Enjoy spring at Maifest with German food, drinks, and fun
Dee Walker of the Peoria German American Central Society told WMBD This Morning, that 'Maifest has been historically celebrated in Germany since the Middle Ages.'
'And one of the traditions is for the women to wear a head band of flowers to celebrate the coming of spring and warm weather and sunshine,' she said.
That sums up the whole idea behind the Maifest event
'We're really excited about not only the food and the German beers you can try, but also we're going to have entertainment the whole time,' she said, explaining that the entertainment includes, 'two different accordion players, Als Pals (polka band), Alphorns, also the GACS Choir'
The selection of authentic German cuisine will complement the German beers.
The $12 plated meal includes the Heidelburger, or butterfly porkchop sandwich, with sides of sauerkraut, homemade German potato salad and chips. Homemade desserts are available for $3 and there's a kids' meal for $5 that has a hotdog and chips.
Admission for the event is free.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
9 hours ago
- Yahoo
People Are Laughing At How President Zelensky Shut Down That Reporter's Suit Question
Remember this? More specifically, remember when a reporter asked Volodymyr Zelensky why he didn't wear a suit, and it turned into a whole thing? The reporter, who, fun fact, is Marjorie Taylor Greene's boyfriend, asked: "Why don't you wear a suit... Do you own a suit? A lot of Americans have a problem with you not respecting the dignity of the office." C-SPAN/Twitter: @cspan Related: Zelensky replied, "I will wear a costume after this war will finish. Maybe something like yours, maybe something better, I don't know. We will see. Maybe something cheaper." People thought the whole thing was "deranged." Marco Rubio couldn't believe it either. Related: And now, Zelensky is back at the White House along with German Chancellor Friedrich Merz, French President Emmanuel Macron, British Prime Minister Keir Starmer, Italian Prime Minister Giorgia Meloni, Finnish President Alexander Stubb, and European Commission President Ursula von der Leyen. People were wondering if Zelensky would wear a suit after that whole thing in February, and today we found out. He showed up wearing this: Related: It literally was the first thing Donald Trump said when they met today: "I can't believe it. I love it," he said while pointing at his suit. MargoMartin47/Twitter: @MargoMartin47 And then that same reporter from February (MTG's BF) asked him about it in the Oval Office: atrupar/Twitter: @atrupar "First of all, President Zelesnky, you look fabulous in that suit. You look good," the reporter said. "I said the same thing," Trump said back. "I said the same thing. Isn't that nice? That's the same one that attacked you last time," Trump continued. Related: That's when the reporter says, "I apologize to you. You look wonderful." Zelensky had the last word on this one when he told the guy: "You're in the same suit. You see, I have changed. You have not." Then the whole room erupted in laughter. As this person said, "Even Trump had to admit this was a great comeback." Also in Internet Finds: Also in Internet Finds: Also in Internet Finds:
Boston Globe
9 hours ago
- Boston Globe
Joe Caroff, who gave James Bond his signature 007 logo, dies at 103
Advertisement For the first Bond movie, 'Dr. No' (1962), Mr. Caroff was hired to create a logo for the letterhead of a publicity release. He began working with the idea that as a secret agent, the Bond character combined lethality with little remorse, but Mr. Caroff did not find Bond's compact Walther PPK pistol to be visually appealing. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up As he sketched the numerals 007, he drew penciled lines above and below to guide him and noticed that the upper guideline resembled an elongated barrel of a pistol extending from the seven. He refined his drawing and added a trigger, fashioning a mood of intrigue and espionage and crafting one of the most globally recognized symbols in cinematic history. With some modifications, the logo has been used for 25 official Bond films and endless merchandising. Advertisement 'I knew that 007 meant license to kill; that, I think, at an unconscious level, was the reason I knew the gun had to be in the logo,' he said in a 2022 documentary, 'By Design: The Joe Caroff Story.' Mark Cerulli, who directed the documentary, said in a recent interview that the logo was a 'marvel of simplicity that telegraphs everything you would want to know about 007.' The going rate for a letterhead logo was $300 at the time, profit-sharing and film credits not included. 'My only regrets are that they never paid any royalties for any of these things that were done in those days,' Phyllis Caroff, Joe's wife, said in the documentary. 'We would have been rich.' But Mr. Caroff, who received a 007-engraved watch from the Bond producers on his 100th birthday, did not appear to be a sentimentalist. Thilo von Debschitz, a German designer, wrote in a 2021 profile in EYE magazine that Mr. Caroff viewed himself as a 'service provider' in working with associates to create more than 300 movie posters, keeping none of them in his Manhattan apartment. 'Time is a constant motion,' Mr. Caroff said in the article. New York City resonated in some of his most renowned work. He drew inspiration from his neighborhood to create the movie poster for 'West Side Story' (1961), scuffing the lettering to suggest rugged brick and perching balletic dancers on fire escapes. For a 1979 Woody Allen movie, the Empire State Building, the Chrysler Building, the twin towers of the World Trade Center, and the Citicorp (now Citigroup) Center formed a clever skyline of letters that spelled 'Manhattan' on a black-and-white poster. Advertisement Joseph Caroff was born Aug. 18, 1921, in Roselle, N.J.. His parents were Jewish immigrants from what is now Belarus. His father, Julius Caroff, was a painter and his mother Fanny (Sack) Caroff ran the household for six children. When Joseph was 4, a friend stopped by one day with a watercolor set. Fascinated, he began painting designs on a white summer suit that he was wearing for a family trip. 'That's when I knew I wanted to be an artist,' he said in 'By Design.' While attending the Pratt Institute, he became an assistant in the Manhattan office of Jean Carlu, a prominent French poster designer who had lost his right arm in an accident. In 1942, Mr. Caroff helped create a famous propaganda poster with the exhortation: 'America's answer! Production,' which featured a gloved hand using a wrench to turn a bolt-like 'O.' After serving overseas in the Army Air Forces during World War II, he returned to New York, was hired, and then fired by a design firm and went into business for himself, designing sample book jackets that his wife showed to various publishers. His first assignment, at age 27, came in 1948 for a first-time novelist, Mailer, who was 25. For the cover of 'The Naked and the Dead,' a classic about the toll of war, Mr. Caroff, using the name Joseph Karov, drew a haunted figure with a thousand-yard stare and a suggestion of disordered thoughts circling his head like electrons randomly orbiting the nucleus of an atom. His movie posters could be more playful. In an era of graphic puns, his poster for 'A Hard Day's Night' (1964) featured a guitar neck tied into a knot, perhaps signaling young fans' convulsive delight in the Beatles. For a 1967 black comedy, 'Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad,' he portrayed Dad folded like a pair of pants on a hanger. Advertisement Mr. Caroff spoke of the 'annihilation of the extraneous' in extracting the essential in his work. He deftly wove the lowercase abc network logo with interlocking Olympic rings when it broadcast the Summer and Winter Games in the 1980s. The title sequence and poster for 'The Last Temptation of Christ' (1988) featured a crown of thorns set against a blood-red background. For another Allen movie, about a chameleonlike character, the poster repeated the title 'Zelig' (1983) with different font styles. To depict the dance-hall grittiness and hedonism of Weimar Berlin, he placed the likeness of Liza Minnelli atop a vertical marquee in 'Cabaret' (1972). He created the seductive lettering for the poster for 'Last Tango in Paris' (1972) and futuristic lettering that resembled skates for 'Rollerball' (1975). In addition to his sons, Mr. Caroff leaves a granddaughter. His wife Phyllis (Friedman) Caroff, a longtime professor at the Hunter College School of Social Work, died in February. They were married for 81 years. When he saw his designs in public, he sometimes thought to himself, 'I did that,' but modesty, Mr. Caroff said, mostly prevented him from telling others about his work. 'I never made a big thing of it,' he said in 'By Design.' 'It was a job, I wanted to get it done. I always met my deadlines.' This article originally appeared in Advertisement
Yahoo
12 hours ago
- Yahoo
How ‘The Day of the Jackal' Team Brought a 'Semi-Derelict' Border Building Back to Life: 'This Was a Huge Undertaking'
The Day of the Jackal cinematographer Christopher Ross started his work on the Peacock series about an assassin named the Jackal (Eddie Redmayne) with a bang — no pun intended. In episode one, which was nominated for an Emmy for cinematography, the Jackal wounds the son of far-right German politician Manfred Fest — but it's all a ploy to lure Fest to his son's hospital bedside so the Jackal can assassinate him with a record long-distance sniper shot. More from The Hollywood Reporter How 'The Upshaws' Editor Angel Gamboa Bryant Makes Sure the Comedy Lands Every Time 'Inside Edition' Anchor Deborah Norville to Receive Lifetime Achievement Award at 2025 Daytime Emmys What Is P(doom) and Why Is Jesse Armstrong Laughing About It? 'Trial by fire,' jokes Ross of the assassination scene — the first scene he shot. (Last year, he received an Emmy nomination for his work on Shogun.) The sequence was composed of four sections, filmed in Budapest, Hungary, and Vienna, Austria. On the same day, Ross and his team also captured a scene demonstrating how the Jackal turns his suitcase into a sniper rifle. 'Eddie and I bonded over a love of meticulous prep,' Ross says of his first day of work. 'We had two suitcases constructed that could be turned into the gun — Eddie had one in his hotel room for a couple of weeks before we shot, and he would repetitively rebuild this gun, taking out the wheels, finding the bullets, taking out the handles. In reality, the building of the gun took about 15 minutes from an empty suitcase, and the idea was to truncate that period into these elegant nuggets of precision.' While Redmayne prepped for his role by attending 'sniper school,' Ross had to learn the characteristics of each weapon so he would know how to lens them properly. 'We ended up using a number of different lenses,' he explains. 'The actual Fest killing in episode one was photographed from the roof of the Hungarian National Theatre. It was a building that was 1,640 feet away from the hospital that we were filming at for the assassination, and we placed a 1,200mm lens with a 1.4 extender, so that makes it sort of 1,600mm long, on a stabilized head. I operated the stabilized head remotely to try to smoothly track as a sniper would. It was channeling everything based on the character.' Ross took home a unique souvenir: 'There is a medical device known as a laparoscope, which is for looking down your throat at your larynx. It's the only optical device that's narrow enough to fit down the barrel of a gun,' he notes. 'I have one of the world's only motion picture laparoscopes because I bought one specifically for The Day of the Jackal to analyze the rifling of the gun, but we never ended up doing it. I have a memento.' There were challenging shots aplenty for Ross, and while he credits the opening scene as the most difficult in terms of camera moves, the border crossing, in which the Jackal is stopped while attempting to enter France after the assassination, was logistically difficult, he says. 'It was written as a fairly brief scene, where the Jackal goes to the border and there's a temporary arrangement, but [episode director] Brian Kirk wanted this scene to be sort of an indicator: Is this the first mistake the Jackal has made?' he says. 'It runs about three minutes, and the script was about a page, so it was elongated quite a bit for tension purposes. We filmed it at the Hungarian and Austrian border, both member states of the EU now, but they weren't previously, and we were at some semi-derelict building at the border crossing that we had to bring to life. It sits on the side of the motorway these days as a completely disused set of buildings.' The crew repowered the buildings and all of its traffic lights: 'Every red cross and green arrow has been designed by the art department and built by practical electricians,' Ross explains. 'All the vehicles are brought in. This was a huge, huge undertaking. There are only six lines of dialogue in the sequence, but the power of the sequence is entirely in the crafts department delivering big.' But while Ross had to capture big moments, he also had to lens smaller, intimate ones, including one where the Jackal takes off his disguise prosthetics in the mirror, requiring a very tight shot. The scene had to be carefully framed after the team built a mirror image of the bathroom with a body double for Redmayne. It was filmed over a six-hour period. 'There are a couple of Probe Lens shots in there for being able to get right up to his contact lens and see the color change in his irises,' Ross explains of the scene in which the Jackal, disguised as an elderly janitor in an office, takes off his prosthetics after completing his mission. 'Then, on top of that,' he adds, 'we built a mirror image of the room on the far side of the bathroom and removed the mirror so that the final shot is the camera passing through the mirror and out into the room with him as he returns into the kitchen, as a subliminal trick to fool the audience. It's a technique that was brilliantly used by Robert Zemeckis in [1997's] Contact and Mathieu Kassovitz in [1995's] La Haine, and Brian and I thought it would be a fun little trick to play on the audience.' The scene was meant to be 'unsettlingly playful,' mirroring the show's main character. 'Brian's idea with the show was that it's about liars that lie about everything all the time, and so the idea was that we as storytellers would also be lying to the audience — that even the camera was an unreliable narrator,' Ross explains. 'You are never quite sure whether what you were seeing was the truth.' This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise Solve the daily Crossword
