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Child’s Play: 17 Big Outfit Ideas For Little Style Stars
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Originally released in 2006, Dead Rising quickly solidified itself as a zombie fan favorite, spawning multiple sequels and a following ready to rival The Walking Dead. Now, 18 years later, Capcom has rewarded us all with a remastered update of the game that started it all.
It is safe to say that the biggest update in the game is the graphics. With 18 years comes incredible advancements in animation, and Capcom did not skip out on making sure we could see every reaction and emotion on not only Frank’s face, but on every NPC’s too. While the original game still holds up well, the graphics overhaul was well worth the time and makes the gore that bit more visceral, which you definitely want in a modern zombie game. Especially when taking them down with a skateboard or golf putter is still very much an option.
Another significant change is the improved NPC AI. A common criticism players had with the original game centred around NPCs and the questionable decisions they made that often led to their untimely demise. This time, the NPCs are smarter, making more rational decisions and adding a layer of realism to the game.
Capcom also proves with the remaster that not only can the years improve graphics, but it can also change gameplay entirely. Frustratingly, there used to be no option to move while aiming a weapon, but you now have free reign over all actions Frank can make while fighting a horde. We have been spoiled over the years with games like GTA where dodging and weaving can be a useful, sometimes necessary, component to staying alive. It is refreshing to have the option in Dead Rising now.

However, if you’re feeling nostalgic or simply want to make life a bit harder for yourself, you do have the option to play in ‘Classic’ mode. This mode gives you a style closer to the original gameplay, with its unique challenges and limitations, providing a throwback experience for long-term fans.
Once upon a time, you would go into a fight, hoping and praying your weapon would withstand the button mashing. Now, you can clearly see an item’s durability and how much it has degraded before deciding whether to tackle those particular problems. For example, now you know whether your gun or shopping cart will fall apart after coming into contact with an opponent. This certainly makes surviving a bit more helpful. It also saves Frank’s fists should the worst happen!

On the topic of Dead Rising’s resident photojournalist, many fans were dismayed to learn that numerous voice actors were not returning for the remaster, including TJ Rotolo, who voiced Frank West in the original and its sequels. Capcom has given no solid reason for the recasting, but for those who really liked Rotolo’s performance as Frank, a new voice will certainly be something to get used to. The new voice work fits Frank’s demeanour very well, adding a fresh perspective to the character.
Something that is very welcome is that, finally, Otis has a voice! Even with the previous remaster, Otis remained the only character without one. Having that remedied is a nice touch, especially when interacting with him over the radio. This addition not only enhances the game’s immersion but also helps with understanding the game’s narrative and objectives. It adds a new layer of depth to the storytelling and character interactions.

Small but significant changes for many are more behind the scenes. For streamers or those wanting to post gameplay online, there is the option to turn off the iconic background music from the original 2006 game, meaning copyright is not an issue. Also, for those who simply like the atmospheric noises of their surroundings, this is appreciated.
Another is the ability to hide the heads-up display (HUD), which can get overwhelming after a while when tasks, missions, weapons, and NPCs pile up on screen. It is a very welcomed change and makes the game more playable.
Amusingly, at the beginning of the game, you can find the closet in the Security Room, where unlocked costumes and clothes are kept for you to change into. For fans who miss the original Frank West look or would just like to see a piece of the past in a remastered world, the Steam pre-purchase offers the ability to change into the 2006 Frank. You can certainly see all the work that has gone into this remaster when putting the two versions side by side.

Also, in keeping with the game’s goofiness is the chance to play as the Willamette Parkview Mall mascot Bee – because who doesn’t want to rampage a zombie horde dressed as a giant bee?
As the bee costume suggests, Dead Rising Deluxe Remaster does not disappoint when it comes to the goofiness we all expect and love. The updated graphics are incredible, considering the time between remasters, and the playability is certainly better with the new controls and fully-voiced characters. After playing, even for a short time, it would be hard to imagine going back.
So set your watches. Dead Rising Deluxe Remaster will be released on September 19, 2024. For now, why not check out the scarier horror games coming your way in 2024?
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Emily Serwadczak
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Editor’s note: An untold number of unheralded artists live in Colorado, those creators who can’t (or don’t want to) get into galleries and rely on word of mouth, luck or social media to make a living. You’ve likely seen them on Instagram, at festivals or at small-town art fairs. This occasional series, Through the Lens, will introduce you to some of these artists.
The last time you saw a concert at Red Rocks Amphitheatre, there’s a good chance that live-music artist Keith “Scramble” Campbell was there, painting a 3-by-4-foot abstract acrylic artwork of the very band you came to see.
A fixture at the venue, Campbell has created more than 630 live paintings since his debut there in 2000, when he painted the band Widespread Panic. Immersed in the rhythm of the music, the artist moves with the beat, using his paintbrush like an instrument to capture the vibrant spirit and energy of the performance onto his canvas.
Inspired from a young age by New York graffiti artists Keith Haring and Jean-Michel Basquiat, as well as the Spanish surrealist Salvador Dalí, he found his calling in emulating American speed painter Denny Dent, known for creating large-scale, 8-foot canvases of musicians in just 10 minutes, often at the Cherry Creek Arts Festival. Discovering live music painting, he says, transformed his life and solidified his path as an artist.
“It seems easier to tell you which artists I haven’t painted versus the ones that I have,” he said recently. “I’ve painted over 1,000 live shows and 4,000 canvases in my career. It is a lifetime of going to shows all over the world. It isn’t just Red Rocks. If it’s live music, I will paint it.”
Q: Where does your name come from?
A: I was a speed roller skater in the 1970s and ’80s. I had a friend who called me Scramble because of the way I scrambled around the rink. Early on, I was heavily influenced by artists Andy Warhol, Bob Ross, LeRoy Neiman and Dalí. When I decided to make art my career, I felt like all of the influences from these artists were like an alphabet soup of names, a scramble of influences on me. I decided that Scramble would be a fitting name for me. (I also felt that it sounded a lot more creative than Keith and it rhymed with Campbell.)
Q: Could you give us a brief history of how you became an artist?
A: When I was in the seventh grade, I wanted to quit school because I knew I wanted to be an artist. My mother luckily convinced me it was wise to stay in school.
In the late ’80s, New York City was deep in the rave culture and the graffiti scene with rising artists like Haring, Warhol and Basquiat. They showed their work through nightclubs and public art. They were doing paintings on walls, in the subways and on the streets directly bringing art to the people. I was entranced by their work.
In 1991, I answered an ad looking for a visual artist to paint live during a music festival. The man who placed the ad was Perry Farrell, of Jane’s Addiction. The music festival was Lollapalooza.
When I got the job, it felt like the beginning of my career. I had had so many rejections over the years of trying to get into galleries and art shows. It was when I made the crossover from the art world into the music world that I really discovered my path as an artist.
Throughout the ’90s, I did music festivals such as the New Orleans Jazz Festival, Lollapalooza, the HOARD festival, Bonnaroo, Woodstock ’94, the Lilith Fair and even the 1996 Summer Olympics in Atlanta. I have painted Widespread Panic 170 times.
Q: What kind of artist are you?
A: At heart, I am really a musician with a paintbrush. My instruments are my canvases, paintbrushes and paints.

I like to think of myself as a conduit of music, transcribing their energy and their music into a dance on canvas.
As a live artist, my paintings reflect the concert. I let the music and the environment dictate how I paint. If it’s windy and the music is hardcore, my paintings will reflect that. I’ll paint fast and furiously, the work looking abstract and impressionistic. I dance and move with the music as I paint. If there is a slower song in between, that is the time I take to fill in the details. The musicians, the weather, the people all play a role in the painting I create. I am trying to tell a story of that night. If it rains or is windy, I add that in my paintings. If there is a rainbow I will put that in there. I am capturing the entire night into one canvas.
Q: What kind of music do you like to paint to, and do you specifically stay within a specific genre?
A: I don’t stick to any one genre. I have painted over 1,000 different bands and 4,000 canvases that include jam bands like Widespread Panic and Leftover Salmon to up-and-coming Christian rock bands. Next month, I’ll be painting King Gizzard and the Lizard Wizard, an Australian rock band. I’ve had the opportunity to paint jazz legends Fats Domino, B.B. King, Chuck Berry, Little Richard and Jerry Lee Lewis. I’ve painted Pete Seeger, Bob Dylan, Prince and other legends like Diana Ross, Melissa Etheridge, Carlos Santana, Blues Traveler, Lady Gaga with Tony Bennett, Johnny Winter and Tom Petty.
It seems easier to tell you which artists I haven’t painted versus the ones that I have.

Q: How did you end up becoming what seems like the artist-in-residence at Red Rocks?
A: After a show in Florida, Todd Nance, the drummer for Widespread Panic, traded a summer tour pass for a painting I had done of the band. I ended up at my first Red Rocks show where the band played in June 2000. It was love at first sight when I did that show.
Since then, I have done over 630 paintings at Red Rocks. I buy my own tickets and pay for every single concert that I go to. Red Rocks does not pay me to be there but they do allow me the space in which to paint.

Q: Do you remember the first piece of art you ever got paid for?
A: It was 1987 at one of my first group shows at a shopping mall where I sold a drawing of Joey Ramone. It was a studio piece before I was a live-music artist. I guess I have always been a music artist. even from the start.

Q: Where can we see your art?
A: On my website (scramblecampbell.com), but I invite people to come see me live at Row 23 at Red Rocks. I also have small paintings, postcards, magnets and other items for sale at the Red Rocks Trading Post.
Q: Do you have a favorite art piece?
A: I did a painting of Lou Reed in 1998 in Bethel, N.Y., on the original Woodstock grounds for the 29th anniversary of the original Woodstock. I got to talk to him and meet him afterwards and he signed the back of my painting. There are also paintings I’ve done of legendary musicians, like B.B. King and Fats Domino, who have since died. All of these paintings I love and will never sell.
Q: What memorable responses have you had to your work?
A: I showed David Crosby a painting I had just done of him and he said, “Not bad for speed painting.” Another time when I showed my painting to James Brown, he said, “Son, I’d like to thank you for coming out and painting my portrait.” He signed the entire back of the painting and said “I feel good. James Brown.”


Q: What’s the best piece of advice you’ve ever been given?
A: In my mid-20s, I wrote a letter to well-known graffiti artist Keith Haring asking for advice. He was a big influence for me back then. He actually wrote me back and said: “I’m not good at giving advice. All I can say is do what you want to do and find a way to do it as much as you want to. There is no ’answer’ that is the same for everyone. You have to find your own direction.” I’ve followed that advice ever since.
Q: What advice would you offer to beginning artists?
A: Try to make your own way and make your own art. Don’t do art for somebody else, do it for yourself.
Q: Describe your dream project.
A: Next season is my 25th at Red Rocks. I’d really like to do a book that talks more about my experiences at the hundreds of concerts and of the thousands of artists I have painted. I feel like I already have the book illustrated with my paintings. It just hasn’t been written down yet. There are so many stories that go along with the artists that I have painted. I want to be able to tell those stories. It’s 25 years of jazz fest, 25 years of Red Rocks, 35 years of live painting. I’d like to tell those stories.
Originally Published:
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Helen H. Richardson
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Few It bags better define an era than the Balenciaga Motorcycle. Introduced during the fall/winter 2001 show, toward the beginning of creative director Nicolas Ghesquière’s 15-year run at the hallowed fashion house, the Motorcycle soon became a fixture on the arm of every starlet and celebutante.
As ubiquitous as low-slung jeans and Uggs, the slouchy tote, with its signature lariats, zippers, and rugged hardware, was an oft-photographed red carpet and music-festival staple—carried by everyone from Hilary Duff and Sienna Miller to Nicole Richie and the Hilton sisters. The decade’s much-copied fashion plate du jour, Mary-Kate Olsen, famously sported a minty green version that was as much a part of her fabulously disheveled mien as her oversize sweaters. (Like Richie, who owned a Motorcycle in a range of bubble gum colors, Olsen would go on to acquire a veritable collection of the carryalls.)
For all its high-profile visibility, the Motorcycle almost didn’t come to be. When it was first shown as a prototype on the runway, Balenciaga bigwigs were reluctant to put the unstructured, logo-less model into production. They feared it was out of step with the era’s strict, status-conscious offerings such as the Fendi Baguette and the Dior Saddle. But the history of fashion is filled with serendipitous Sliding Doors moments. Kate Moss asked Ghesquière for one after the show, and when the brass got wind that the trendsetting model approved, they decided to commit. (It didn’t hurt that the rest of the prototypes were gifted to other fashion influencers of the time, such as the power stylists and editors Carine Roitfeld, Emmanuelle Alt, and Marie-Amélie Sauvé.)
Lindsay Lohan, Kate Moss, and Ashley and Mary-Kate Olsen.
The Motorcycle was eventually renamed the City, and has been tweaked and released under different guises, notably as the streamlined Le Cagole in 2021. Now, as references from the noughties dominate the fashion dialogue—even Richie and Paris Hilton are enjoying another pop culture moment—the bag has again been reissued, this time as the Frenchified Le City. The new version remains faithful to the original: The biker-chick menace is still writ large in every stitch, and like a Perfecto motorcycle jacket, the supple lambskin leather only gets better with age. The lariats and studded hardware are still there, and there are different sizes and a kaleidoscope of colors on offer. One feature, however, is noticeably absent: The miniature mirror that used to hang from the top of the bag has gone the way of trucker hats. In its place are a host of customization options, including new key rings and charms.
Kim Kardashian and Lucy Liu.
Not surprisingly, celebrities are once again contributing to the bag’s popularity. Superstars including Bella Hadid, Dua Lipa, and Kim Kardashian, as well as newcomers like Rachel Sennott, Devon Lee Carlson, and Joey King, have all recently been photographed toting Le City. And a new advertising campaign features Nicole Kidman, Amelia Gray, Kit Butler, and the bag’s fairy godmother, Kate Moss. Talk about cult status…
Collage credits, clockwise from top left: Kate Moss, Gareth Cattermole/Getty Images; Sarah Jessica Parker, Ray Tamarra/Getty Images; Lucy Liu, PA IMAGES/Alamy; LeAnn Rimes, Jean Baptiste Lacroix/WireImage; Paris & Nicky Hilton, Gregorio Binuya/Everett Collection; Gisele Bundchen, WENN Rights Ltd.; Nicole Richie, Shutterstock; Ashley & Mary-Kate Olsen, M. Von Holden/FilmMagic; Cameron Diaz, James Devaney/WireImage; Emma Roberts, Jason Merritt/FilmMagic; Jessica Alba, Chris Polk/FilmMagic; Ashley Tisdale, WENN Rights Ltd.; Emma Bunton aka Baby Spice, C. Uncle/FilmMagic; Heidi Montag, Michael Bezjian/WireImage; Kourtney Kardashian, Ray Tamarra/Getty Images; Hilary Duff, Bruce Glikas/FilmMagic; Lindsay Lohan, Mark Mainz/Getty Images; Vanessa Hudgens, Jeff Vespa; Kim Kardashian, Larry Marano/Getty Images; Sienna Miller, Jamie Tregidgo/WireImage; Lauren Conrad, Alo Ceballos/FilmMagic. Center: Courtesy of Balenciaga.
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Our journey to crown the greatest OutKast song of all time continues with an episode dedicated to Big Boi. First we cover his 2003 album, Speakerboxxx, and then nominate our favorite Big Boi features and solo album cuts.
Hosts: Cole Cuchna and Charles Holmes
Guest/Producer: Justin Sayles
Audio Editing: Kevin Pooler
Theme Music: Birocratic
Subscribe: Spotify
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Cole Cuchna
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Dishonest consumers are upping their fraud game as “friendly fraud” becomes the No. 1 problem in credit card disputes, but tech providers and merchants alike are upping their ability to fight through data and AI. Friendly fraud and chargeback fees cost businesses more than $117 billion in 2023, according to a PayPal report. Friendly fraud, […]
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Whitney McDonald
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Giorgio Armani cape; Gina Couture shoes (throughout); stylist’s own briefs.
Lùchen gown.
Yuhan Wang top; Philip Treacy Archive hat; stylist’s own briefs.
ChenPeng dress; custom head wrap styled by hairstylist Mustafa Yanaz.
Balenciaga coat and top.
Fila hooded sweatshirt.
Supriya Lele top and skirt; Emily-London headpiece.
Prada cardigan and skirt.
Feben – Supported by Dolce & Gabbana coat.
Andreādamo jacket and skirt.
Bottega Veneta coat and earrings.
Sheila Bawar wears a Supriya Lele dress; stylist’s own briefs.
Hair by Mustafa Yanaz for Dyson at Art+Commerce; makeup by Lucy Bridge at Streeters; manicure by Lauren Michelle Pires for CND at Future Rep. Model: Sheila Bawar at Ford Models. Casting by Piergiorgio Del Moro and Samuel Ellis Scheinman at DM Casting. Set design by Ibby Njoya at New School.
Produced by Ragi Dholakia Productions; Executive Producer: Ragi Dholakia; Producer: Claire Huish; Fashion assistants: Julia Veitch, Ben Spelman; Production assistants: Libby Adams, Szilard Orban, Tom Beck, Oli Stockwell; Hair assistants: Krisztian Szalay, Tommy Stayton; Makeup assistants: Kyle Dominic, Jana Reininger, Esme Horn, Jemma Whittaker; Manicure assistant: Megan Cummings; Set assistants: Axel Drury, Toby Broughton; Tailor: Alison O’Brien.

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In Oh, Mary!, a historical fever dream written by and starring Cole Escola, they portray former first lady Mary Todd Lincoln as a narcissistic problem drinker and would-be cabaret singer in the weeks leading up to Abraham Lincoln’s assassination. “Unrequited yearning, alcoholism, and suppressed desires abound in this one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln through the lens of an idiot,” state the play’s press notes.
Inhabiting the role of wife of the 16th president of the United States with a thirsty black wig and frothing-at-the-mouth lunacy, Escola is the hottest of hot messes onstage, flashing the audience bloomers one moment and chugging paint thinner the next. The acclaimed 2012 biographical historical drama Lincoln this is not. It should be noted, however, that Steven Spielberg (the director of Lincoln), Sally Field (who played Mary Todd in the film), and Tony Kushner (who wrote the screenplay) all swung by the Lucille Lortel Theatre in Manhattan’s West Village one evening to catch Escola’s bonkers spin on the shared source material.
Prada cardigan, sweater, pants, and hat; stylist’s own shoes.
After selling out nightly and twice extending its run, the play transferred to Broadway this summer. It’s been a whirlwind—and, dare one say, unexpected—main-stage moment for Escola. A performer as unabashedly queer as they are crackers, they are best known for their cult YouTube parodies of Little House on the Prairie, called “Our Home Out West,” and for playing a diabolical twink in the HBO Max series Search Party.
Sitting in Bryant Park one recent afternoon, Escola discussed the writing process behind Oh, Mary!, the emotional stakes of imposter syndrome, and manifesting a rich better half—while accidentally swallowing a fly mid-conversation.
Oh, Mary! is a play that wonders: What if the wife of Lincoln had been nuttier than a fruitcake?
I like to say, very glibly, that I did no research for this play about Mary Todd Lincoln. But I have been developing it for years. All the shows—solo comedy shows, sketch shows, everything that I’ve written for myself and self-produced—have been getting me ready for this.
What did you model your vision of Mary Todd on, if not the annals of history?
Well, I just thought, What would be the dumbest thing that First Lady Mary Todd Lincoln could dream of and want with her life? And cabaret made me laugh really hard. But also I, Cole Escola, do secretly want to be a cabaret star, desperately. Mary is just me. She cares so deeply about what people think of her, but she has a huge blind spot and doesn’t realize that people actually find her grating and annoying and hate her. And that is me.
Looking back, when did you first notice that the general population finds you grating and annoying?
I think around the time I started vocalizing, which was maybe two months.
The Row belted dress, bag, and shoes; Oliver Peoples sunglasses; Assael necklace; Fogal tights.
Critics, at least, are effusive in their praise of Oh, Mary! The play recently swept the Dorian Theater Awards, hosted by GALECA: The Society of LGBTQ Entertainment Critics.
The thing is that the play is also about being gay. I think we all—“we all” meaning queer people—have that experience of being a kid, saying something, and the whole room turning and looking at you like you just took a shit on the floor, and realizing, Oh, I guess I’m not supposed to like the color pink. Wait, that’s so annoying. Please don’t print that. Or if you do, you can add a headline: “It’s Okay to Wear Pink.”
Do you see performing as an inherently autobiographical act?
With all of my characters, I don’t go into it thinking I want to explore this part of myself. Anytime I feel like I want to do a character like this, afterwards I can unpack it and it’s like, Oh, the goblin commuter of Hoboken is me exploring how I feel in romantic situations—which is like a disgusting creature trying to flirt.
Who needs romance? Theatergoers are swooning over you.
The early audiences were very, very enthusiastic. But I thought, Oh, that’s just my friends, aka drunk homosexuals. I didn’t know if other people would like it, but I was very pleased that the people I wrote it for got it and love it. And now more people are getting it and enjoying it—or at least buying tickets to it—and that’s really all that matters.
What has been the response to some of the show’s more deranged scenes, such as when the former first lady drinks her own vomit?
I mean, one joke is Mary’s skirt goes up and there is underwear with hearts all over it. No one laughs at that, but it’s something that means a lot to me, so it stays. The best part of this whole experience has been the people who come up to me after the show, people I worked with at Joe’s Pub or who came to see my shows at the Duplex. They look at me, and they’re so proud and excited. It makes me really, really emotional, as if I scored a goal for the team. It makes me want to cry. [Tears up]
It’s okay, take your time if you need a moment.
No, sorry, it’s—I just swallowed a bug. I literally just swallowed a bug! [Starts singing] “I know an old lady who swallowed a fly.”
Prada cardigan, sweater, pants, and hat; stylist’s own shoes
You not only star in Oh, Mary!, you wrote it. What was that process like?
I wrote myself an email in 2009 with an idea: Abe’s assassination wasn’t such a bad thing for Mary. That was the seed. I loved the idea so much. I was so excited by it that I was afraid to write it. I was afraid that once I got it on paper, it wouldn’t work. Then, in 2020, during lockdown, I made myself sit down and write it. It reminded me of a movie when a writer gets a burst of inspiration and stays up day and night writing. One morning, it just came out of me. I was like, “I can’t stop. I have to write this as long as I can.” That happens about once every seven years, if you’re lucky.
Flash forward to today, and your “short legs and long medleys,” as you put it in the play, are on Broadway.
I’m worried that moving to Broadway is trying to milk the moment too much, as if we had goodwill from people and now they will want to take us down a few notches. I’m terrified that I’m done. I peaked. It’s over.
That’s the attitude! So, what’s next for Cole Escola?
I’m looking for love. I think my next partner should be rich. Rich people are always nice and grounded and funny.
Hair by Walton Nunez for R+Co at See Management; Makeup by Mical Klip for Makeup by Mario; Fashion Assistant: Celeste Roh; Hair Assistant: Leah MacKay; Tailor: Elise Fife at Altered Mgmt; Special Thanks to Hurley’s Saloon.
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The black clouds billowing from the fires razing Jasper National Park hold more than the reek of charred timber and scorched earth. For thousands of Canadians and mountain-lovers around the world, it’s the smell of cherished memory going up in smoke.
“It’s a huge amount of history and memories that are now lost,” said Alexis Keinlen, an Edmonton writer who recalls the winter 2015 wedding of a friend.
Before the ceremony, the party gathered in the evening on the shores of Lake Agnes on the grounds of the Jasper Park Lodge, now at least partially burned. They clasped mugs of hot chocolate around roaring fires or laced up skates for a turn on the ice.
The dark of the lake and the clarity of the sky felt “otherworldly,” she said.
“You could see all the stars above. It felt really big.
“One of my friends gave her child the name Jasper.”
A decade ago, Kelley Ware was living in Prince George, B.C., and her now-husband was in Edmonton. Every few weeks, they’d meet in Jasper.
“It was completely fundamental to building our relationship. My husband has a tattoo of Pyramid Mountain.”
For Janet Millar, the memories go back generations.
Her great-grandfather was on a roadbuilding crew in Jasper in 1948 when he noticed that lots were going up for sale around Lake Edith. He and his wife walked around it, chose their favourite spot and the next year built the cabin that has been in the family ever since.
“It’s the smell of an old log cabin that has had a lot of bacon and pancakes and syrup served in it. It’s the sight of old furniture that no one can bear to part with,” she said.
“Everyone in my family and all sorts of friends have their own particular thing they like best. There’s so much I like about it that I can’t bear to part with.”
Social media was awash Thursday with memories of Jasper proposals, weddings and honeymoons. But the town is steeped in memory of all kinds.
There’s the generations of skiiers who have partied in the Whistle Stop pub or Athabasca Hotel, known locally as the Atha-B and a fixture since 1929.
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The families who carbed up for the day’s adventures at Smitty’s. The holidayers from around the world who met and gabbed in hotel hot tubs.
The worshippers at the gracious Anglican church of St. Mary and St. George, who have gathered since 1928 to praise God in the midst of some of His finest handiwork.

The classic fieldstone headquarters of Parks Canada, across the street from where travellers on Via Rail’s Rocky Mountaineer disembarked to gape at the vista.
The cheeky Fiberglass statue of Jasper the Friendly Bear, rubbed shiny since the ’60s by the hands of children.
The roadside greeter elk casually grazing, charming visitors turning off Hwy 16 into town.
The great and famous, too, are part of Jasper’s memory.
Film star Marilyn Monroe, in town with co-star Robert Mitchum to film the 1954 western River of No Return, was famously escorted from the dining room of the Jasper Park Lodge for inappropriate dress.
That same year saw the release of The Far Country, for which the Lodge hosted Jimmy Stewart.
Bing Crosby was by in 1946 to film The Emperor Waltz and returned regularly to golf on the Lodge’s renowned course.
Anthony Hopkins and John Travolta have vacationed there.
Royalty first came to visit in 1939 when King George VI and Queen Elizabeth, the Queen Mother, stayed at the Jasper Park Lodge’s Outlook Cabin.
Their daughter, Queen Elizabeth II, stayed there with her husband Prince Phillip in 2005.
But Jasper’s memories are not primarily of glitz and bling. It’s an everyone kind of place.
“Our family had a dock that was always painted yellow,” said Millar.
“All of us remember jumping off that dock and watching people come out from town and using it. That was always really special. It was heartwarming for us to see people enjoying the dock.”
Ware remembers the fellowship.
“Striking up conversations with people and having an hour-long chat. Making friends with the bartenders. And just really feeling like you belonged.”
Thursday morning, Parks Canada reported the fire remained out of control despite a small amount of rain overnight. Firefighting reinforcements had arrived to defend the town.
“While we understand people are desperate to know about the status of our community, homes, workplaces, businesses, and cherished places we will need some time to stabilize this incident as we access and assess structures,” the agency said in a statement.
“We appreciate your patience and the community of people who have come together to support the people of Jasper and Parks Canada family.”
© 2024 The Canadian Press
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If you’re a PlayStation 5 owner who participates in the console’s beta program for testing new features before the rest of the public gets them, you’ll receive access to an update on Thursday that includes some new features for PS5 Remote Play and 3D audio. Both features seem designed for households where multiple people are sharing just one PS5.
I’m a big fan of the Remote Play feature on the PS5, and this specific update is addressing a hyper-specific need for Remote Play users — but if it’s a need you happen to have, it’ll be great news. Basically, this feature lets PS5 owners “adjust Remote Play settings per user and choose who is allowed to connect to [their] PS5 console using Remote Play.” The PlayStation blog includes this handy picture of what it would look like in action, depicting multiple user profiles with a toggle switch that would presumably allow you to shut off each person’s access to Remote Play.
Image: PlayStation
My wife and I both use the PS5 in our house, but I’m the only person who uses PS5 Remote Play; I use it all the time on my Steam Deck. It’s actually even possible to get PS5 Remote Play to work on a Steam Deck if you’re away from your PS5 and not connected to your home internet; it’s difficult to set this up, but it’s feasible. That’s part of why I think this feature could end up being weirdly useful in very specific circumstances, such as households where a lot of people are using Remote Play, including people who are away from home.
It’s kind of passive-aggressive to just turn off somebody’s access to Remote Play when they’re no longer in the PS5’s vicinity, but sometimes, you gotta do what you gotta do. I can’t help but think of those times in my life when I’ve had a breakup and had to change my Netflix password. Obviously that’s a worst-case scenario. More likely, you’d just want to turn off this option if somebody isn’t living with you anymore, but they might still visit you and want to use Remote Play in the future. Again, pretty specific need, but nice to have.
There are also some beta updates coming to 3D audio profiles on the PS5. This is another update that benefits households where lots of different people use just one console; if multiple people each have a set of corresponding PS5 headphones for 3D audio, this update has their names all over it.
According to the PlayStation blog post, this “feature that lets your PS5 console create a personalized 3D audio profile just for you […] You can run through a set of sound quality tests to analyze a vast number of factors to create an audio profile that best fits your hearing characteristics.”
Here’s a video depicting what those sound tests are like and the options that are available. You’d go to go to [Settings] > [Sound] > [3D Audio (Headphones)] in order to make these selections.
Last but not least, the update includes adaptive charging options for PS5 controllers, but only for people who own the new slimmer PS5 model. If that’s you and you’re a beta features participant, you’ll be able to select adaptive charging as an option, which “helps save power by adjusting the length of time that power is supplied to your controller based on its battery level.”
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Maddy Myers
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In the new anthology film Kinds of Kindness, surrealist Greek director Yorgos Lanthimos tells three stories with the same group of actors — Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, and more. He recasts each of them in every segment: Plemons is a put-upon office worker, a paranoid cop, and a cultist investigator; Stone is a glamorous optometrist, a marine biologist who vanished, and a cultist having a crisis of faith (or some kind of crisis, anyway), and so on. Lanthimos moves these famous actors around roles that contrast with or complement each other, exploring different facets of their personalities.
It’s an extension of the way Lanthimos likes to work. Much of the cast, apart from Plemons, have been in his films before. It’s Stone’s third film in a row with him; the previous one, Poor Things, won her a Best Actress Oscar. And they’re about to make it four in a row. Lanthimos’ next film, Bugonia, set for release in 2025 and based on the Korean sci-fi comedy Save the Green Planet!, will star Stone again. Plemons is set to appear in that one, too.
Actors clearly like working for Lanthimos. So says English actor Joe Alwyn (Conversations with Friends), who appeared with Stone in Lanthimos’ The Favourite and has funny bit parts in the first two Kinds of Kindness stories before taking a larger role in the third as the estranged husband of Stone’s character.
“It’s like a theater troupe, and it felt very playful,” Alwyn told Polygon in an interview alongside Lanthimos. “Being on the set for The Favourite and Kinds of Kindness didn’t feel like going to work in the way that it sometimes does, or can sometimes slip into. It felt like you were gonna go and play. And that’s such a nice feeling, as an actor, to hold on to as much as you can. That comes from the material, of course, and also the way that Yorgos is on set, and his rehearsal, and every component, and every department. It’s rare to feel that as much as I have with those two films. It’s really just a joy.”
That sounds like fun, but there’s some bravery involved in being in a Lanthimos movie, too. He likes to film his characters doing bizarre, humiliating, intimate, or disturbing things in frank, unblinking ways. In Kinds of Kindness, Dafoe cries into a pool while wearing a Speedo, Stone gives a long speech about a society of sentient dogs, and Qualley sings a Bee Gees song while accompanying herself on a toy piano — all completely straight-faced.
What marks an actor who’ll fit into Lanthimos’ peculiar world? “I think just having an open mind,” the director said. “And being generous with the other actors, and be trusting when they see that trust is due. Being up for, you know, not taking things too seriously. And trying things that might make you uncomfortable, and you might feel ridiculous in front of the others!”
Watching Kinds of Kindness is kind of like speeding through a decade of a director’s work in one sitting: You notice the same themes being considered from different angles, and watch the familiar, starry cast inhabit characters who contrast with each other, or echo each other in poignant ways. Beyond that, there’s nothing tying the stories together other than their alienated, doomy, blackly comic mood — and the figure of R.M.F., a bearded man (played by Lanthimos’ friend Yorgos Stefanakos) who pops up in each story. “We just decided that it would be more interesting if it wasn’t major characters that reappeared in the three stories, but someone who appears only for a brief moment, but his presence is kind of pivotal to the stories,” Lanthimos said about the character.
Photo: Yorgos Lanthimos/Searchlight Pictures
Photo: Yorgos Lanthimos/Searchlight Pictures
Photo: Yorgos Lanthimos/Searchlight Pictures
Photo: Yorgos Lanthimos/Searchlight Pictures
Lanthimos took these portrait photos of Stone, Alwyn, Qualley, and Plemons himself on the set of Kinds of Kindness.
Lanthimos is offhand about the way he deployed the cast and selected their roles for each story. “You figure out what makes sense for each one to play — kind of rationally sometimes, sometimes against type, whatever that may be.” But he suggests that it’s the recurring cast that creates an alchemy between the three storylines, and makes Kinds of Kindness more than the sum of its parts.
“You do kind of bring something with you from one story to the next, just because there’s a familiarity from having seen that actor playing a character before — I think you just can’t help but carry over certain things to the next story. Although the characters themselves practically don’t have such a long arc as they would in a full feature, you kind of make up for that, because you’ve seen the actor before, and you kind of bring a sense from that person to the next story and then to the next story,” he said.
“So, somehow, the characters are enriched without it being very literal. But mostly with that sense of familiarity, the sense of acknowledging that this is a film and it’s not real life, you are able to let go and kind of get into the next story in a more open way.”
What does it all mean, though? Lanthimos won’t be drawn on that — but Alwyn is extremely clear. Reflecting on his character from the third story, who reaches out tenderly to his ex-wife at first before a shocking twist, Alwyn offers a perceptive summary of the unifying theme of Kinds of Kindness.
“Throughout, you have people reaching out with perceived kindness and benevolence, whether it’s a boss offering structure and reward to an employee looking for purpose, or cult leaders offering a home to a woman whose life has recently changed — offering, you know, what she thinks is love. But actually, whilst that’s kindness on paper, if you write it down, it’s far more about control or coercive control, manipulation, power imbalance.” As gnomic a director as Lanthimos is, his actors clearly know exactly what he’s up to.
Kinds of Kindness is in theaters now.
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Oli Welsh
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Recently, a TikTok went viral questioning whether “every time women get too powerful, the skinny trend re-emerges to keep us all too tired to create and vote”. Users were captivated by this compelling concept and started asking questions; could the Ozempic-fuelled return to 90s so-called “heroin chic” we’re currently witnessing be a political tool employed to stop women voting in the general election? Well, not exactly. The logic itself feels iffy when we notice that almost every woman in power is, in fact, thin and that pretty privilege exists. But let’s look at where the theory came from and what truth there is to it.
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Back in 1990, Naomi Wolf wrote and released The Beauty Myth: How Images of Beauty Are Used Against Women which examined how beauty standards in the west are a mechanism that patriarchy uses to control women. The book explains how in historical moments when other material constraints on women loosen, and they begin to gain some social power, the beauty myth – an obsession with physical perfection that traps the modern woman in an endless spiral of hope, self-consciousness, and self-hatred – tightens to take on the work of social control, exhausting us into apathy and navel gazing. I first read this book in my early twenties and it was definitely an entry-point for feminism at the time. I’ve since re-read it in preparation for this piece, and older me has a broader understanding of intersectional feminism.
It’s clear why The Beauty Myth went on to be wildly successful and inspired Third Wave Feminism; it’s accessibly written and hits as a truth that so many women experience; how expectations of femininity monopolise women’s lives. However, issues were raised with some of Wolf’s claims at the time, which she later went on record to change; in the book she claims eating disorders are an existential threat to women with wildly inflated numbers. She also never mentioned the systemic oppression Black, Indigenous, queer or disabled women are subject to or how restrictive beauty standards specifically impact them. Her call to action is also almost entirely individualistic, and it feels as if the message essentially is: if this wasn’t the case, we would be free. While her theories were a valuable way for women to see how profit and patriarchy conspire to make women feel rubbish about themselves, just like The Feminine Mystique by Betty Freidan and The Female Eunuch by Germaine Greer, it was a distinctly white, heteronormative look at being a woman that was written as if it applied to everyone.
Is it true that beauty standards are deadly; one person dies from an eating disorder every hour in the U.S, and many of these deaths are not from health consequences related to starvation, but from suicide, so the harm that expectations of beauty and thinness cause is real.
If we’re talking specifically about political engagement, though – which this viral meme and Naomi Wolf were – that’s a different question, and while beauty standards may be a contributing factor, it’s not as simple as “thinness makes us too tired to vote”. Expectations of femininity divide us by enforcing standards that we police each other in, but there are many reasons women aren’t as politically engaged as they should be; like literally policy and law that disenfranchises them, gendered violence, poverty and more. When talking about beauty standards, we must also recognise that those who sit outside of white and thin expectations of femininity entirely are experiencing much more effective barriers to political engagement than those who sit relatively close to them. To put it plainly, yes a culture obsessed with appearances monopolises our time and energy, but often we talk about this in the mainstream as if it is the silver bullet to end patriarchy altogether.
I’ll be the first to admit that I notice how much I think about my body and appearance, and wonder what I could do with all that used up time. But I also have to be pretty honest with myself in recognising how close to the beauty standard I actually am and work to shift my focus to broader systemic feminist issues instead of my perceived “failings”: wealth hoarding, lack of affordable housing, climate justice, reproductive rights, misogynoir. Patriarchy convinces thin, white women with pretty privilege that they’re sitting miles away from a standard when they are, in fact, not. And while theories like this have truth to them, white feminisms’ obsession with focusing entirely on beauty standards alone only serves patriarchy; “want them too busy to think about how they look to become political? Sure! And have them too busy talking about beauty standards to learn about racism, transmisogyny and class wealth divides? Great!”. Ironically, sometimes it feels like the more we keep talking in circles about this issue in an individualistic context, the more exhausted we might be, and the less we form alliances on other important issues.
Yes, bullshit beauty standards are monopolising our mind and time, and we must notice this and push against it, because if those of us with power and privilege use the pressures of beauty standards as justification for why we are less politically active then we’ve all lost. But to really disrupt this system we can’t do that at the expense of other issues. We mustn’t focus on how patriarchy convinces us not to eat carbs, but also on how it convinces us not to eat the rich, too.
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Gina Martin
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Managing cash flow, tapping into data-driven insights and accessing capital: Small businesses are looking to their bank partners to provide digital solutions to streamline access to data, insights and cash. This has been “the No. 1 issue that small businesses have faced,” Matt Baker, board adviser at Uplinq, told Bank Automation News. Uplinq is a […]
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Whitney McDonald
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I’ve never really fancied the idea of marriage or being someone’s wife. But I am very much in love with my partner of 13 years. So, to celebrate, we decided to throw a ‘non-wedding’, instead. We’d always loved going to weddings together but always felt it wasn’t really ‘us’. But one thing we knew we wanted was a party. Yes, I wore a white dress, there were speeches, there were even tears… but no vows were exchanged, and no legal contracts were made. We chose a bar that was strenuously quirky, shamelessly kitsch and served the strongest cocktails in South East London – which suited our non-traditional event perfectly.
Some called it a commitment ceremony.
Some insisted on still calling it a wedding.
Some said we were “having our wedding cake and eating it”.
But on the invitation, we called it a ‘Til Death do us Part-y’.
We’re a 30-something heterosexual couple – we call each other ‘partner’ and we live together in a traditional way. So, what prompted the decision to not tie the knot?
Well, both sets of our parents are divorced, so it’s fair to say that we’ve not seen marriages lasting until the “death do us part” bit. Although our parents are all happy now, either in new relationships, married again or happily dating, statistics showing that nearly half of marriages end in divorce didn’t exactly make us want to rush out and book the registry office.
It’s actually our friends who have shown us that there are lots of ways to be in relationships, whether they are straight, gay, lesbian, bisexual, non-monogamous or asexual. Don’t get me wrong, most of our friends are married or want to be married, but seeing other partnership styles has changed our perspective.
Karen Hatch Photography
Karen Hatch Photography
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Charlotte Grant-West
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Dallas Mayor Eric Johnson is delivering on his Oilers playoff bet with the mayor of Edmonton.
Johnson took to social media Friday in a video wishing the Edmonton Oilers lots of luck in the Stanley Cup Finals against the Florida Panthers — all while wearing an Oilers jersey.
“To be honest, I’d prefer not to be wearing this, but a bet’s a bet,” he said in the video.
“I promised the mayor of Edmonton, Amarjeet Sohi, that if the Edmonton Oilers beat the Dallas Stars in the NHL Western Conference Final, I would wear an Oilers jersey and record a good luck video.”
After the video was posted, Sohi thanked Johnson for being “such a good sport” and asked him if he would be cheering for the Oilers during the Stanley Cup Finals.
He also gave a shout out to Stars fans for making the Western Conference final memorable.
“Edmonton will always remember your generosity and kindness towards the Ben Stelter Foundation,” Sohi said.
Johnson is one of many prominent figures who are making good on their playoff bets.
Last month, Alberta Premier Danielle Smith challenged Texas Gov. Greg Abbott to a quintessential battle of the beef. In her wager, Smith said Abbott would have to eat an Alberta rib steak on camera if the Oilers beat the Stars.
The Oilers took home the Campbell Bowl last week after defeating the Stars 2-1 in Game 6 of the best-of-seven series.
In a video posted on social media platform X on Friday, Abbott conceded to Smith.
A half-eaten steak, purchased from Burgardt’s Butcher Shop in High River, Alta., can be seen on a table in front of him.
“I gotta tell you, I’ve already had some and it is definitely the best steak I’ve ever had from Canada,” Abbott said.
“(It) must be from a cow raised in Texas.”
Smith also poked fun at Abbott in her response.
“I hope you enjoyed that delicious Alberta beef,” she said.
“Thanks for being a great sport with our bet too!”
New bets have already been placed for the Stanley Cup Finals, where the Oilers will face off against the Panthers.
Sunrise, Fla., Mayor Mike Ryan reached out to Sohi through social media to offer yet another “friendly wager.”
“When the Florida Panthers win the Stanley Cup, I’ll send you a cats jersey for you to wear at your next big public event,” he said.
“What do you say, Mayor Sohi? Let’s go, cats!”
A few short hours later, Sohi answered the call.
“A lot of mayors are wearing Oilers jerseys today, and you are next,” he said.
Smith also forged a wager with Florida Gov. Ron DeSantis on Saturday afternoon.
“Our Edmonton Oilers are going to beat the Florida Panthers and when we do, would you send some of your finest Florida rum to Alberta for us to celebrate with?” she asked.
“If by some miracle the Panthers win the series, then I will send some fine Alberta-made whiskey down to Florida.”
DeSantis had not responded to Smith’s bet prior to publication.
© 2024 Global News, a division of Corus Entertainment Inc.
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Aaron Sousa
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Harare, Zimbabwe – Dzivarasekwa, a nondescript township on the southwestern rims of Zimbabwe’s capital, copies the 1907 template of the first ghetto, Harari (now Mbare): grim, monotonous, matchbox houses laid out on grids.
Driving on its streets, one often sees skeletal silhouettes of young men – sometimes women – in a drug-induced haze who look at you with a tortured grin as they trudge along in a slow, vaguely meditative gait as if their next step is the last. Sometimes it is.
Their circumstances are the result of the drug plague that has haunted Harare for more than a decade.
Easily available on the township’s streets are cheap moonshine and the dregs of narcotics that find their way into Zimbabwe. Even diazepam, known in local slang as Blue, a drug prescribed for anxiety and seizures, is consumed.
Yet it is also in Dzivarasekwa where one finds the Tsoro Arts and Social Centre, an initiative run by the Zimbabwean musician Jacob Mafuleni, 46, from the front yard of his house.
Every Saturday afternoon, about two dozen young people from the ages of 6 to 23 – including Mafuleni’s son Abel, 23, who is following in his musician father’s footsteps – gather around half a dozen marimbas.
The marimba is a percussive instrument whose origin is sometimes traced to present-day Mozambique, where it was a court instrument before the arrival of the Portuguese, the country’s former colonial ruler.
The traditional marimba is made of wooden slats placed over resonant calabash gourds that produce a buzzing, polyrhythmic sound when hit with a mallet. Today, resonator pipes of different lengths are a substitute for the gourds.
In Mozambique, the instrument is known as the timbila and is closely associated with the master musician Venancio Mbande, who died in 2015. Iterations of the original instrument can be found all over the Americas, where it was brought by enslaved Africans.
The Tsoro Arts and Social Centre is not only about the marimba but also the mbira.
The mbira is an instrument in the lamellophone family in which long and narrow metal keys are attached to a wooden sound board and played in a calabash gourd. The instrument comes in a variety of forms, sizes and number of keys, including the nyunga nyunga, njari, mbira dzevadzimu and matepe.
Although the terms “marimba” and “mbira” may, to ears not used to Southern African languages, sound similar, the two instruments are very different.
Mafuleni is skilled at both – with expertise in playing and making the two instruments. He also plays the African drum.
Until September, Mafuleni’s front yard was also a workshop for both the marimba and the mbira, where he worked with a team of assistants into the night. Now, due to the demands of an expanding operation, he has moved his workshop to the Tynwald Industrial area, less than 15 minutes away.
Although Mafuleni is as likely to get a commission to make a marimba as a mbira, he told Al Jazeera about his longer history with the former.

Mafuleni was first exposed to the marimba in 1990 when he joined the Boterekwa Dance Troupe, a group founded and led by the late bandleader and musician David Tafaneyi Gweshe. In the dance troupe, he initially became acquainted with Zimbabwe’s various dance styles before he mastered the marimba.
When he joined Boterekwa, the band was already a fixture on the world music festival circuit, so he had to be content to be in group C, the third tier of the band. Being in group C meant you were an afterthought, a hapless extra caught up in the matrix of ambitions of senior protagonists in the ensemble.
“If you were in C and you handled the marimba, you could even be barred from attending sessions for two weeks,” he recalled. Then one day he found himself moved from the back of the class right to the front row – the holy of holies. The promotion happened by a confluence of luck and his keen ears – and hands – for music.
Gweshe had been trying to teach a melody on the marimba, but no one quite knew how to do it. Because the marimba was off limits for people in group C, Mafuleni could only watch Gweshe’s tirade, his heart throbbing, thinking, “But I know how to play that tune.” Eventually, he summoned his courage and stepped up: “And then I took the sticks and then went and played what he was telling us to play.
“Riidza tinzwe, Jacob,” Gweshe said in Shona, the majority language in Zimbabwe. “Play, Jacob, so that we can hear you.”
“He was ecstatic at my playing and started to play together with me,” Mafuleni recalled.

This moment is what democratised the instrument for the rest of the band, the reasoning being, “all this while we didn’t know we had this genius”.
Sometimes when the instrument didn’t sound the way he wanted, the temperamental Gweshe would demolish it in a huff and then make a brand new one. When the new instrument was being made, Mafuleni would help out. “I wanted to learn and was watching all that was going on.”
He wanted to know the measurements of the slats, how to make the grooves, how to place the resonators. Once, while Gweshe was away on tour, one slat broke and he managed to repair it. On his return, Gweshe was none the wiser that the marimba had been repaired. “This means I had done it well,” Mafuleni deduced.
But Mafuleni’s real break with the marimba came much later in the United States, where Southern African instruments have been studied with religious devotion for more than half a century. He was visiting the US on tour as part of Mawungira eNharira, a Zimbabwean drum and mbira group.
At some of these festivals, they shared stages with bands with Shona names but whose members were all white Americans who knew how to play all the marimba standards. “I was happy about this, but what came to my mind was, ‘Do the people at home know that marimba is being played like this?’”

He then told himself that when he got back home, he wanted to assemble a marimba band.
During a break in the tour, he hooked up with an American master marimba maker, Rob Moeller, who for a token fee (only $300) gave him an expedited curriculum on the intricacies of the craft: selecting the timber, measuring and cutting up the slats, how to affix them to the stand and how to tune the instrument. On the last day of the course, the teacher not only gave him the marimba he had made but also a Seiko tuner. And so his journey as a marimba maker had begun.
Similarly, his transformation from being a mbira player to also being its craftsman happened through happenstance, his adventurous spirit and an unhappy encounter with a tardy but expert producer of the instrument.
In 2003, when he was in a band called Sweet Calabash, a drum and mbira ensemble, the group found a promoter who wanted to get them mbira instruments and costumes. Mafuleni placed an order with a well-known mbira maker in Harare, paid the fee but the instruments wouldn’t come.

Every day for two months, he went to sit with the mbira craftspeople. But they kept on coming up with excuses why their instruments were not ready. Yet he was watching what they were doing.
“And then I started asking the makers what to do if I want the instrument to sound in a certain way, and they would tell me. I was always asking them questions.”
And then he took a hiatus from going to pester the mbira smiths.
He got a board, some metallic metal keys and put them together. Just like that – he had made his first mbira.
When he took it back to the master mbira makers to show them and to resume his vigil, they didn’t believe it was him who had put it together. “The way they didn’t believe I had made it was proof that I had done it properly.”
Because of his experience with playing in Western-style band formats, he already knew the language of music: G sharp, octaves, etc. It is this knowledge that he has brought to his practice, giving him a distinct advantage over the traditional mbira maker.
On the Saturday Al Jazeera visited, amid the sound of the marimba and the animated hubbub of the children, Mafuleni expanded on the social role Tsoro plays in the community.
“At the centre, we don’t only teach music but a lot of other life skills. When we were still here after practising, I would urge the boys and girls to come help with the making of instruments. Even where we are now [in Tynwald], some still come to help out and learn.”
During the April school holidays, he took nine children on a day’s retreat to Mukuvisi Woodlands, a lush forest on the eastern outskirts of the city, to teach them marimba, mbira and life lessons.
In Dzivarasekwa, it may be music that will play a key role in breaking the cycle of drugs, teenage pregnancy and associated ills – especially among the township’s youth.
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HE was courted by the doyennes of Germany’s high society but Adolf Hitler’s own dark obsession and warped sexual fantasies revolved around much younger women.
The Fuhrer, hailed as a rockstar politician by wealthy women who sought to refine him, bedded a series of teens including his own 16-year-old niece – who met a tragic death as consequence.
Behind closed doors, he also indulged extreme sexual fantasies – getting one naked lover to put on his own boots and savagely kick him.
His deadly affairs also led to at least one other mysterious death and the attempted suicide of a 17-year-old, who was 20 years his junior.
Now, a new Sky History documentary, Hitler’s Handmaidens, details the Fuhrer’s secret sex life and relationships with the women he wanted to keep hidden.
Author and historian Jane Thynne says: “What is interesting about many of the women that had relationships with Hitler is that they either attempted or, or committed suicide, and he patently had a very, very potent traumatising and almost desolating effect on women to cause them to try and kill themselves.”
Experts believe that Hitler’s bizarre relationships with women began with the very first one in his life – his mother.
When Hitler was born in Austria in April 1889, he was his mother Klara’s fourth child – but the only one to live – and she was determined that little Adolf would not only survive but thrive.
While he was doted on and spoiled by his devoted mother, he was brutalised by his alcoholic father. Historians have been left wondering if Klara loved her son too much, and this is what warped his future relationships with women.
Psychologist Anna Motz says: “Hitler’s relationship with women appears to have been extremely complicated. So we know from the records that he had this enmeshed, over-involved relationship with a loving, protective mother.
“And he was brutalised by a man who appears to have been sadistic and violent. So, on the one hand, he’s seeking this maternal comfort. On the other hand, he doesn’t seem able to relate to women who are his equals.”
But Klara’s never-questioning love for her son gave him one thing – huge self-belief. He had an unswerving faith in his opinions and thought of himself as devastatingly handsome and intelligent.
Hitler was convinced he was meant for greater things, and his steadfast ambition would eventually cast a shadow over Europe.
But his first teenage crush didn’t go how he planned. An awkward Hitler became enthralled with 19-year-old Stefanie Isak, a tall, blonde and wealthy music student a couple of years older than him.
Historian Phil Carradice explains: “He worshipped her. She was the ideal Germanic woman, the Aryan woman. And for two years, two years, Adolf Hitler followed her, stalked her, for want of a better word, but never spoke to her.”
Disturbingly, he told his friend he wanted to kidnap her and marry her, followed by fantasies that they would kill themselves by jumping off a bridge together.
Thankfully, he never carried out his twisted plan, and shortly afterwards, his mother died, leaving him devastated.
Every day for the rest of his life, he carried a picture of her in his pocket. But the young Adolf was rejected by the Austrian army and found himself homeless and destitute.
So, he joined the Germans fighting against the Western allies.
One story claims that in the summer of 1917, Hitler was on leave from the war and met a 16-year-old French girl in the countryside. They had a brief sexual encounter, which resulted in the birth of his illegitimate child.
Later analysis showed that the men who could be father and son shared the same unusual handwriting, but experts say the patronage is impossible to prove.
Herta Oberheuser
When American soldiers liberated the Ravensbruck concentration camp for women, they saw evidence of unimaginable atrocities.
But one person in particular haunted the survivors. They told of a “beast masquerading as a human”— female doctor Herta Oberheuser.
Historian Wendy Lower explains: “She’s been assigned to experiments to test the effects of wounds on the human body. If they can see how a wound that’s inflicted by shrapnel is going to affect an ordinary German soldier and all the ways that could be treated.
“She’s putting sawdust in there, putting glass shards, putting various chemicals and rubbing that in.
Pauline Kneissler
In late 1939 Hitler turned his attention to euthanasia in the pursuit of racial purity. His sinister secret T4 programme was an opportunity for him to murder anybody who they thought of as disabled.
Pauline Kneissler was one of the nurses hand-picked to make Grafeneck Castle, near Stuttgart, an efficient killing site.
She would travel to different institutions with a list of names and then bus them back to the castle and murder them – with Lower estimating she killed as many as 70 a day.
Irma Grese
There was one woman whose crimes were so brutal and sadistic that the Nuremberg judges had no choice but to order her execution – Irma Grese.
Known as the Hyena of Auschwitz, she had a reputation for stomping on prisoners or setting her attack dogs on them.
She was the lover and accomplice of the camp’s ‘Angel of Death’ Josef Mengele, helping him with the selections where prisoners were chosen for monstrous medical experiments or sent to the gas chambers.
As well as her affair with Mengele, Grese was also believed to have had flings with male guards, and it was alleged she even raped female prisoners.
Hermine Braunsteiner
Despite Irma Grese’s death penalty, most of the female concentration camp guards escaped justice, and many went on to live long and happy lives.
One of these was Hermine Braunsteiner, the woman known as the “Stomping Mare” – a camp guard at Majdanek who liked to stomp on prisoners and was known for her particular sadistic tendencies.
She married an American in her native Austria after the war and moved to the US. However, she was later discovered living in New York and was extradited.
Whether or not he did father that child, it is a fact that throughout his adult life, Hitler sought out maternal figures, perhaps to replace his own mother.
To these older, rich women – many of whom shared his extremist political and anti-Semitic views – Hitler appeared charming and destined for greater things despite being rough around the edges.
Most of these women were married, which also suited Hitler because his vow to be only married to Germany gained him adoration from the millions of young German women who were sending their sons off to war.
To them, he was the rockstar politician who expects have likened to the Elvis figure of his day.
Women like socialites Helene Bechstein from the piano-making dynasty, real-life princess Elsa Bruckmann, and Winifred Wagner, daughter of composer Richard, took Hitler under their wing and taught him how to kiss a lady’s hand and eat lobster in public.
Historian Phil Carradice explains: “Hitler was a rough and tumble country boy. But suddenly, these women took him over and said, we will show you how to carry on, how to live, how to be successful in society.
“Because if you want to make it big, that’s where you need to put your effort. That’s where the money lies. And you need to, uh, to get people on your side. We will teach you how to eat and drink in public.”
Hitler knew he needed these aristocratic families on his side to be taken seriously politically.
And while he would lay his head on these ladies’ bosoms and let them stroke him, their relationships remained purely platonic. His sexual tastes lay with women much younger.
In 1926, Hitler gave a speech in Bavaria, where he met a 16-year-old blonde girl called Mitzi. He was 37. This age gap would become a theme for his future lovers.
Mitzi was just 17 years old when she began a sexual relationship with Hitler, which he abruptly called off to devote his life to his politics. A distraught Mitzi tried to kill herself.
Author and historian Jane Thynne says: “What is interesting about many of the women that had relationships with Hitler is that they either attempted or, or committed suicide, and he patently had a very, very potent traumatising and almost desolating effect on women to cause them to try and kill themselves.”
While Mitzi survived, some of Hitler’s other young secret lovers would not.
Hitler became infatuated with his 16-year-old niece, Geli Raubal. She wanted the bright lights of Munich, so when it was suggested she could live with him in the city, she quickly agreed.
But her move provided the perfect cover for Hitler’s sinister intentions.
Their relationship became intimate, and Hitler became more controlling, jealous of the attention the teenager got from other men. It got to the point where she could barely do anything without his say-so.
But in September 1931 Geli was found dead in Hitler’s apartment – with a bullet in her chest and his gun by her side.
Phil Carradice says: “During the nights, Geli locked herself into her room. She took Hitler’s Mauser pistol with her, and she shot herself and killed herself. Possibly. The body was found the next day by the housekeeper.
“But I have doubts about that one. If you’re going to kill yourself with a gun you normally would aim there, into the, into the head. That’s guaranteed. Geli shot herself in the heart.”
Police quickly ruled her death as suicide, and Geli was quickly buried, while a distraught Hitler considered giving up politics altogether.
But a year later, he met another young lover – 26-year-old movie star Renate Muller.
Again, Hitler’s sexual depravity was to be her downfall. She claimed that one night, when they were both naked, he asked her to put her boots on and kick him, which she did.
But Renate did not keep this salacious information to herself, and that brought her to the attention of the Gestapo.
She was put under surveillance, and when she took a Jewish lover, she was blacklisted, and her career was over.
The young woman developed a morphine addiction and was sent to a sanitorium in Berlin for treatment in late October 1937.
A team of SS officers were seen entering the building, and a few minutes later, she was dead. The cause of death was ruled as suicide, but rumours of foul play persisted.
“Ultimately Renate had a terrible end in that she was being treated as, in a clinic for quotes depression and fell out of a window,” says Jane Thynne.
“But falling out of a window was a way that very many enemies of the regime met their end. It wasn’t an unusual way actually to be murdered in the Third Reich.”
Despite these suspicious deaths, women still idolised Hitler. At his rallies, women would be seen in tears, idolising him and wanting to get near him.
But there was one woman who fell so completely under his spell that, in the end, she gave her life to join him in death – Eva Braun.
Hitler was entranced by the young photography studio assistant, but at first, she spurned his advances, which only spurned him.
But she soon fell for him – despite him being more than two decades older – and longed for their affair to be made public.
When Hitler ignored her or didn’t call, she fell into depression and even tried to take her own life on two occasions.
But this forced Hitler’s hand. Robert Kaplan explains: “Hitler’s relationship with Eva has been much speculated on.
“But there were two suicide attempts, and in a sense, he was then trapped because after Geli, if he had a partner who killed themselves again, his public image would be shot.”
Eva had always wanted to be the wife of the Fuhrer. And as the war in Europe is in its last throes, they marry in his bunker – just 36 hours before they took their own lives.
Jane Thynne says: “They got married on the last day. So it was a kind of death wish, but in a way, her entire relationship with Hitler had been a death wish, but it was the culmination of that.
“I think what Hitler did in marrying Eva, right at the end, is a way of not seeing her as a person yet again. It’s not a way of saying how can I answer your needs, her needs really would be to get in, to escape by any means possible. It’s a way of saying, ‘You have served me loyally and here is your reward.’
Hitler’s Handmaidens is on Sky HISTORY every Tuesday at 9pm
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Kevin Adjei-Darko
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