I want to suggest you a funny game Smurfs’ Village

Smurfs’ Village is all fun! And I search the web for smurfs’ village cheats for a long time, finally I got it.

smurfs' village



It is a free download game that is very interesting and full of fun. It is a story of Gargamel who has broken into a village and your aim is to build a new village for the Smurfs’. This game has become a staple of the freemium games scene on the App store on iOS and Android. This game on iOS is very interesting and enjoyable; the little blue eighties throwbacks are some of the updates incorporated.

In the Smurfs’ Village on Android, there are six new ceramic items to unlock and three gameplay namely: rock tumbler, outdoor place and jousting game. Moreover, it has ceramic path tiles and a new ceramic boat for the river when you acquire potter on the mountain.

I started playing this game with only a single mushroom house and a lone ploughed land. I then quickly progressed to build special houses, elaborating gardens with colourful crops, bridges to span running rivers, trodden paths and so on and end up building up a new village for the Smurfs to call a home. This game is fun and interesting.

The game is a little bit tricky and you need to be creative to complete building a village. You can also play with your favourite Smurfs’ and connect with friends through the social media and compare your performances. Moreover, you can play offline and also some mini games within it. This game on Android and iOS has retina display graphics that will keep it fresh as you play it again and again.
No game is as awesome as Smurfs’ Village. I would recommend that you get your kids this game. I tried it with my first born, I saw the love that boy had for this game and he still love it more than the first impression. This is a gift and a present that you can’t afford to buy for your kid. The game is free but you will need to part some extra cash for additional in-app content.

Walk like a New Yorker

Anything happen while we were away?

(Please enjoy this drawing by Chicago artist/curmudgeon pundit-in-the-making Russ White, recently commissioned to make art for the Village Voice due to the excellence you’re currently feasting your eyes upon.)

Walk like an Egyptian

“…the citizen who thinks he sees that the commonwealth’s political clothes are worn out, and yet holds his peace and does not agitate for a new suit, is disloyal; he is a traitor.”

- Mark Twain, A Connecticut Yankee in King Arthur’s Court

“Those who make peaceful revolution impossible, make violent revolution inevitable.”

- John F. Kennedy

“…every citizen of the republic ought to consider himself an unofficial policeman, and keep unsalaried watch and ward over the laws and their execution.”

- Mark Twain, Traveling With a Reformer

“The time is always right to do what is right.”

- Martin Luther King Jr.

This changes everything. Again

Done the right way.

We received an intriguing email the other day warning us about a hoax for the new iPhone 4CF, which is free of conflict minerals. Upon further investigation we were led to a website that brilliantly and flawlessly spoofed Apple’s site, introducing a “new” iPhone 4. As it turns out, this email didn’t come from Apple, but from the creators of the hoax itself. The fake site presented information on conflict minerals and instructions for exchanging your phone for a new “better world,” as well as encouragement to make a citizens arrest of heads of mining companies “that have been implicated in pillaging the resources of the Congo and fueling the conflict in the Congo over the past 14 years.”

We linked the photo of the nonexistent phone to the website – it was top-drawer activism and someone clearly put a great deal of work into it – but just two days later the site disappeared. (Luckily, religionandtechnology.com had the foresight to take screen shots of all the pages before the site went dark.) The iPhone 4CF and subsequent website is yet another gem from The Yes Men, who have now posted links to more information on Twitter. Along with their hijacking of the Chevron “We Agree” campaign, which has received more media attention than Chevron’s actual campaign, The Yes Men are very busy indeed. These guys deserve a Nobel Peace Prize for their tireless, breathtaking and hilarious work in all areas of activism. Recently we encountered a man sitting on a street corner shouting “If you want peace, fight for justice,” which could easily be a tenant of The Yes Men, and… We Agree.

Are we suggesting that you give up your iPhone or any of the other gadgets that contain conflict minerals? No. We are, after all, users of this technology ourselves – at least until we figure out how to transmit our weblog directly to your minds. We are simply passing on information that isn’t exactly at the forefront of everyone’s attention. As Nicholas D. Kristof says in his Op-Ed piece : ”It’s not that American tech companies are responsible for the slaughter, or that eliminating conflict minerals from Americans’ phones will immediately end the war. Even the Enough Project, an anti-genocide organization that has been a leading force in the current campaign, estimates that only one-fifth of the world’s tantalum comes from Congo.” But awareness is a step toward solution. There simply has to be a better way. We should all know where the products that are a part of our everyday lives come from, what the impact is, and what it means to our future and our past.

Until you’re Kabluey in the face.

Not long before Christmas in 2005 we turned on our pink Hello Kitty TV and popped in the freshly pressed first issue of Wholphin, a DVD quarterly magazine of rare and mostly unseen films mentioned here before. We were enchanted by much of what we saw, and among the gems on issue one is a film we found particularly bizarre in the best way. We watched with open mouths and big eyes, and laughed – maybe from discomfort at first – at just how strange it was.

A man is overtaken by the urge to not only wear his mother-in-law’s vintage red jump suit, but compelled – once in this horribly ill-fitting monstrosity – to give himself over to a dance the likes of which you’ve never seen before, leaving him a spastic gibberish-spitting blank-eyed ball of confusion and, well, rapture. He doesn’t know why The Delicious makes him happy, but it does, and he can’t help but let his bliss overtake him and his “normal” life.

Scott Prendergast, the writer/director/star of The Delicious, commits so completely to what he’s doing in front of the camera that you can’t help but experience some measure of the same confounding joy his character feels in the jumpsuit. As soon as it ended – our mouths still open – we knew that Prendergast was someone to keep our eyes on.

After seeing a few more short films by Prendergast, two years later his first feature was released, in which he starred alongside Lisa Kudrow, Teri Garr and Chris Parnell. The film, Kabluey, showcased some of the trademark strange we came to know and love from Prendergast’s earlier work, and introduced us to even more idiosyncratic behavior, inspiring the question finally: who the hell is this guy?

He agreed to shed a little light on the mystery for us…

grippinglyauthentic: So, since we first saw you on Wholphin with The Delicious, let’s start there. Before anything else, though, we want to say that you were absolutely and magnetically odd in the film. Even after multiple viewings, the film still pops.

Scott Prendergast: Hey thank you!

ga: We couldn’t take our eyes off how absolute the obsession with the red jumpsuit appeared in your eyes, nor could we deny a certain vacancy in your eyes as well, nearly Zen in how consumed you were with this one thing. It made us wonder what in your life is equal to The Delicious? Is there something which compels you – perhaps beyond reason at times – the way the jumpsuit and dance compelled the character? What exactly do you know about obsession, and how personal is that knowledge?

To Nancy from Sue.

We found this note tucked inside a collection of Somerset Maugham stories while we waited in the “family room” of a hospital earlier in the year, and thought it was fairly charming. The note is written on a nearly transparent and yellowed piece of paper about four inches long, with a deep crease where it was folded in half. On the outside of the note is simply the name “Nancy.” Just how long has this message been waiting to be discovered, and how did Miss Freeman’s Maugham volume end up in the hospital?

Being square with you

From top to bottom:
The Commute
Map to Nowhere #3
The Delegates

These oil paintings measure 5.5 inches by 5.5 inches square. When Houston has shown them in the past, he has welcomed viewers to arrange the small works in any order they like, in return for which they must offer their interpretation based on arrangement. Each could represent a line of poetry or a pictorial piece of a narrative determined by the viewer, and each has the power to elicit a response as unique as the individual who experiences the 5.5′s. Houston wants to hear your stories.

A brief trip with Caveh Zahedi.

From the biography on his website: “Caveh Zahedi began making films while studying philosophy at Yale University. After graduating, he went to Switzerland to try to work with Jean-Luc Godard, but Godard refused to meet with him after he phoned Godard at three in the morning to offer his filmmaking services. Disappointed, Caveh returned to the United States and got a job trying to teach video to autistic children.

When fellow workers started mistaking him for one of the autists, Caveh quit his job and moved to Paris to try to raise money for a film about French poet Arthur Rimbaud.”

The story continues in both heartbreaking and amusing directions, and might be one of the most self-effacing biographies you’ll read about someone on their own website. It also proves that nothing can stop Caveh Zahedi.

He is the winner of an IFP Gotham Award for “Best Feature Not Playing At A Theater Near You,” the Rome Prize from the American Academy in Rome, and a Sundance Documentary grant. His films have won critical acclaim, yet they haven’t been widely seen. Each is autobiographical and fearless in the way they investigate Caveh’s idiosyncrasies and addictions, which probably doesn’t equal box-office success, but the film maker creates what is true to himself, and we like that quite a bit.

Caveh was good enough to speak with us over the last couple of months, and here’s what he had to say:

grippinglyauthentic: Let’s start with where we first “met” you, so to speak, which was the segment of Waking Life – Richard Linklater’s beautiful and ground-breaking film – called “The Holy Moment.” Can you tell us how you got involved with the project and how your segment was set up? Were you simply asked to have a conversation or was it scripted?

Caveh Zahedi: I got a package in the mail one day from Rick Linklater, who I’d met at Sundance in 1991 when we both had films in competition there. I was there with A Little Stiff and he was there with Slacker and we liked each other’s films and became friends.

The moment I got the package in the mail is actually documented in my 1999 year-long video diary film entitled In the Bathtub of the World.

In the package was a scripted scene as well as animation samples by Bob Sabiston, the head animator, to show me what it would look like. I loved the animation but I didn’t think I could deliver those scripted lines very convincingly. I explained this to Rick and he said “No problem, we’ll figure it out when you get here.”

So I flew to Austin and Rick asked me if there was something else I’d rather say instead. I said I had four ideas for things to talk about and he asked to hear them. I told him the four ideas and he said he liked all of them and that we might as well shoot them all and that he would decide later. We shot the four scenes in about half an hour and that was that.

He later used one of the deleted scenes for his own segment about Philip K. Dick. That scene (about a dream I’d had) was pretty much verbatim what I had said on tape, and he simply re-enacted it. If you listen to it carefully, you can hear the same verbal rhythms and inflections that I typically use. I thought it was a really good idea to put that scene in the movie at that point but with his character saying it.

The idea of the holy moment I kind of just made up, but the term is used in a slightly different context in A Course in Miracles, a “channeled” book that I was obsessed with for many years. In that context, it refers to a moment in which two individuals surrender their egos to what the Course calls the “Holy Spirit.”

ga: We’re not surprised that you talked about what you wanted to. You seem incredibly adept at being Caveh Zahedi, at stating your mind and being present, for better or worse. The performance felt spontaneous. What you were saying and how you said it, along with Sabiston’s ethereal animation, reminded us of those perfect little epiphanies we have when a degree of clarity enters our minds and we see what is truly important to us. We’d like to live in those moments, though it would probably be exhausting.

Experiencing someone on a level that feels authentic and sincere is always elevating, almost like a kind of high. Can you talk about some of your own epiphanies, when some piece of seemingly divine information opened up to you and maybe changed the way you saw the world around you or the way you lived in that world?

CZ: A lot of my epiphanies have happened on drugs. I was on LSD once and I “saw” a Buddha with a flower in his outstretched hand. And what I got from that was that “beauty” (symbolized in this case by the flower) is always available and right in front of you and that you don’t have to go looking for it – it’s right there in front of you!

ga: It seems that accessibility is an issue you constantly deal with, whether or not anyone will see your work. Admittedly, it took Richard Linklater to introduce us to you, and fortunately what we saw in Waking Life was compelling enough to inspire some investigation, to make us seek out your work.

You’ve collaborated with film makers who reach larger audiences with some regularity, whether working with them in creating a film or staring in their work. Is there some level of frustration you feel regarding the size of your audience?

CZ: There is definitely a level of frustration regarding the limited audience I’ve been able to reach. It may be that having a small audience is a condition of the type of work that I make, but I love a lot of films that reach a much larger audience, so I would prefer that.

One of my favorite filmmakers is Lars Von Trier, and he manages to reach a much larger audience without sacrificing depth or extremity or innovation. If I could have the filmography of anyone other than myself, I would choose his filmography (with the exception of his pre-Breaking the Waves films).

ga: Even when Von Trier makes a film that isn’t necessarily easy to “enjoy,” he seems faithful to his ideas and faultless in his integrity. These are qualities we appreciate in your work as well, admirable in a business where art is often turned into product, integrity traded for market appeal. Though Von Trier reaches a large audience in Europe, there’s still some strong resistance to a lot of his work here, especially because of the explicit sexual content.

Do you think your willingness to talk about drugs in your films is something that scares people?
CZ: I don’t know if my openness about drugs is holding me back from broader acceptance. In a way, it’s part of the appeal of my work, I think, since there aren’t a lot of filmmakers who are open about it.

I gave a talk on hallucinogenics recently – really just the autobiography of my drug use, and it was given at Pete’s Candy Store in Brooklyn – and it was pretty packed and people seemed pretty hungry to hear and talk about this stuff. It would certainly be great if there were an intelligent debate about drugs for a change, and I’d totally be interested in participating in that. I love marijuana, but I think hallucinogenics are the really interesting drugs.

ga: Does being a parent have any impact on drug usage for you?
Caveh Zahedi: My wife doesn’t like me to get stoned in front of our toddler, so it means there are fewer opportunities.

ga: As far as audience-friendly films, is directing someone else’s story something you would consider?

CZ: I would certainly consider directing someone else’s story if I loved it (which is rare). I once got hold of the last screenplay that John Cassavetes had written before he died, and I thought it was ASTONISHING. I tried to get the rights to direct it but I was unable. I would have loved to direct that particular script. But it’s probably the only one I’ve ever read that I was DYING to make. The directors, other than Cassavetes, that get me excited – Von Trier, Ken Loach, Lukas Moodyson, Michael Haneke, Frank Capra, Mike Leigh, Andrei Tarkovsky.

I recently saw a film by the Safdie brothers called Daddy Longlegs that I loved. Other films I saw recently that I loved are Head On by Fatih Akin (which is not terribly recent but which I only saw recently) and Precious by Lee Daniels.

Buried treasure.

We think it’s a perfect time to look at paintings by Scott Johnson.

From top to bottom:

South Pacific
Terror Forming
Last Dance

All paintings are oil on linen mounted on wood, measuring 12″ x 12″ with the exception of Last Dance – which is 30″ x 32″ – and were painted in 2009.

Let’s just think about all this oil, about what’s happening and what this will really, truly, do to our world. It’s not just a “large group of carbons where they shouldn’t be,” as some people in some mindsets would have us think; and why is that something we would dismiss as no big deal, anyway? Carbons. One of the (what, three?) essential elements that we’re made of? Why is that what we’re willing to accept as the reasoning to not worry about it? A large group of carbons where they shouldn’t be… That is exactly what we’re concerned about. What’s a nuclear explosion? Oh, don’t worry about it. Just a large group of really little hot things.
Please note that these images can be clicked multiple times to zoom closer. And they are all totally worth your extra clicking.