Google’s Valentine’s Day Doodle Features Six Tales Of Real Romance
Happy Valentine’s Day – google doodle – Valentinstag 2014 Interactive Chocolate Creatorღ
valentine’s day google doodle 2014
valentine’s day cute google doodle 2014
SAN FRANCISCO — Prepare to be completely charmed by Google’s Valentine’s Day confection: an illustrated audio Doodle with clickable love story snippets from public radio’s This American Life.
Head to Google’s U.S. home page, and you’ll see six candy hearts. Clicking on them will reveal a simple animation and take you into one of the stories: “Crush;” “Mr. Right;” “First Kiss;” “4Ever Yours;” “Puppy Luv;” or “Blind Date.”
Here’s a taste:
• “Crush” tells the story of a teenage girl who says she has “had a crush on this one guy for four years.” She says: “This one time I sneezed … and he goes, ‘You know, you have a really cute sneeze.’ … I was all day on that sneeze comment. I must have told every one of my friends.”
• In “Mr. Right,” a woman speaks of waking up the morning after her wedding day with a heavy heart and doubts about her decision to marry. She walked “all day long” to clear her head, worrying her brand new husband. “That was 42 years ago, and since then, I have never questioned.”
•”Puppy Luv” takes us to a middle school dance, where much cuteness ensues. “Is there anyone you like at the dance?” the narrator asks. “There is,” a young man says. “It just started, like, 20 minutes into this.”
Google’s Jennifer Hom on the Doodle team says the project began a couple of months ago when This American Life host Ira Glass visited Google. Glass and his team contributed some archival audio clips and came up with some new ones for the Doodle project.
The idea: To portray love in a host of different “incarnations.”
Give it a listen for a sweet start to your Valentine’s Day.
via and for more see http://www.youtube.com/watch?v=CWgVEUSDO8c and http://www.usatoday.com/story/tech/2014/02/14/valentines-day-google-doodle/5462731/ and http://techcrunch.com/2014/02/14/google-valentines-day/
THE KIDS FROM CALARTS From left: Steve Hillenburg, Tim Burton, Brad Bird, Mark Andrews (in ape suit), Jerry Rees, Chris Buck (with Viking helmet), John Musker, Genndy Tartakovsky, Leslie Gorin, Mike Giaimo, Brenda Chapman, Glen Keane, Kirk Wise (in beige sweater), Andrew Stanton, Pete Docter (with Lei), Rob Minkoff, Rich Moore, John Lasseter, and Henry Selick, in the famed CalArts classroom A113.
The Class That Roared
It was a staggering number. In November 2012, the Los Angeles Times reported that directors who had been students in the California Institute of the Arts’ animation programs had generated more than $26 billion at the box office since 1985, breathing new life into the art of animation. The list of their record-breaking and award-winning films—which include The Brave Little Toaster, The Little Mermaid, Beauty and the Beast, Aladdin, The Nightmare Before Christmas, Toy Story, Pocahontas, Cars, A Bug’s Life, The Incredibles, Corpse Bride, Ratatouille, Coraline—is remarkable. Even more remarkable was that so many of the animators not only went to the same school but were students together, in the now storied CalArts classes of the 1970s. Their journey begins, and ends, with the Walt Disney Studios. As director and writer Brad Bird (The Incredibles, Ratatouille) observes, “People think it was the businessmen, the suits, who turned Disney Animation around. But it was the new generation of animators, mostly from CalArts. They were the ones who saved Disney.”
In late 1966, Walt Disney lay dying. One of his last acts before succumbing to lung cancer was looking over the storyboards for The Aristocats, an animated feature he would not live to see. The Walt Disney Studios, the wildly successful entertainment empire he had founded with his brother, Roy O. Disney, as the Disney Brothers Studio, in 1923, was beginning to lose its way. Its animated films had lost much of their luster, and Disney’s original supervising animators, nicknamed the “Nine Old Men,” were heading for that Palm Springs at the end of the mind, either retiring or dying.
Two years earlier, Walt had run into science-fiction writer Ray Bradbury at a department store in Beverly Hills. Over lunch the next day, Disney shared with him his plans for a school that would train young animators, “taught by Disney artists, animators, layout people . . . taught the Disney way,” as former CalArts student Tim Burton (Corpse Bride, Frankenweenie) described the school in the 1995 book Burton on Burton.
In the early years, starting in the late 30s, Disney animation had been gloriously realized by the Nine Old Men: Les Clark, Marc Davis, Ollie Johnston, Frank Thomas, Milt Kahl, Ward Kimball, Eric Larson, John Lounsbery, and Wolfgang Reitherman—all of whom had worked with Walt on Snow White and the Seven Dwarfs. That 1937 classic, Disney’s first animated feature film, had been given an honorary Academy Award and was beloved by children, adults, critics, artists, and intellectuals everywhere. As Neal Gabler, Disney’s biographer, observed, “After Snow White, one could not really go back to Mickey Mouse and Donald Duck.” Snow White ushered in Disney’s golden age of animation; over the next five years there was a veritable parade of beautifully crafted animated films, all now classics: Pinocchio, Dumbo, Fantasia, and Bambi. The next two decades would bring Cinderella, Peter Pan, Lady and the Tramp, Sleeping Beauty, and 101 Dalmatians. But as the 60s waned, it became apparent, as Burton later noticed, that Disney had not gone out of its way to train new people.
“Nobody was being trained in full animation anymore except [at] Disney—it was literally the only game in town,” recalls Bird. “There was a point where I was probably one of a handful of young animators in the world . . . . But no one was really interested in that in my town. You would get a lot more attention if you were the backup quarterback for a junior-college football team. That would be way more impressive than being mentored by Disney animators.”
In a country roiled by anti-Vietnam War protests and tremendous social upheaval, animation seemed irrelevant, relegated to commercials and Saturday-morning cartoon programs for children, though animation as an art form had not been originally intended just for kids. At Disney there was even talk of shutting down the animation department altogether. Nonetheless, Walt approved the storyboards for The Aristocats.
“So they made the movie and it was a huge hit, and that’s when they said, ‘We can keep this going. We need some more people,’ ” recalls Nancy Beiman, one of the first women students at CalArts and now a writer, illustrator, and professor at Sheridan College, in Oakville, Ontario. But where were the new animators going to come from?
In the early 30s, Disney had sent several of his animators to study at the Chouinard Art Institute, in Los Angeles, because he wanted classically trained artists, and he had maintained a keen interest in the art school. After discovering that it was having financial difficulties, he pumped money into it, and sought to include it in his grand plan for a “City of the Arts,” the multi-disciplinary academy he had described to Bradbury two years before his death. After Chouinard merged with the Los Angeles Conservatory of Music, in 1961, Disney was able to realize his vision: he would build a single school devoted to the arts, incorporating Chouinard and the conservatory, and he would call it the California Institute of the Arts, nicknamed CalArts.
“I don’t want a lot of theorists,” he explained to Thornton “T.” Hee, one of Disney’s early animators and directors, who would end up teaching at CalArts. “I want to have a school that turns out people that know all the facets of filmmaking. I want them to be capable of doing anything needed to make a film—photograph it, direct it, design it, animate it, record it.”
Walt initially had big plans: he wanted Picasso and Dalí to teach at his school. That didn’t happen, but many of Disney’s early animators and directors would teach at CalArts, which opened its doors in 1970 and moved a year later to Valencia, California. Walt had traded ranch land he owned for the site of the campus close to the freeway, and as he had bequeathed, when he died, in 1966, roughly half of his fortune went to the Disney Foundation in a charitable trust. Ninety-five percent of that bequest would go to CalArts, the eventual home of his new, innovative Character Animation Program.
“You can blame it on Fantasia,” says John Musker (The Little Mermaid, Aladdin), another former CalArts student. Indeed one of the classic images from Fantasia—the conductor Leopold Stokowski reaching down to shake hands with Mickey Mouse—summed up nicely what Walt had envisioned for his school: a kind of League of Nations of the arts.
Jerry Rees (The Brave Little Toaster) was the first student accepted into the Character Animation Program, in 1975. Something of a prodigy in high school, he had already been taken under the wing of Eric Larson, one of Disney’s top animators, who had created, among other things, Peter Pan’s soaring flight over London in the 1953 Disney movie. Though still in high school, Rees was given a desk near Larson’s and was invited to show up during vacations from school, to work on animation under the master’s tutelage. “The studio used to call the house and ask when I was going on my next school vacation,” Rees remembers with a laugh. Shortly after graduating from high school, he was invited to become an assistant to Jack Hannah, the retired Disney animator who was running the Character Animation Program. It was a position that gave him access to the Disney “morgue,” the archive that held the artwork from all of Disney’s animated films.
“So I would just call up the morgue and go, ‘There’s this great scene in Pinocchio where Jiminy Cricket’s running along and he’s trying to put his jacket on while he moves, and it was just amazing and graceful,’ ” Rees recalls. “They would make super-high-resolution copies in their Xerox department, which actually was a huge machine that took up three different rooms on the studio lot.”
John Lasseter (Toy Story, A Bug’s Life), an athletic, personable guy who favored Hawaiian shirts, was the second student to be accepted. Lasseter grew up in Whittier, California, hometown of Richard Nixon. His mom was an art teacher at Bell Gardens High School. “That was back in the days when California schools were really great, and I had an amazing art teacher named Marc Bermudez,” he recalls. “I loved cartoons. I grew up drawing and watching them. And when I discovered as a freshman in high school that people actually made cartoons for a living, my art teacher started encouraging me to write to the Disney Studios, because I wanted to work for them one day.”
via and for more see http://www.vanityfair.com/culture/2014/03/calarts-animation-1970s-tim-burton
click here for sochi 2014 pairs free skate live stream feb 12 sochi 2014 pairs free skate live stream feb 12
felecia zhang and nathan bartholomay u.s. free skate pair
sochi 2014 pair free skate live stream feb 12
via and for more see http://www.washingtonpost.com/world/olympics/sochi-scene-we-belong/2014/02/12/99a65422-940c-11e3-9e13-770265cf4962_story.html and http://stream.nbcolympics.com/olympics/winter/13856/?ctx=citi
click here for women’s half pipe final live stream sochi 2014 women’s half pipe final live stream feb 12
2014 women’s half pipe final live stream now! feb 12.
via and for more see http://stream.nbcolympics.com/snowboard/winter/13916/?ctx=citi and http://www.sochi2014.com/en/photo-gallery-sochi-2014-day-6-snowboard-ladies-halfpipe-finals?photoid=0000003392
Lorde’s Grammy Acceptance Speech. “May you all find the balls to help construct a world based on resilient community, bona-fide freedom, and peace.”
Thank you soo much everyone for making this song explode because this world is mental. (Laughter). Planet Earth is run by psychopaths that hide behind slick marketing, ‘freedom’ propaganda and ‘economic growth’ rhetoric, while they construct a global system of corporatized totalitarianism.
As American journalist Chris Hedges has identified, a corporate totalitarian core thrives inside a fictitious democratic shell. This core yields an ‘inverted’ totalitarian state that few recognize because it does not look like the Orwellian world of Nineteen Eighty-four.
This corporate totalitarian core is spreading outward from America. Planet Earth is being rapidly militarized by the world’s major and significant states, including their police forces. Meanwhile, state surveillance is becoming universal and torture is outsourced to gulags.
Can we not imagine that in past times, simple folk found it hard to work out exactly how they were being manipulated by the Royal monarchies, and the Papal monarchy, who claimed a ‘divine right to rule’? Ordinary people from classical times through to the demise of Ancien Regime could not see how the rivalrous network of elites and oligarchs were linked, not least because the illiterate masses were indoctrinated to believe in their humble lot, to obey divinely-endorsed authority and to live in fear of damnation.
So, in today’s mental world, it should become clearer now that Planet Earth is ruled by super-wealthy people, who use their outrageous fortunes to steer the trajectories of whole societies for their own material and political gain. These oligarchs are, in fact, colluding for economic gain and conspiring to augment more political power. Armies of professional, political, religious and military elites serve them.[9 Together, they comprise a highly-networked transnational capitalist class that has been traced in studies by: Peter Phillips and Brady Osborne; William K. Carroll; David Rothkopf; Daniel Estulin; and Laurence H. Shoup and William Minter.
As Canadian journalist Naomi Klein has argued in her book, The Shock Doctrine: The Rise of Disaster Capitalism, ‘free markets’ were slickly marketed in the 1980s and 1990s with the idea that they would deliver individual freedom and prosperity for all. Klein also wrote that the use of military violence to facilitate the spread of ‘free markets’ in the field-testing stage from the mid-1960s to the mid-1970s has continued into the 2000s. Her view is supported in Eugene Jarecki’s documentary Why We Fight, which compellingly showed that America fights wars to make the world secure for its corporations. So, get reading and viewing! (Lorde giggles and half the audience rises to their feet applauding. The other half remain fixed in their chairs. Some reluctantly clap).
Thankyou soo much everyone for giving a shit about our song, ‘Royals’. May you all find the balls to help construct a world based on resilient community, bona-fide freedom, and peace. To do that, we will need to redeploy the psychopaths that currently run the world to the planet’s prisons. Peace cannot happen with reconciliation. That was Nelson Mandela’s mistake. The first step to peace is justice firmly served.
See the full story “Clipping Queen Bee’s Wings: Lorde’s real Grammy speech suppressed” at
The inside story behind Lorde’s meteoric rise: “Queen Bee Mentor: The professor who fed Lorde’s mental buzz”
via and for more see http://snoopman.wordpress.com/2014/02/06/lordes-suppressed-grammy-award-acceptance-speech-full-transcript-26-january-2014/
click on for women’s curling live stream Sweden vs. Canada feb. 11 am session via nbcsports women’s curling sweden vs. canada
Women’s Curling: Sweden vs. Canada (Watch LIVE)
click on for women’s curling live stream Switzerland vs. Denmark feb 11 am session via nbcsports women’s curling switzerland v. denmark
Women’s Curling: Switzerland vs. Denmark (Watch LIVE)
click on for women’s curling live stream south korea v. japan feb 11 am session nbcsports women’s curling now live stream south korea v. japan
Women’s Curling: South Korea vs. Japan (Watch LIVE)
click on for women’s curling live stream Russia v. united states now feb 11 am. session from nbcsports women’s curling live stream now feb 11 am from nbcsports
Women’s Curling: Russia vs. United States (Watch LIVE)
clair hamilton great britain round 1 women’s curling
womens’ curling live stream now for feb 11 a.m. session via nbcsports
via and for more see http://stream.nbcolympics.com/olympics/winter/13708/?ctx=citi and http://stream.nbcolympics.com/olympics/winter/13716/?ctx=citi#sthash.8nZ8C7fr.dpuf and http://stream.nbcolympics.com/olympics/winter/13703/?ctx=citi#sthash.SyFZMZRJ.dpuf
beginnings of beatlemania.
the beatles on the ed Sullivan show.
The Beatles. Ed Sullivan Show. February 9 1964. Fifty year anniversary!
Just before 2:30 on the afternoon of Feb. 9, the Beatles got the signal to take their places for the first of two full dress rehearsals in front of a full, hysterical audience. If they seemed daunted at making their American debut, it didn’t show. They plugged in and waited patiently behind a curtain, exchanging relaxed, easy grins, as Ed Sullivan wandered onstage.
Sullivan was an improbable TV star. Stiff as cardboard and about as endearing, the 62-year-old emcee had, a profile in TIME said, as much charisma as “a cigar-store Indian.” He was painfully awkward in front of the camera, but he had an uncanny instinct for spotting talent and the ability to give it a national showcase. As such, he was a powerful star maker, to say nothing of an American icon. If you tuned in on Sunday nights, as a majority of TV watchers did, you were in for “a really big shew.”
If the audience left the dress rehearsals in ecstasy, the Beatles were anything but satisfied. “We weren’t happy with the … appearance,” said Paul, “because one of the mikes weren’t [sic] working.”
John’s vocals were muffled and often lost in the mix.
That evening, when the Beatles returned to Studio 50 for the live broadcast of The Ed Sullivan Show, George lit into Bob Precht, Sullivan’s son-in-law, who produced the show. The sound quality, he argued, was unacceptable.
In the midst of their heated exchange, visitors and dignitaries began streaming backstage to size up the four boys from Liverpool. Dizzy Gillespie, who was playing down the street at Birdland, “just stopped by to get a look at them,” as did various Capitol Records execs.
The Beatles were already feeling pinched by the crowd. But when Leonard Bernstein swept in with his daughters, babbling about a visit to Washington and “singing rounds with Jackie [Kennedy] at breakfast,” the boys had heard enough. John ordered the entire bunch chucked out and put the dressing room on lockdown.
As it was, the theater felt under siege. The crowd outside stretched over eight blocks, giving the place the revved-up energy of a Broadway opening. CBS had received more than 50,000 ticket requests; it seemed as though half that number were trying to get inside. Among those who did were Walter Cronkite’s and Jack Paar’s daughters, as well as Richard Nixon’s 15-year-old daughter Julie.
At 8 p.m. on Feb. 9, an unheard-of 60% of American TVs were tuned to CBS. The Beatles had caused a run on the airwaves that set all broadcast viewing records. Everyone wanted to have a look at the source of all that hoopla. How could four pop musicians—four boys from England—create so much excitement? It was beyond most American parents, who had watched the buildup with wary eyes.
The audience in living rooms may have been split down the middle, but the makeup of the theater belonged to the Beatles. As the credits rolled, the camera scanned the audience: wall-to-wall teenagers, mostly girls who were wound a bit tight. Passionate female fans were a staple of pop heartthrobs, but this gang was something else, on the edge of frenzy.
At last! The curtains swept open and America had its first look at the band—not in black leather and stagy scowls, not intimidating, as some had feared, but neatly groomed, all smiles, vaguely harmless: a pleasant surprise. The Beatles! Without hesitation, they launched right into a crisp if workmanlike version of “All My Loving,” a cut from their freshly minted LP, Meet the Beatles, which topped Billboard ’s charts the following week and remained there until it was knocked off by their second album.
More than a few eyes widened during their next number as the camera lingered on each of the Beatles’ faces and a crawl appeared at the bottom of the screen, identifying them by name. Paul McCartney, doe-eyed; George Harrison, jug-eared and stoic; Ringo Starr, grinning earnestly. When John Lennon got his close-up at the very end, an unexpected postscript revealed, “Sorry, girls, he’s married.”
That let a big cat out of the bag. Until that moment, John’s marriage had been not only hush-hush but hotly denied by the Beatles’ management. Band manager Brian Epstein had decided early on that the presence of a girlfriend—and especially a wife—would turn off the female fans. As such, Cynthia Lennon was forced to deny her marriage, even her name, to anyone who asked. She kept a low profile, never wore a wedding band, learned how to blend into the crowd. At shows, John would often stash her at the back of the hall, where she would watch like any other desperate fan. Moreover, they carefully avoided going out together in public.
If news of John’s marriage sucked the energy out of the performance for a few lovestruck fans, the boys quickly sent them airborne again. A clatter of drums erupted into “She Loves You,” jolting the audience. The last two numbers were even more riveting. Both “I Saw Her Standing There” and “I Want to Hold Your Hand” delivered on the promise of something thrilling.
he phenomenon unfolded in living rooms across the country. According to the A.C. Nielsen Co., the viewing audience was estimated at about 74 million people, reflecting a total of 23.24 million homes, a record for any TV show.
The Beatles’ first appearance on prime time television in North America was on the Jack Parr Show in January of 1964. It was a taped presentation of the lads playing “She Loves You.” Parr allegedly derided the performance as “the downfall of British civilization.” Of course, nothing was farther from the truth.
In February of 1964, The Beatles had begun gathering momentum as America’s newest craze, and it was their first performance on The Ed Sullivan Show that solidified their popularity in North America.
Ed Sullivan, the poker-faced TV American variety-show host, spotted the Beatles in a scene of pandemonium at London’s Heathrow Airport the previous October.
“Who the hell are the Beatles?” he’d apparently asked his associates.
He would quickly discover that they were Britain’s newest fascination, and he decided to bring them over to play his show.
The Ed Sullivan Show was taped in the CBS studios in New York City. The studio had a seating capacity of 703. The CBS offices received over 50,000 requests for tickets. But only a small portion of these were delegated to Beatles’ fans. The Ed Sullivan Show was family fare, and although Sullivan never shied away from acts that were controversial, such as Elvis Presley, James Brown and other impending rock stars, Sullivan was always clearly more comfortable with the “establishment ” of the entertainment world. In fact, his pet act was a mouse puppet called Topo Gigo, a silly parody of Italian cultural stereotypes.
Still, Sullivan knew that The Beatles were something special, and he had them on his show in one form or another nine times.
On Sunday, February 9, millions of North Americans waited in front of small black and white television sets in anticipation of seeing this new phenomenon from Britain. The audience for that show alone is estimated to be over 70 million people.
On their first appearance on The Ed Sullivan Show, the Beatles played five songs in two sets. The first set included All My Loving, Till There Was You, and She Loves You. Later in the second half of the show, the Beatles played I Saw Her Standing There, and I Want To Hold Your Hand.
Each song was well rehearsed and went off without a hitch. The audience, at least that section that was reserved for young Beatles’ fans was reserved beyond belief until prompted by stage managers to scream their hearts out. That was a part of the deal, it seems. Sullivan had made a pact or a “promise” as he called it, with the “youngsters” in his audience to refrain from over exuberance until the music ended. This was, after all, television, not some local night club. And while The Beatles may have been headliners that night, Sullivan was equally proud of the fact that he was presenting the Broadway cast of “Oliver” — featuring Georgia Brown and Davy Jones who went on to become one of The Monkees — Frank Gorshen (comedian, doing impressions of celebrities), Mitzi McCall & Charlie Brill (comedy team), Tessie O’Shea (singer, medley of show tunes), Fred Kapps (magician), and Wells & the Four Fays (acrobats, doing physical comedy).
At the beginning of the February 9 show, Sullivan read a congratulatory telegram from Elvis Presley, the king of the rock movement in the United States. Some describe this as a “torch-passiong” of sorts. The King was far from dead at that time, but his heirs were certainly present that evening in the CBS studio. This was not to say that there were no detractors. Having lived through the hulla hoop and the dance craze called “The Twist”, most parents saw The Beatles as simply another momentary fad. Even Sullivan’s musical director reportedly said “I give them a year.” But it was more than the beginning of some brief love affair with four lads from Liverpool. It was the beginning of Beatlemania, a change in the cultural fabric that would last and continue through today.
via and Read more: The Beatles Play Ed Sullivan: The Historic TV Appearance 50 Years Ago | TIME.com http://entertainment.time.com/2014/02/09/the-beatles-invasion-50-years-ago-sunday-feb-9-1964/#ixzz2sqhHnKk1 and http://www.edsullivan.com/the-beatles-on-the-ed-sullivan-show-on-february-9-1964/ and https://vimeo.com/19851717 and https://vimeo.com/85085658