Though the current project started as a series of posts charting my grief journey after the death of my mother, I am no longer actively grieving. Now, the blog charts a conversation in living, mainly whatever I want it to be. This is an activity that goes well with the theme of this blog (updated 2018). The Sense of Doubt blog is dedicated to my motto: EMBRACE UNCERTAINTY. I promote questioning everything because just when I think I know something is concrete, I find out that it’s not.
Hey, Mom! The Explanation.
Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.
This is one of my very favorite songs. The shorter version came up in my Halloween mix -- which I have reprinted several times -- that I was listening to yesterday:
I find you in the morning After dreams of distant signs You pour yourself over me Like the sun through the blinds
You lift me up And get me out Keep me walking But never shout
Hold the secret close I hear you say
You know the way It throws about It takes you in And spits you out
It spits you out When you desire To conquer it To feel you're higher
To follow it You must be clean With mistakes That you do mean
Move the heart Switch the pace Look for what seems out of place
On and on it goes Calling like a distant wind Through the zero hour we'll walk We'll cut the thick and break the thin No sound to break no moment clear When all the doubts are crystal clear Crashing hard into the secret wind
You know the way It twists and turns Changing color Spinning yarns
You know the way It leaves you dry It cuts you up And takes you high
You know the way It's painted gold Is it honey Is it gold
You know the way It throws about It takes you in And spits you out
Oh, cuts you up Oh, cuts you up Oh, cuts you up Oh, la la la la la la la la
You know the way It throws about It takes you in And spits you out
It spits you out When you desire To conquer it To feel you're higher
To follow it You must be clean With mistakes That you do mean
Move the heart Switch the pace Look for what Seems out of place
Oh, cuts you up Oh, cuts you up
It's o.k. It goes this way The line is thin It twists away
Cuts you up And spits you out Keeps you walking But never shout
- Bloggery committed by chris tower - 2610.13 - 10:10
- Days ago: MOM = 4120 days ago & DAD = 774 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
For more than a decade, an Ibeyi song meant two things you could count on: Naomi Diaz behind a cajón or a set of Batá drums, and her twin sister Lisa-Kaindé at the piano. Offering, the duo’s fourth album, has neither. The sisters spent this record handing both instruments to a rotating cast of producers they had never worked with before, leaving only the one thing that was never up for negotiation: their voices, sung together so closely that on several tracks it’s genuinely hard to tell where one stops and the other starts.
Lisa-Kaindé and Naomi Diaz were born in Paris in December 1994, to a Cuban father and a French-Venezuelan mother, and spent their first two years in Havana before the family settled back in France. Their father, Miguel “Anga” Díaz, was a Grammy-winning percussionist who played with the Latin jazz group Irakere and later joined the Buena Vista Social Club, performing alongside Ibrahim Ferrer and Compay Segundo. He died in 2006, when the twins were 11. Naomi picked up his cajón soon after, and the sisters began studying the Yoruba songs and Santería traditions that ran through their father’s side of the family, the same traditions that gave the duo its name. Ibeyi means twins in Yoruba.
Their mother, Maya Dagnino, pushed Lisa-Kaindé toward songwriting, and by their late teens the sisters were performing around Paris. In 2013, XL Recordings founder Richard Russell found a video of them singing “Mama Says” online and brought them to London to record. He produced their self-titled debut himself. Released in 2015, it’s an album built around their father’s death and dedicated in part to an older sister, Yanira, who had died two years earlier. A second album, Ash, followed in 2017 with guest spots from Kamasi Washington and Meshell Ndegeocello, and a third, Spell 31, arrived in 2022, its title and several of its songs drawn from passages in the Egyptian Book of the Dead. Along the way the sisters appeared in the visual album for Beyoncé’s Lemonade and built a reputation, especially in Britain, as one of the more serious acts of the decade, heavy on harmony and heavier on ancestry.
Offering is their first album away from XL. They haven’t said publicly why they left after three records and more than 10 years with Russell, who produced or co-produced all of it; the new album comes out instead on their own label, IBEYI Records, distributed through AWAL. It also arrives after a stretch of years in which the sisters were largely based in different countries, a separation that goes back to the making of Spell 31. Part of the new record was written and filmed in Havana, in the city where their father once worked, a return both sisters have described as necessary before they could move forward with anything new. Naomi has talked about the album as a step into adulthood and self-assurance; Lisa-Kaindé has called it more of an exercise in trusting what comes next without knowing the shape of it yet.
The title marks the turn directly. Where Spell 31 was about invocation, calling on ancestral protection through magic words borrowed from an old text, Offering is built around the opposite idea: giving something up instead of asking for something back. Lisa-Kaindé has said the shift arrived almost literally, in a vision of Yemayá, the orisha of the sea, who told her she was done with spells and should make offerings from here on. The phrase became the album’s name and, more or less, its method.
That method plays out across 12 songs in under half an hour, almost none of them past three minutes. “Olokun” opens the record as little more than a short chant for two intertwined voices, named for the orisha who rules the ocean depths. “Aset” follows, and despite being framed as the album’s reach toward Egypt, it’s really an extension of ground the sisters had already opened on Spell 31: the song retells the story of the goddess Isis gathering forbidden knowledge to bring her dead lover back, here turned into a question about whether devotion that large ever gets repaid in kind. It was co-produced with the Haitian artist Michaël Brun. “Baba” addresses Elegguá, the orisha who opens roads, and moves by its end into something closer to a statement of independence than a request for one.
Elsewhere the sisters push further than they have before. “Moshpit” is the clearest case, a harder, more electronic track that would have sounded out of place on any earlier Ibeyi album and mostly works because the voices hold steady inside it rather than trying to match its aggression. “La tendresse d’un mot,” sung largely in French alongside the pianist Sofiane Pamart, slows things down into a quieter promise to stay the same while someone else changes, with a glancing line about how a public career complicates a private one. “I Know You Loved Me” works through a breakup in plainer terms, trust wearing down across the verses, while “Hurry Hurry” drops the mythology almost entirely for what amounts to a direct marriage proposal — the most unguarded thing on the record.
The shorter pieces, “Focus” and “The Process,” function more as connective tissue between the longer songs than statements in their own right, and “Lucky” closes the album quietly, bringing it back down to just the two of them, the way it began.
What holds the record together, more than any single producer or instrument, is that the voices never stop sounding like Ibeyi. They have reasserted themselves by writing most of this one as a duo, even while handing the instruments to other hands. The album is short enough that a couple of its quieter pieces pass before they fully land, and longtime listeners may miss hearing Naomi actually behind the drums rather than directing someone else toward them. But the record does what it sets out to do. It sounds like two people choosing, on purpose, to let go of something they had held onto for a decade, and discovering the sound holds up without it.
Album Review: Offering by Ibeyi
By handing it to a crew of producers with songs of Yoruba invocation and heartbreak, the sisters’ blended voices are the through-line that survives the new electronics.
Four years came and went between Spell 31 and this release, and most of that time was spent jettisoning themselves from a major label and aiming their sights back at Cuba. It’s where the twin sisters, Naomi Díaz and Lisa-Kaindé Díaz—collectively Ibeyi—shot the album’s new material, in the city where their father found employment as a percussionist. It was reframed as a homecoming of sorts, a trip to find themselves again, but perhaps the most striking departure is the one you’ll encounter long before the opening vocals. On the new project, Ibeyi handed the control of the narrative and the beats to a team of producers they’ve never worked with. The two instrumental focal points that anchored everything they had ever created prior—Díaz’s drum kit and her sister’s piano—are gone. Their absence removes the last thing standing between the listener and two perfectly blended voices.
The project opens with “Olokun,” a stark, devotional plea set at the base of an oceanic abyss, in which a group of voices chants the refrain, “Sawa te late o lokú,” calling out to the water’s iricha; an all-consuming bottom that’s felt somewhere beneath the chest, the middle section dense, the escape into nothing left abruptly bare. As the tempo rises, on “Moshpit,” the electronics are gnashing: heavy distortion drags on either sister’s layered harmonies as they assert, “I’m a god, then I’m nothing/I’m a void, incompleted,” atop a thick rhythm that stutters rather than bobs. Haitian producer Michaël Brun’s expertise on “Aset” anchors down the heavy rhythm and steady bodies within the mix when things get especially synth-driven, while many of their collaborators streamline each song toward a sound familiar from many modern pop and electronic R&B artists, only the sisters’ voices pulling it back.
Two cosmologies coexist across these invocations, distinct lines drawn by how the lyrics position them; the Lucumí energy, “Olokun,” is honored as “the spirit of the ocean” on the title track, whilst Elegguá, the road opener, is addressed in lament on “Baba” with a chorus of “AH Elegguá Baba Elegguá.” As “Baba”’s refrain repeats and morphs into the declaration of “I won’t listen anymore/Trust them anymore,” the music finds clarity of voice with “I’m who I was looking for,” a kind of answered prayer. On “Aset,” Ibeyi look to Egypt, and the sisters narrate an Egyptian myth that begins with “I am Osiris Rising/I kept stealing their knowledge/Now I know divination/As I throw all the shells in,” weaving a tale of rebirth and resurrection by means of shell divination, leading to a powerful resolution in Spanish: “Esto es amor eterno.” Here, the devotion to a deity and a lover converge—the rite allows for more tenderness between breakup narratives than either is accustomed to delivering.
The lyrics spill out line by line on “Offerings.” Where their early works built intricate sonic narratives within coded language, here they “don’t make spells anymore/Now I make offerings,” giving away every piece of themselves, “I guess my heart is an offering,” the gift presented to the same person that fractured it. The terror of the unknown is spoken with bracing honesty on “Fear of change/I’m scared of living, Can you replace this heartbeat that no longer beats?” The wound is ultimately reconciled to one expressed plainly in the album’s final line: “I lived, I broke my heart/I gave it to the gods, baby.”
The collection’s two love songs, sung alternately in French, English, and Spanish, arrive with disparate emotional tonalities. The French and Frenchie of “La tendresse d’un mot,” featuring Sofiane Pamart on piano, express a quiet commitment to being “Si tu changes, je resterai la même,” remaining unchanged while a partner does, the refrain returning to “N’oublie jamais que je reste.” Fame strains this resolve, addressed as “Loin des lights du star système” (“far from the star system’s lights”) as the partners share their struggles.
“Good Life” shifts into Spanish and turns to thanks and gratitude; its bass pulls away so that the sisters’ voices are almost the only thing you can hear as they reflect in Spanish, “Cuando una lagrima me sube/Agradesco todo lo que tuve,” meaning “When a tear rises/I am grateful for all I had,” finding beauty in what was given as, “Encontrar en lo triste algo dulce” (“finding something sweet in what’s sad”).
The moment the refrain’s harmonies build up from line-for-line responses to one another is when it’s at its most crystalline and ethereal. “The Process” delves into the darker aspects of the album’s Spanish-language lyrics, a scene described like the clashing of blades over cut-open hearts: “Corto los corazones/Pico el acero/Machete en el cielo.” The violence resolves into a determined commitment, “I won’t numb the process.”
Trust erodes on “I Know You Loved Me” as “I’m running out of faith trying to hold what fragments my heart” becomes the refrain of faith dissolving, love becoming a reduced “This is just the river, this is not the sea.” The casual dismissal of hurt as just a matter of bad treatment, “You were the first to hurt me bad and call it love,” is stated frankly, and the song remains embedded in low-end hurt, not moving beyond it. “Hurry Hurry,” in contrast, moves to reconcile: They declare, “I’m more in love with you than then,” leading into a bridge alluding to the ultimate aspiration, “Make me your wife/Love in my eyes/I’ll make you smile/Immortalize/So that our love will never die.” Unlike its surrounding pieces, the lyrics on “Hurry HURRY” are plain, a straightforward plea rendered with undeniable intent as it collapses Ibeyi’s multi-lingual, experimental landscape to a solitary, insistent longing.
Underlying these electronic textures is the oldest sound in the record, a sonic touchstone of two sisters speaking into a singular line—as found in the “Olokun” chant, two voices so intertwined they can scarcely be differentiated, from the “Sawa te late o lok” that kickstarts the album to “I was lucky” that brings it to a quiet halt. Producers come and go, but this is the core of Ibeyi’s DNA. As the music locks into an Elegguá call on “Baba,” its bottom is deep and sure, and those two joined voices form the one instrument that they’ve never surrendered.
On their fourth album as Ibeyi, twin sisters Lisa-Kaindé and Naomi Díaz sublimate quite a few times. Depending on the given track, they might be Osiris, king of the Egyptian gods, or a centaur that quickly becomes a dragon, or the living embodiment of a mosh pit. Yet regardless of who or what’s getting channeled, Ibeyi never lose grasp of themselves. Offering embodies its titular practice, taking what has been learned and building something new entirely.
The daughters of acclaimed conguero and former Buena Vista Social Club member Miguel “Angá” Díaz and French-Venezuelan photographer Maya Dagnino, Ibeyi began as a way for the Díaz sisters to explore the musical traditions of their Yoruba and Cuban heritage. Their last full-length offering, 2022’s Spell 31, was a spiritual slice of stripped-back Afro-soul, drawing from the Egyptian Book of the Dead as a means of healing in the wake of COVID-19. Offering is a far denser record by comparison (it also marks Ibeyi’s first independent release since parting ways with XL in 2025), dabbling in distortion and choral-arrangements to create the duo’s vastest and most fully-fleshed work to date.
It’s a change Lisa-Kaindé and Naomi verbalize clearly on the title-track: “I don’t make spells anymore / Now I make offerings.” Said distinction might seem insignificant to the uninitiated, but the spiritual intentionality behind the two practices couldn’t be more different. Spells are appeals to divine powers, asking for change, strength, or whatever else one might require. Offerings, on the other hand, are sacrificial—a return on the spirit-world’s energetic investment.
“Olokun” invokes the name of the Yoruban god of the ocean to pounding drums and increasingly fervent chants. Compare this to Spell 31’s “O Inle,” an acoustic prayer to the god of healing, and the discrepancy is apparent. “Aset” further emphasizes the record’s sonic prowess, creating a haunting atmosphere of incorporeal vocals and minor thirds. While past Ibeyi albums saw the Díaz sisters largely unaccompanied aside from their own instrumentation, Offering brings a coterie of outside producers into the mix (most notably Michaël Brun, known for his work with J Balvin). The resulting music is noticeably bigger, darker, and more focused on the sheer power of the sisters’ voices than ever before.
Exhibit A: the blood-pumping war-cries on “Moshpit.” While pounding 808s definitely add quite a bit of intensity, the track’s true presence comes from its layers of vocal harmonies and choral refrains. Lisa-Kaindé and Naomi’s voices bleed and blend into each other seamlessly, a process as chameleonic as the transformations detailed in the lyrics: “I’m a centaur, I’m a centre / I’m a dragon, you’re on fire.” Their confidence extends past self-assurance, instead stemming from the deepest and most elemental of roots.
This steadfastness wasn’t something Ibeyi found overnight. “Offerings” acknowledges a fear of change, and the unwillingness through which many spiritual discoveries are made: “I guess my heart is an offering… I gave it to the gods, baby.” The sisters’ voices are indistinguishably close-knit, accompanied only by meditative drums and gentle piano chords.
Moments later, they battle self-doubt with far more aggression. “Baba” verbalizes the struggles and second-guessers that continue to threaten their potential (“I won’t listen anymore / Trust them anymore / I was insecure”), before exploding into a Yoruban chant honoring Eleggua, the god of pathways and destiny. The post-chorus renders the powers of said prayer quite clearly: “One thing is for sure / I’m who I was looking for.”
Ultimately, Offering’s greatest drawback is its length. While the brevity of a 30-minute runtime is admirable, the overall potency of the tracklist feels hampered by a lack of development. It’s a great problem for Ibeyi to have—they have enough of a good thing to warrant doing more.
- Bloggery committed by chris tower - 2610.05 - 10:10
- Days ago: MOM = 4113 days ago & DAD = 767 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
Official Video for U2’s brand new single “Silencio” off of their forthcoming 16th studio album “Carnaval De Luz”, out November 13th. Pre-order: https://u2.lnk.to/CarnavalDeLuz U2.com store: https://lnk.to/U2shop
- Bloggery committed by chris tower - 2609.28 - 10:10
- Days ago: MOM = 4106 days ago & DAD = 760 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
Extended play version here today for the next installment in the "music week" that will go for an extended week of 14 days (as I started with post #0 and a Music Monday before that) but the official numbered count will be 12 days.
Kind of crazy text on the You Tube page by the creator of this extended version.
Some bonus articles and a bonus video of the 50th anniversary edition of the song with a video that debuted Dec 3, 2021.
The 50th anniversary video brings the psychedelic vision to life that Jim Morrison would have loved to create in 1971, surely.
The 62nd upload is 'Riders On The Storm' by the Doors. This extended remastered version was taken from the WJGroup Files and combines the original 1971 2-Channel stereo version from their LA Woman album with the 4-channel Discrete version from the old Quadraphonic 8 Track version where there are 4 distinct discrete Channels. Combining the 4 Discrete Channel Version, and the 2- channel Stereo version produced an much enhanced digital version where the backgrounds sounds are much clearly heard, and some have never been heard before. I do not own the song or video. I borrowed the video From The WJGroup. This Video was made by Associate DAVID EDISON. WJGCYBERGUARD 18 / The Walters Judson Group
Final News note: Dan Martin bids farewell
Dear Subcribers and friends of the WJG. This is my final Newsnote Thank you for all the great years you gave me (2013 – 2022). It was a great run. 30,000 subscribers and 16 million views. You Tube has been undermining my channel along with the WJG CyberGuards for about 20 months now, but they have finally put the last nail into the coffin; WJG CyberGuards have found them doing all sorts of acts to bring my channel to a halt. Yesterday, at 11pm (JULY 23 2022) the channel received only 1,200 views in one day – as to compare with 30,000 a day (2019) 20,000 a day (2020), 15,000 a day (2021) and now, 1,200 - they are responsible and WE HAVE PROOF they did it. You see, friends, You Tube hates criticism. After we criticize them for undermining this channel – they immediately took every step to destroy it. Now, as of July, 2022 – we have WJG members writing to us that their “LIKES” are not being registered either. So we did a test.. We “liked” one song with an account from a valid WJG member – it never showed up. Also, our subscribers have written to us they “can’t find” WJG songs on SEO searches – we fixed that for them – but it is proof You Tube is hiding this channel from viewers. How else would views go down 700 percent in just 2 weeks? So I bid you farewell.
Last Videos
I have given Perry Hollingsworth and Peter Worthington permission
to upload the last videos in the next few weeks. Currently both of those
men are in the UK attending the funeral of Peter’s grandmother. They will
return in a few days – but even Perry and Peter were shocked by the
damage done to the Dan Martin / WJG-CyberGuard channel just this past
7 months. We have all the numbers. Any news from this day on won’t be
from me – but from the WJG or WHD because I will giving them my
authorization after the final decision on 30 August.
Channel / Final History
Between July 30 and August 30, final decisions will be made on my
Channel – I say this because Peter Worthington is on the brink of
purchasing the WJG or merging it with their new WHD Institute.
You will notice that between May 2016 and March 2018 there were
NO VIDEOS uploaded. It is because You Tube gave me an illegal
strike, and I suffered a stroke the same day the strike was handed
to my channel. Since then am partially disabled. The CyberGuards
do everything for me. I reopened the channel for the WJG
Assembly – until now, and they did my work for me with
brilliant talent and ideas.
Thank you very much for your time – and it was a great time. OH,
ONE WARNING: Please don’t say anything negative about YOU
TUBE – especially if you have an account with them – they will shut
down your channel like they to my channel. They record everything
you say about them – and if you say anything negative – they will
undermine your channel until it dies. Guaranteed. We have many
people that will tell you the same thing because it happened to them
too. We have hundreds of witnesses. You Tube practices an inside
job to hunt down “anti-youtube” accounts and channels.
God, Love, and Forgiveness to all of you..
Daniel Martin, and The Assembly of WJGCyberGuards
Riders on the Storm
Song by The Doors
Lyrics
Riders on the storm Riders on the storm Into this house, we're born Into this world, we're thrown Like a dog without a bone An actor out on loan Riders on the storm
There's a killer on the road His brain is squirmin' like a toad Take a long holiday Let your children play If you give this man a ride Sweet family will die Killer on the road, yeah
Girl, you gotta love your man Girl, you gotta love your man Take him by the hand Make him understand The world on you depends Our life will never end Gotta love your man, yeah
Riders on the storm Riders on the storm Into this house, we're born Into this world, we're thrown Like a dog without a bone An actor out on loan Riders on the storm
Riders on the storm Riders on the storm Riders on the storm Riders on the storm
LA Woman 50th anniversary deluxe edition is available now.
The Doors’ “Riders on the Storm” was one of the first tracks recorded for the band’s epic final studio album as a foursome, L.A. Woman. 50 years after its original release as a single in 1971, it is The Doors most-streamed song.
Rhino Records is pleased to present the first ever official music video for “Riders on the Storm” as part of the ongoing 50th anniversary celebration of The Doors’ LA Woman.
Lovingly remastered by Bruce Botnick, the deluxe package includes the original album as well as over two hours of studio chatter, outtakes, demos, and alternate versions including the newly discovered original demo for “Riders on the Storm.”
Credits
The Doors
Jim Morrison, Ray Manzarek, Robby Krieger, John Densmore
A Film by Brendo+Gonfiantini
Produced by LANDIA
Product Manager for Warner Music Group Alicia Yaffe
Management Jeff Jampol, Kenny Nemes
Genero Global Head of Production Mark Roemer
EP & Manager Director Sebastian Hall, Carol Dantas
Texturing and Shading Fabrício Rabachin, Rodrigonbraga, Luciano Neves
Animation Fernando Fracaroli
Camera Tracking João Sheeperson
Simulation Luciano Neves, Luiz Adriano
Grading Marla Colour Grading
Colour Grading Artist Fernando Lui
Producer Leandro Basso Neto
Grading Assistant Rodrigo Farias, Natalia Teraoka
Real-time Environment xCAVE
XR Creative Director Rodrigo Hurtado
Executive Producer Camila Santos
Producer Rafaela Aquino
Real-time Visual Effects Lead Paulo Henrique Lima
Real-time Virtual Production Paulo Furtado
Real-time Technical Artist Juan Gonzales
3D Character Artist Rodriga Ávila
Simulation and Visual Effects Artist Robson Sampaio
Real-time Environment Artist Fábio Guedes
3D Animatior Lead Marcos Elias
Virtual Production TD Studio
CEO Tiago Magnus
Director of Virtual Production Brayhan Hawryliszyn
3d Artist/On Set Optimization Teo Tavares
Ncam Camera Tracking João Henrique Borges Ferreira, Renato De Robertis
Virtual Production Assistant João Henrique Borges Ferreira, Renato De Robertis, Miller Ludgerio
Broadcast Technician Mario Soares De Almeida Junior
LED Wall Octa LED Lighting Shows
Lighting desk operator Rodnei Hamaguchi
Operators Bruno Pereira Pacheco, Jair Barbosa de Barros, Gilberto da Silva, Pedro Alexandre Albino da Silva, Jucimar da Silva, Ronaldo de Lima Andre, Marcos Simões Molina
Sound mixing LOUD
Production Manager Monica Alves, Heitor Vasconcellos
1st AC Pati Gimenez, Eduardo Augusto Duque (Pimenta)
2st AC Camila Morales Maffia, Caio Freitas de Oliveira
Playback operator Ester de Araújo
Loader Allan Souza de Almeida
Movi operator José Lopes de Maria Júnior, Adriano Gonfiantini
Crane operator Rodrigo Soares da Cruz
1st AD Gustavo Gusmão
Chief Lighting Technician Juarez Rios (Prego)
Assistant Chief Lighting Technician Hudson Monteiro de Lima Dantas, Daniel Siqueira Zuculo
Key Grip Daniel Francisco dos Santos
Grip Álvaro dos Santos Bispo
Best Boy Waldir Wagner Bravo Junior (Tica), Mauricio Cordeiro Dias, Carlos André Joaquim Santos (Dedé)
Genny Operator Carlos Jose de Jesus
Catering Cine Café, Graciene, Manoel
Drivers Sebastiao Nilo da Costa, Juarez Ratti, Zuilto Joaquim de Santana, Otacilio Pimenta da Silva, Ronaldo, Sidnei Paiva, Gesiel Muniz de Carvalho.
Making of Otávio César Tavares de Souza, Miller Ludgerio
Making of editor Renan Prado
Medical Service Vanessa Aparecida Oliveira Rocha
Firefighter Rafael Tiago Giovanello
Studio MOVI&ART
Coordination Claudinha
Coordination Assistant Michel Nogueira
Post-production Coordinator Rafael Malavasi
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ - Bloggery committed by chris tower - 2303.14 - 10:10 - Days ago = 2811 days ago - New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
- Bloggery committed by chris tower - 2609.21 - 10:10
- Days ago: MOM = 4099 days ago & DAD = 753 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I post Hey Mom blog entries on special occasions. I post the days since ("Days Ago") count on my blog each day, and now I have a second count for Days since my Dad died on August 28, 2024. I am now in the same time zone as Google! So, when I post at 10:10 a.m. PDT to coincide with the time of Mom's death, I am now actually posting late, so it's really 1:10 p.m. EDT. But I will continue to use the time stamp of 10:10 a.m. to remember the time of her death and sometimes 13:40 EDT for the time of Dad's death. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
