Introduced to the ocean at a young age by watching her brother surf, Justine first rode waves with her mom on a bodyboard. With the waves favoring longboarding, Justine picked up a 9'0 and won the contest, fostering her interest in longboarding. With her background of shortboarding maneuvers and gracefulness, longboarding suited Justine's style. Justine's musical background is thanks to her father. Playing the piano from a young age, her dad taught her a song on the guitar and she was hooked on the instrument. When asked to draw parallels between her surfing and music, Justine says, 'When I write a song, I don't always think about surfing, so they each bring me what I need to reach my balance. To me, the link between being an artist and woman surfer helps show the value of modern women, and at the same time it enhances the image of female surfing. Follow Justine on Instagram , Twitter and Facebook. Thousands of girls eagerly laced-up alongside ROXY team riders, Justine Mauvin , Mainei Kinimaka and Olympian, Aimee Fuller for a morning of fitness fun to celebrate leading an active outdoor lifestyle. The girls took the beach by storm and filled the morning with plenty of inspiring moments that compelled passers-by to applaud their efforts.
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This list of stage names lists names used by those in the entertainment industry, alphabetically by their stage name 's surname, followed by their birth name. Individuals who dropped their last name and substituted their middle name as their last name are listed. In many cases, performers have legally changed their name to their stage name. Note: Many cultures have their own naming customs and systems Chinese, Japanese, Korean, Arabic, Hungarian, Indian and others , some rather intricate. Minor changes or alterations, including reversing Eastern-style formats, do not in and of themselves qualify as stage names, and should not normally be included. Her second name is a patronymic instead of a family name, following Icelandic naming conventions. From Wikipedia, the free encyclopedia. Wikimedia list article. Bob Allen — Irvine E.
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Y ou sit in a swivel chair in a basement room, surrounded by up to 15 other people each with their own swivel chairs. There is no common big screen. Rather, individual computers feed the images direct to the headgear that you are each wearing. The inaugural Taiwan Film Festival in London features not only a retrospective of films by Tsai Ming-liang with Tsai himself in attendance , but also rare showings in a specially equipped pop-up screening room at Asia House of his minute VR film The Deserted , shown in 8K rather than the lower-definition 4K version which premiered at the Venice Film Festival. Tsai is a master of slow cinema, and his style, typically involving long fixed takes on faces or environments, lends itself perfectly to the VR format. The first scene shows an apartment interior in which an ailing man Tsai regular Lee Kang-sheng sits attached to a TENS machine while his elderly mother Lu Yi-ching first cooks and then sits opposite, silently watching him. In their different ways, both are of course figures for us, strapped in to our own apparatus and seated watching. The mother may be a mere ghost watching over her son, as might be the woman Chen Shiang-chyi who appears in later scenes dressed incongruously — amid all the squalor — in immaculate white bridal attire and heels, and who is at one point filmed sitting and listening at the wall in a narrow chamber that, when you look around, is revealed impossibly to have no entrance. Likewise, it is not clear whether the lover Ivy Yin — who materialises alongside the man as he half-slumbers naked in a tub with his pet carp — is real or fishy fantasy. It is a uniquely immersive experience, pitched somewhere between cinema and gallery, and stretching the bounds of both its medium and its elliptically plotted message.
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