it was that in 1325 the Aztecs, or Mexicas, founded the city of Tenochtitlan, building a temple on an island in marshy Lake Texcoco, in the central Mexican highlands. The capital was divided into four districts, watched over by the gods associated with the four cardinal directions. In a sacred precinct in the centre of the city stood the main temples, including the Templo Mayor or “Great Temple,” which would become the heart of their city and the centre of their spiritual and material universe. The Aztec Empire lasted almost 200 years, until 1521. They built lavish palaces, temples and markets there, creating an immense metropolis with a population of about 200,000 at its height. Theirs was an imperialistic society that relied on diplomacy and near-constant warfare to expand their empire and collect tribute in the form of regular “taxes” from the peoples they conquered.
A highly innovative civilization
Tenochtitlan was founded on a shallow, marshy lake. The Aztecs were able to increase the habitable area of their city by planting pilings and installing platforms to hold sediment from the lake. Thanks to this ingenious system, the city was crisscrossed by canals, and chinampas, or true floating gardens, were created where they could grow various crops. These remarkably fertile gardens produced up to seven harvests a year, feeding much of the city. The system was also used to recycle the city’s organic waste. The Aztecs developed trade in cocoa, maize and other crops, which were sold in markets of all sizes, and produced striking ceramics and magnificent gold and silver finery.
A life governed by gods and calendars
Like many other Mesoamerican peoples, the Aztecs divided their universe into three main levels: the sky, the Earth – an island with the Templo Mayor at its centre – and the underworld, inhabited by the god of the dead and his companion. The god and goddess of duality were the source of four creative principles occupying the “four roads of the universe” corresponding to the four cardinal directions. For the Aztecs it was important to constantly maintain the balance among the divine forces – a delicate exercise governed from day to day by following two calendars that dictated not only the maize planting and harvesting cycle but also the rituals required to appease some 200 different gods.
The Aztecs considered time to be cyclical, and human lives to be influenced in turn by their gods, at regular intervals, as spelled out in the two interlocking calendars. The solar or annual calendar lasted 365 days and consisted of 18 months of 20 days, adding up to 360 days. The remaining five days were seen as highly inauspicious – it was best to avoid all activity on those days! In every month a major god was honoured. Since this calendar governed agricultural activity, it included many feasts dedicated to the rain god Tlaloc and to plant deities.
The sacred calendar also dictated religious ceremonies and important dates. Each day was defined by a glyph or written sign (there were 20) and a number from 1 to 13. These signs and numbers combined in an unchanging order, and the same combination of signs and numbers repeated until the 13 x 20 possibilities were done, that is for 260 days. Every 52 years, the solar and sacred calendars aligned once again. For the Aztecs, this was a time of fear and anguish, since they didn’t know whether it signalled the end of the world.
The importance of the Sun and human sacrifice
The Aztecs worshipped the Sun, and feared that it would disappear if they didn’t perform various rituals. Just like many other pre-Columbian civilizations, they also engaged in human sacrifice. These sacrifices were considered offerings and an essential part of the various rituals associated with their religion and daily life. Victims were put to death to nourish the Sun and the Earth. When the rains failed to appear and crops were at risk, for instance, the Aztecs would sacrifice children to regain the favour of the rain god. Different kinds of victims were sacrificed: warriors captured in battle, slaves, people condemned to death for offences, and children.
Highly significant codices
The Aztecs had a special form of writing. They transcribed their language, Nahuatl, using a combination of glyphs, figures and graphic elements. These manuscripts, known as codices, are an inexhaustible source of details about their economy, and include tax rolls, property registers, politics, history, education, religion, sacred rituals and science. They are key to our understanding of Aztec civilization.
The Aztec heritage
When he first saw Tenochtitlan and its many canals, Hernán Cortés of Spain compared it with Venice. But despite his admiration for the city, he had no scruples about laying it to waste in 1521. Cortés left Cuba with about 500 men, on a mission to secure the interior of Mexico. After being greeted with splendid gifts by Moctezuma II, Cortés soon took the Aztec Emperor prisoner. The destruction of Tenochtitlan marked the end of the Aztec Empire and launched the colonization of all of Latin America.
Today the Aztec civilization is considered one of the most remarkable in human history. Many archaeological digs and different museums celebrate their exceptional contribution to world heritage. Mexico City, the country’s capital and largest metropolis, was built atop the ruins of the superb city of Tenochtitlan. Today it is home to some 22 million people. The Aztec language, Nahuatl, is still spoken by about 1.6 million Nahuas. Today’s Mexicans also carry the memory of the Aztecs in their name. When their god Huitzilopochtli guided the Aztecs to the site where they would found Tenochtitlan, he called his people Mexicas. Even today, a divine eagle perched on a cactus devouring a serpent – the sign that the god had sent to the high priest of the Aztecs to tell them where to found their city – adorns the Mexican flag and banknotes. And one can still travel by boat along the canals built by the Aztecs, in Xochimilco and other districts of Mexico City.
Source: Pointe-à-Callière [May 29, 2015]
For all you gaming fanatics, here's the new UK version Preview Trailer spot for Assassin's Creed 3....enjoy.
After more than 20 years of conflict, the 13 American colonies and the British Crown are on the brink of all out war. Battle lines are drawn. Bloodshed is inevitable.
Out of the embers of his burning village, a new assassin will rise. Born of Mohawk and British blood, his fight for freedom and justice will be forged in the flames of revolution. www.assassinscreed.com
"Who Cares About This Planet?" is a spoken word poem that expresses this conflict between concern and ignorance for our planet, written and performed by Made Wade.
Made Wade is an emerging artist in Toronto who has performed on both local and international stages, most recently performing at TEDxToronto in 2011. His unique story-telling ability and insightful writing style has inspired and challenged audiences everywhere.
iQ is a line of eco-friendly cleaners that challenges cleaning habits and urges users to re-use their bottles to reduce packaging waste by 80% and the carbon footprint by 70%.
Music Credits:
Max Richter
Fat Cat Records
maxrichtermusic.com
Who cares about this Planet Transcript
Who cares about this planet?
All this h20 and soil please...
Life's about luxuries.
I'm talkin' little plastic bags
For little plastic cutleries.
I'm talkin' fossil fuel worship into the point we shatter an ecosystem like porcelain'.
I'm talkin' 5 cent polyethylene purchasin' because mother-nature nurturin' never did nothin' for my tax bracket.
You ask why though?
This is social class survival.
I need a SUV with an engine that's broaderrr...
They claim the effects make the climate get hotterrr.
But, so what?
I mean wouldn't paradise be so nice?
As far as I'm concerned, it can burn baby burn in the name of progress!
Oh yes!
Our urban centers become more crammed in...
So we demolish farmlands...
And we call it expansion.
Just say goodbye wildlife while I enhance my wild life style.
and ain't nobody complainin'...
As long as you build them a brand new theatre...
Or a state of the art sports arena.
Or even as the means get meaner...
And the resources get leaner...
Who cares about this planet?
Well...gluttony aside,
Future generations tend to.
Plus, women and men who come from cultures that are indigenous still.
Not to mention sections of the globe that need to stay frigid and chill...
Yet we create landfills of bottles made from synthetics.
We spill oil into water bodies and all we can be is apologetic?
But man made social bandages won't bring justice to a kingdom where we are the only animals that can speak for ourselves!
If we don't respect the butterfly effect...
That means we're placin' monetary wealth, above well-being and health...
And ultimately life itself.
So who cares about this planet?
I like to think I do but do I?
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