© 2017 "The Last Recipe" Film Partners All Rights Reserved.
Ever since Kazunari Ninomiya won the Japan Academy Film Prize for Best Actor for his role in "Nagasaki: Memories of My Son" (2015), he has been considered one of the top actors in Japan. His latest film is helmed by Yojiro Takita, whose "Departures" (2008) won the Academy Award for Best Foreign Language Film.
The film is executive produced by the multi-talented record producer, lyricist and television producer Yasushi Akimoto. The script is written by Tamio Hayashi, winner of the Japan Academy Film Prize for Best Screenplay for "The Eternal Zero" (2013), adapted from the debut novel by Keiichi Tanaka, best known as the director of the popular food show Iron Chef. In addition, Yukio Hattori, the expert commentator on Iron Chef, and his Hattori Nutrition College provide support on the culinary side, rounding out a dream team of some of the top talents in Japan.
Only when the final dish—the last recipe—is recreated will we know the truth about the epic love that spanned the 70 years separating these two gifted chefs.
Mitsuru Sasaki (Kazunari Ninomiya) is a formerly renowned chef who now capitalizes on his gift—remembering every flavor he's ever tasted—to earn a living by recreating memorable dishes as last meals. But all his earnings go to paying off the debt from his failed restaurant. One day, he's contacted by Qingming Yang, a titan in the culinary world in China. Mitsuru is flown to Beijing, where Yang asks him to search for a recipe that's gone missing—the "Great Japanese Imperial Feast", a 112-dish course meal commissioned by the Japanese military in the 1930's as a historic feast to honor the Emperor on his visit to Manchukuo.
Though skeptical and reluctant, Mitsuru agrees to the job after a lucrative offer, and begins tracing the footsteps of Naotaro Yamagata, the former chef of the Emperor who was tasked with creating this recipe. As he meets one person after another who knew Naotaro, he arrives at an unexpected truth about both the chef and his recipe. Where is the recipe now? What was the conspiracy hidden behind it? And what was the secret that Naotaro had risked his life to hide in the recipe?


imtomtomim had the most liked content!
What type of shot should I play in this situation ?
I am thinking like spudmonkey. Hit a club that gets you between 125-150 from the center of green, (right before the fw bunker). I would most likely hit a 5i. Since you sound a bit worried about the right side, start on the right side of the tee box. Now for the last bit of reliability, punch that ball low. It's not like you need to stop it immediately and keeping it low gives it the least chance of curving far off line or losing the fight with the wind. I do want to be on the left side of the fairway so I can have that strip of apron to run up, but really it wouldn't matter too much. From that kind of range, I know my shots will stop pretty close to the ball mark. Another reason I wouldn't use driver is the fact that I don't want to be hitting a 'tweener pitch shot on the first hole. I want to get an idea of how my short irons are flying that day. I can say, hey, my 9i went 135 instead of 132, maybe I'm a touch longer today. Full swing short irons, for me, are where my game is strongest and most reliable. Setting those shots up, sets me up for more scoring opportunities.
Anybody hitting a 4 Wood?
I've got a nickent 4dx 4 wood, 17*. While I love my set, that is the only club that will really have me missing it when it wears out/breaks. It gives me the most beautiful ball flight out of any club. My stock shot goes about 245. It takes off low and then half way there, it spins up to the sky and drops down real sharp and stops dead. Any roll out is from the slope. I can hit a green with no worries of the ball bounding away at all or playing break. You just figure out where you want the ball to stop, and hit it straight to it. 6i is about the longest club that I can sit the ball next to it's ball mark, until the 4w. It is also extremely forgiving. The only gripe I have is the lack of precise distance control, or rather the ability to shave off some yardage. However, it is a wood with a graphite shaft, and I'm aiming for a target 245 away. I can deal with it. Having it stop on that number every time isn't so bad.
Why are you not playing scratch?
Right now, I think the only reason I'm not scratch is because I don't get to play enough. This past year, I only got to play a few streaks, but despite the lack of practice, the evolution of my mental game, approach to the course, and understanding of my tendencies got me scoring most of my rounds better than +3, going under par a handful of times. The game has really seemed easier since I've gotten comfortable with the process of golf (still kind of new, 4th season) and understanding what leads to good scores. When I first picked up the game, I practiced 2 hours a day, 5 days a week. While it helped me build a dependable swing, I found I hit a wall on scoring quite quickly. To shoot lower numbers, I had to be more efficient in getting the ball in the hole. A big part of it was learning how to read the movement on the greens, not only for putting, but on approach and recovery. Additionally, it was learning the best angles to set up from. I'm very technical in my thought process, especially when it comes to sports. While the technique in my movements is quite important, getting away from that focus and re-applying that technicality towards my approach to the course has revamped my game for the better. If I can get out there more next season and sharpen my physical control a bit, I think I can do it. I'll also be done with grad school by then and I know exactly where I'm going to spend some of that time. Experience pays off, and I'm ready to reap the benefits of that soon!
Is there something off about my distances?
Well, I actually have had the same issue nagging at me for the past 2 years, with close to the same distance as you. On some holes that I've paid attention to my partners, I have noticed that I can out drive the group by 20-30 yards and still be hitting the same club into the green as the next guy behind me. Although this is a bit disconcerting, remember, irons are for control and precision. Shorter distances are a good thing. Especially later in the rounds when I find a few holes to let the driver fly (290+ carry), it's nice to have lots of options for a full swing under 150 to the green. I also think that shafts may have something to do with it. My hybrid, wood, and driver all have graphite shafts in it so I might swing them faster than I would my steel shafted irons. My 4i goes 195 in the air, but my 3h (24*) goes 220. That's probably my biggest weakness in my setup and where my distance gap jumps up quite a lot, but it transitions into a 245 yard 4w (17*) and into a 270 yard driver. All while my 8i is 155, like you. I'm also not sure how much you practice, but I'm still using the set I started playing with. When I started golf, I hit the range 5 days a week for about 2 hours a day. I may have worn out the irons a bit. Maybe I'll see new numbers once I update my set (in a few years once I'm done being a grad student), but really it's not that important because with these distances, I'm still on a continuing upslope of improvement in my game and my scoring.
Are you a single digit HC player that hit the wall......are you stuck?..... you can't go lower? Do you want to go lower?
First one I played, 4 putted the first hole, lipping out every attempt. Crap scared out. Now, when I do light lifts at home, I hit putts during my rest interval to acclimate to the adrenaline and twitchiness. I also noticed that my scores were better on harder courses, until I played a few short easy ones in a row. I realized that the longer distances only put me in more favorable approach spots because I would use the driver whenever I could, and if I could find the same spots on shorter courses, I'd have an easier game. The tee-shot layup has changed my game.
That guy sounds exactly like me, even the asian part. Too many 3 putt par's to show for it. However, that was closer to how I started the game up to 2 years ago, my short game is pretty decent now after all the refocused practice. However, where it really turned around was the course strategy. I now play by the thought, if I can't get within 10 yards of the green, lay up the tee shot to a full short iron/wedge. I can depend on those full swing numbers much more than a shot where I need to shave off distance and get artsy. If you're distance control is a bit shaky that day, your whole scoring that day is shaky. Once I figured this out, I just started bleeding strokes off my scores, birdies falling like mana from the heavens, all that good stuff. That, and making sure that 2nd putt falls.
ever watch Tin Cup where he chips a 7i down the driveway?
How to hit a true TW Stinger?
I know this is an old thread, but whoever was saying they could get 2 bags in a smart car, it's because it's designed like a golf cart! It looks like it was meant for it. You should be able to drive that right around the loop.
First Eagle! Tell your first Eagle story!
First one was a straight out par 4, 300 yards. Went for it and landed pin high in the rough to the right. Was a firm day so I got out the lob wedge and flopped it, one hop and sunk straight down the stick. Actually, most of the eagles I've had were on par 4's, either holed out or I hit the green in 1. Most of the par 5's I get a chance, I usually miss the putt. I think it's because I get antsy when I see I got it there, but still need to wait for everyone else to get on and it kills the rhythm and focus. I'm working on it.
Cards on the table. How did you really feel on Sunday. Tiger v Rory.
I was amazed at what Tiger did. I really didn't consider him in contention and all of a sudden, he makes this huge rush. I did want Rory to finish it up on top, but on a day where most weren't scoring very low, seeing a guy come from nowhere to second place is pretty exciting. It would have been one of the biggest deficit comeback wins ever. Very fun to watch.
Tonight wasn't his night. The heat were all over him, they let him run in and then smother him. His speed is such an advantage though, but it gets him in trouble. Most of the turnovers I see are him rushing in and then having no option and getting shut down. It's such a great story, the kid finally gets a chance on the big stage and rises to the opportunity. I hope he keeps it up and finds his place in the game.
I approach illness just like you do Ben. I kind of just tough it out and let it be a workout for my immune system. Back in college, I got strep 3 separate times my first year (went a little crazy on the courting game). Anyways, I discovered my remedy was ibuprofen for the fever and candy bars. I'd scarf 2 milky ways from the vending machine and I'd feel like new. Sometimes I'd just slurp down a spoon full of honey, the thickness does offer a little relief as it helps coat my throat so my breathing doesn't irritate it as much, but that doesn't last too long. I mainly go for the ibu as it will bring the swelling down and help relieve some pain. A little humidity may also help. Hot steam from the shower or a cup of tea does help ease the pains of breathing.


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The detective turned private eye turns nonchalantly from the bar, to observe the strikingly attired woman dining with her husband. As he watches her, he is overcome with a vision of erotic mystique, as some powerful hidden force renders him almost incapable of diverting his gaze back to the half empty glass in front of him. Eventually the couple finish their meal and as they depart the restaurant, the woman serenely floats by like a tableau vivant, slow and stately in her black evening gown and green cape. She pauses in front of him, in voluptuous Olympian profile, with a luminosity that matches every contour of her beautiful face. The man is transfixed and this unusual assignment will draw him into a primal, elemental drama in love and sex.
The film is "Vertigo" and the woman who will overwhelm James Stewart's sensibilities is Kim Novak.
The character that Stewart plays in the film, John "Scottie" Ferguson is a retired San Francisco police detective who suffers from acrophobia and Madeleine is the lady who leads him to high places. Scottie is approached by a wealthy shipbuilder, an acquaintance from college days who asks him to follow his beautiful wife, Madeleine. He fears she is going insane, maybe even contemplating suicide, because she believes she is possessed by a dead ancestor. Scottie is sceptical, but agrees after he sees the beautiful Madeleine.
Over the course of a near twenty minute sequence, beautifully punctuated by Bernard Herrmann's musical score, Scottie follows her on her visits to the art gallery, public cemetery and high street store before rescuing her from an apparent suicide attempt when she jumps into the San Francisco bay. He becomes acquainted with her over the course of several meetings and is overcome by feelings of love for this woman.
This portion of the film is totally gripping, a superb juxtaposition of visual and musical imagery and even today, renders many CGI generated epics redundant. It is thought provoking, a near perfect encapsulation of the male perception of womanhood in its most naive and youthful form, yet in the film it is happening to a man in his late forties. It is at this point that Herrmann introduces most of the supporting motives for Vertigo. The first, introduced in Madeleine's First Appearance, is a mournful theme for the object of Scottie's desire, played exclusively on strings. This variation on the film's love theme is more restrained suggesting the latent passion within the beleaguered private eye. The second cue "Madeleine's Car", features a lazy woodwind melody over a syncopated ostinato, which acts as a precursor to one of the forthcoming motives in Psycho. "The Flower Shop" takes this melody and removes the ostinato, playing it completely in high-range strings. "The Alleyway" continues the romantically mysterious mood with a slightly more ominous string melody, along with yet another statement of the woodwind theme. "The Mission" highlights the creepy electronic organ and introduces a new tension motif, somewhat based on this track's woodwind theme. "The Graveyard" takes the string presentation of the woodwind theme and adds a bass clarinet accompaniment, as well as new supporting chords. As the liner notes say, one of the most intriguing aspects of this score is Herrmann's use of the chromatic scale, which finds its place into this cue. "Tombstone" is a short cue consisting of a few giant chords in the clarinet choir.
The ultimate Herrmann resource can be located at http://www.bernardherrmann.org
The site is a marvellous tribute to the composer inextricably linked with Alfred Hitchcock's most successful period although his work throughout was of an inordinantly high quality. Interestingly the new 2012 critics poll from the British Film Institute has declared Hitchcock's 'Vertigo' the best film ever, dislodging Orson Welles' Citizen Kane after half a century. Film fans may argue about their relative merits but interestingly Herrmann wrote the scores for both and his influence was palpable. George Martin's score for strings for The Beatles "Eleanor Rigby" was heavily influenced by Herrmann's work on Francois Trufaut's "Fahrenheit 401," a soundtrack only just released to the general public at the time the band reconvened at Abbey Road studios in the spring of 1966 to record their seminal masterwork "Revolver." I would urge the uninitiated to discover this composer's oeuvre for his musical stamp on "Virtigo" dogs every tortuous step of Scottie's descent into recrimination and ultimately, emotional breakdown
As the days pass, Madeleine appears to become more emotionally unstable and and when they visit an old mission church he is unable to stop her from climbing to the top of the steeple, owing to his vertigo, whereupon she falls to her death. A subsequent inquiry finds that she committed suicide but faults Scottie for not stopping her in the first place. Several months later, he meets Judy Barton, a woman who is the spitting image of Madeleine. He can't explain it, but she is identical to the woman who died. He tries to re-make her into Madeleine's image by getting her to dye her hair and wear the same type of clothes. He soon begins to realize however that he has been duped and was a pawn in a complex piece of theatre that was meant to end in tragedy
Hitchcock's 'Virtigo' was adapted from "D'entre les morts", ("from among the dead"), a 1954 crime novel by Pierre Boileau and Pierre Ayraud. In a departure from the norm, the book pales in comparison to the motion picture. Unfortunately, for many years the film was not available to the general public as Hitchcock took it out of circulation and exercised his rights in having available print copies destroyed.
http://www.hitchcockwiki.com/wiki/The_Times_(15/Nov/1983)_-_Return_of_the_missing_Hitchcocks
It is apparent from this article that the director was shoring up his investments and raising the financial marketability of several key movies for future exploitation; any suggestion of widespread unavailability as being reflective of their lack of quality patently wide of the mark. I went to see "Virtigo" at the cinema in 1984 along with "The man who knew too much" and "Rear Window". Yes, it was obvious Leslie Halliwell would be able to buy prints for ITV transmission in the foreseeable future but I wanted to experience the films on the big screen. My friends were incredulous; "full price for movies older than you are!" How could I respond? Perhaps if cyberspace had been around I might have started a website in order to explain.
Miss Novak continued acting after "Virtigo" but none of her subsequent roles had comparable impact. There are no currently available books on her life and after a hard drive malfunction erased considerable work to date, she appears to have abandoned any thoughts of an autobiography. In the 50's she was romantically involved with Sammy Davis Junior, a relationship that contravened the 'morals clause' within their studio contracts. They were compelled to choose between their careers and their love for one another and unsurprisingly for Hollywood, professional aspirations prevailed. In Sammy's case, a mob contract to kill him lest he marry a black girl within forty eight hours was probably sufficient motivation.
http://www.answers.com/topic/kim-novak
In 2012 Novak told an audience at the TCM Classic Film Festival that she had bipolar disorder, and sometimes regreted her decision to leave Hollywood in the late 1960s at the height of her fame.
The star of such films as "Vertigo," "Pal Joey," and "Picnic," Novak was teary-eyed and emotional when she told Turner Classic Movies host Robert Osborne before an audience of about 300 people at the Avalon in Hollywood that she suffered from mental illness while making those films.
"I'm bipolar … but there's medicine you can take for this now," Novak said. "I was not diagnosed until much later. I go through more of the depression than the mania part."
Bipolar, a sympathetic description of manic depression, causes severe mood swings, that usually last several weeks or months and can encompass three states of mind;
(1)Low mood, intense depression and despair.
(2)High or 'manic' feelings of joy, over-activity and loss of inhibitions.
(3)A 'mixed state' such as a depressed mood with the restlessness and over-activity of a manic episode.
I can but applaud individuals who live with partners who have this illness; it's a complaint I have no academic capacity, nor inclination to deal with. In many instances I can but presume that most individuaals do not recognise this trait in their partners until they are embroiled in a full time relationship.
Reflecting on her career and her early position as a top box-office draw, Novak recounted how she was never nominated for an Oscar and struggled against notions of what kind of roles she should play as an attractive blond in Hollywood. Highlighting my interest in her as a movie afficionado, she summed up her battles with studio heads by adding;
"I couldn't play a beach girl, and I needed something complicated because I was complicated."
She was branded as difficult, Novak said, in part because she rejected attempts by studio executives to define and control her. At one point, they wanted her to take the name "Kit Marlowe" and wear her makeup like Joan Crawford did; at another, they prohibited her friendship with Sammy Davis Jr., saying it was too provocative.
Columbia Pictures President "Harry Cohn said, "you can't see him," Novak said, of Davis. "It really bothered me that people would mind our being friends. I guess I was not a person of the times."
Novak said her father suffered from depression, and her difficult childhood in Chicago prepared her, in a way, for Hollywood.
"I was used to having conflict in the home, so having conflict on a set … felt normal," she said. But she ultimately found the emotional pressures of the industry too much to bear, and moved to Big Sur to paint. She has acted sporadically since then, but her career never regained its early momentum. There has, for some time, been talk of an exhibition of her artistic work in aid of mental health philanthropies and naturally, I would be interested in viewing it.
"I don't think I was ever cut out to have a Hollywood life," Novak said. "Did I do the right thing, leaving? Did I walk out when I shouldn't have? That's when I get sad." Today, she lives in Oregon with her husband, an equine veterinarian, and their five horses. .
In 2004 she have a lengthy interview on the Larry King Live show, a transcript of which is available via http://transcripts.cnn.com/TRANSCRIPTS/0401/05/lkl.00.html
In life, we have to respect an individual's need for privacy, yet in the face of an overwhelming number of testimonials and reminiscenses to the contrary, she appears in denial of her romantic involvements with Frank Sinatra and Sammy Davis Junior. Of her one year marriage in the mid 60's to the english actor Richard Johnson, there is the briefest of mentions and the pair are said still to be good friends. I would love someone to define this glib statement that appears regularly in the press. What are "good friends"? Divorced couples who never sully each other's reputation in the press? Individuals who maintain regular contact with inexplicable consent from their new partners? Ex-partners who remain civil for the sake of their siblings? In any event the couple had none. All very interesting.
Unfortunately, in her 70's she appears to have succumbed to cosmetic surgery on more than one occasion. The 2004 photograph of her in the website link below appears eerily reminiscent of Jack Nicholson's makeup from the 1989 'Batman' movie when he stole the acting honours as the caped crusader's arch enemy, The Joker. It makes me sad that so many actresses cannot age gracefully, yet the temptation to undergo a surgical procedure seems both an enduring and inordinately strong one. Since I spend copious amounts of time studying facial characteristics it never ceases to amaze me that these celebrities seemingly remain satisfied with the results of their operations.
http://www.dailymail.co.uk/tvshowbiz/article-2131046/Vertigo-actress-Kim-Novak-looks-unrecognisable-hand-footprint-ceremony.html
Simply pulling skin tight generates an unnatural look since the vision of youth is associated with a cherubic face replete with puffy cheeks. In order to determine why so many people with face-lifts look "windswept" instead of youthful, recent medical research has collected three-dimensional CT scans of the skulls of about 60 adults. The idea was to look deep beneath the sagging skin and soft tissue, and focus instead on the underlying bone. When the research specialists grouped the scans according to age — young, middle age, and 65 and older in order to ascertain careful measurements of the various dimensions of the face, a pattern emerged. Apparently, it's not just skin that droops with age, but the facial bones shift and wither with time, too. Unfortunately nobody told Miss Novak.
In 2014, she would reportedly shock the audience at the Oscars ceremony with an appearance that mirrored excessive plastic surgery. The Tv presenter Kirstie Allsopp, was among those who suggested that Novaks's frozen face and plumped cheeks made her a poor role model for women.
Virtigo [original soundtrack] Bernard Herrmann 1958
In 1995, Varèse Sarabande, an American record label distributed by Universal Music Group which specializes in film scores and original cast recordings, released a new recording of the 'Vertigo' score with Joel McNeely conducting the Royal Scottish National Orchestra. This recording boasted much better sound quality over the then 37-year-old original soundtrack recording, and it included almost twice as much of the score.
I was financially tempted by the release but procrastinated and my patience was rewarded the following year when research conducted during the two-year-long restoration of 'Vertigo' by Robert A. Harris and James C. Katz uncovered the original master recordings of the music score at Paramount Pictures. These stereo masters were used in the new 5.1 mix of the film, as well as a much expanded CD of the original soundtrack recording.
This CD is 64 minutes long (with the selection of cues closely matching that of the McNeely recording). Unfortunately, the tapes had not been stored under the best of conditions, and deficiencies can be heard in some spots. The CD liner notes state that the music track for the cue "The Graveyard" was too damaged to be included. For the 5.1 mix, the film restoration team was forced to lift the audio for the sequence from a music and effects reel located in Spain. However, 13 other (mostly minor) cues in the film are missing from the expanded soundtrack CD without explanation. Several can be cleanly extracted from the 5.1 mix of the film, indicating that the music tracks for some of these cues survive and were used for the new mix.Some parts of the CD are in stereo, and other parts are in mono. This is due to the London cues being recorded in stereo and the Vienna cues in mono. Whatever the convoluted background to this soundtrack masterpiece, I had to have the original recordings out of blind loyalty to Bernatrd Herrmann, who remains to this day one of my all time musical heroes.
Picnic (1955)
Hal (William Holden), is smitten with Madge (Kim Novak) after their dance together in a film that offers a richly detailed snapshot of life in the American Midwest, before the advent of rock'n'roll. It won two Academy awards and was nominated for four more.
The Man with the Golden Arm (1955)
Frank Sinatra brings his usual insouciance and bravado to the role of Frankie machine but only Kim Novak's hostess Molly can see the carefully disguised heart of gold within him. Beauty and compassion are evident within every nuance of Novak's portrayal and the uplifting end a fitting reward for the protagonist's travails.
Hitchcock's masterwork (see above).
Of human bondage (1964)
Opinions are divided as to whether Novak wrestled the acting honours from Bette Davis and her earlier portrayal in a screen adaptation of W. somerset Maughn's novel yet divorced from this argument she acquits herself well in one of her best ever roles as the heartless, immoral Mildred Rogers who eventually succumbs to syphilis.
Pal Joey (1957)
Jeanne Eagels (1957)
Bell, Book & candle (1958)
Middle of the night (1959)
Scripter Paddy Chayevsky altered his successful stageplay for this routine cinematic version of 'Middle of the Night,' emphasizing the self-centred interests of the relatives and friends who surround Jerry Kingsley (Fredric March). Jerry is a widower, a lonely but successful clothing manufacturer who falls in love with Betty Preisser (Kim Novak), one of his employees. The employee-boss relationship is one hurdle the erstwhile couple have to overcome, another is the thirty-year difference in their ages, and the last is the attitudes of the couples' relatives — each close relative (mother, daughter, sister) feeling marginalised by the relationship, left out in the cold, forgotten. These attitudes do not bode well for the proposed nuptials yet the film ends on a downbeat air of optimism, however shortlived the couples' relationship may be.
Director Delbert Mann, best known for his 1955, award-winning "Marty," coaxed first rate performances from his leading stars yet problems persist when re-evaluating the movie. March was 62, his character 56, and his appearance closer to that of a septuagenarian. Whatever his credentials as an actor and there were many – two Oscar winning performances in "Dr Jekyll and Mr Hyde" (1931) and "The best years of our lives" (1945), plus numerous other first rate performances – the film retains the feel of an emotional leap too far.
It's nonetheless, a touching performance from both March and Novak, even though watching the movie, I remained uncomfortable by the implausibility of it all. Jerry falls hard for Betty, irrationally so, for the promise of continued vitality and the love he hopes he's not kidding himself about seeing in her. She, coming out of a bad marriage to a musician her own age, finds his maturity, decency, emotional solidity and – let's be frank about this – bank balance, reassuring, whilst not untouched by his obvious passion for her. As everyone connected to them wrings their hands and expresses misgivings, the question remains whether the couple can make the May-December match-up work.
Jerry's fears, his jealousy of every young man who comes into Betty's vision, potentially displacing him, are countered by Betty's low self-esteem. At one point, early on in the courtship, she tells her would be suitor: "If you weren't such a decent man, you'd probably make out better with me." Despite his rekindled ardour, Jerry knows an enduring relationship is defined by what happens fully clothed and vertical, rather than naked and horizontal, and he's too mature to be anything but himself around her. As they internalise their feelings on a park bench, the couple are each honest enough to acknowledge that a break-up would also carry with it a certain relief, a mutual exchange of exposure and emotional risk for the safe haven of a loveless harbour.
Along the way, Betty attempts her own version of subconscious sabotage when her ex-husband pays a surprise visit after more than a year apart. It is left to Jerry to decide how to deal with his inner torment and loneliness. At the film's conclusion, he's compelled to think for the pair of them……
Novak's detractors – and she boasted more than a few amongst film critics – repeatedly argued that her looks far outstripped her acting abilities. In role after role, she seemed tentative, in over her head. But in 'Vertigo' (1958), Alfred Hitchcock recognised that the vulnerability she radiated would be a tremendous asset in the character of a woman being remade to fit Jimmy Stewart's male fantasies. One year on, the director Delbert Mann saw it, too. Novak's Betty is touching because she convinces us she's vulnerable, an insecure woman who doesn't know what she wants, much less how to get it.
Kim Novak on Camera (Larry Kleno) 1981
Some well researched biographical information suitably adorned with pictorial galleries, this volume is sadly long out of print.
Until a reprint becomes available a timely reminder of the actress at her photogenic best can be located at
kim Novak – Glamour girl of the silverscreen
http://www.glamourgirlsofthesilverscreen.com/showpic.php?id=210
http://www.youtube.com/watch?v=sTG_zwGsPWc
Novak on the US Tv show 'What's my line?' – the 5 February 1956 edition.
http://www.labyrinth.net.au/~muffin/kim_novak_c.html

redpajama_set_name: RedPajamaCommonCrawl


2019 Honda Goldwing Motorcycles Redesign, Encouraged to my personal website, in this time I am going to explain to you with regards to 2019 Honda Goldwing Motorcycles. And today, here is the very first impression.
How about photograph previously mentioned? is usually of which remarkable??. if you feel and so, I'l d show you a few photograph again down below.


Adam joined Charlotte Peterswald Property Management in early 2014 after an extensive and varied career in Hospitality, Finance, Mining and Construction. Adam has responsibility for properties located in Battery Point, South Hobart, Mt Nelson, Dynnyrne and Kingborough. He has nearly completed his Diploma in Real Estate and he excels in forming, lasting relationships with both property owners and tenants.


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Q: How to limit a xorg installation to a single video driver? I'm trying to install xorg-server in debian wheezy.
I tried to execute a simple command
apt-get install xserver-xorg

It attempts to install ton of video drivers and dri-modules: for nvidia, for intel, for amd, for vesa and so on. And I'd like to keep the system image as small as possible.
How to tell debian that I need the only video driver supporting the card that is present now.

A: By default, xserver-xorg pulls in xserver-xorg-video-all, which pulls in all the video drivers.
If you know which driver is appropriate, you can install it along with xserver-xorg, and it will satisfy the alternative dependency on xorg-driver-video, avoiding the xserver-xorg-video-all dependency altogether; thus for an Intel IGP:
apt-get install xserver-xorg xserver-xorg-video-intel

If you want to make doubly sure that xserver-xorg-video-all isn't installed, you can use something like
apt-get install xserver-xorg xserver-xorg-video-intel xserver-xorg-video-all_

(note the underscore, which instructs apt-get to purge the package).
To avoid installing the libdrm* packages, you need to avoid libgl1-mesa-dri which depends on all of them (with no easy workaround, so if you want DRI support you need all three implementations, unless you use equivs — but they're quite small). xserver-xorg recommends the package, so
apt-get --no-install-recommends install xserver-xorg ...

should do the trick. This is a good idea anyway if you're after a small image.

redpajama_set_name: RedPajamaStackExchange


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The Case for Story—Why Brand Storytelling Done Properly Always Works
By Michael Box on March 29, 2018
Story, story, story-it has become the ultimate buzzword in marketing. Some proclaim that this is because our economic future depends on storytellers. Others argue that storytelling was 2017's worst buzzword-a word we should lose. Even so, at conferences and on business blogs everywhere, experts (and imposters) are selling story, and brands are buying big time.
That's a good thing. There is a case for story in business. Story-when done properly-works. However, when it's not done properly, it doesn't work. The main reason it's not done properly is because the term story is not properly understood. So how can marketers know which story merchants are the real deal and which are the phonies? How can they separate the sheep from the goats?
Story Misconceptions
First, let's get rid of some misconceptions. There's a belief out there in marketing land that story is just an alternative to interrupt advertising, as if story were the latest trend.
Don't get me wrong, brand storytelling is trending, and it's a trend driven by the fact that interrupt advertising isn't working.
But I take issue with the implication that storytelling is somehow the "runner up" or second choice to old-fashioned advertising. For starters, there are many examples of traditional advertising that tell amazing stories.
"Uncle Michael, can you read me a bedtime listicle?"
That is not something I've heard my nephew say recently. Nor has he asked for a bedtime blog post or a video on social media. "Story" and "content" are not interchangeable terms. A listicle is not a story. An article is not a story. (Though, as we shall see, they can both be part of a brand story or your audience's story.)
So what is a story-really?
According to Robert McKee, screenwriting guru and creator of the legendary Story seminar, "A story is a sequence of causally connected, dynamic events that change a protagonist's life."
That's a definition, but that doesn't tell you how to create a story anymore than a definition of a house tells you how to build a house.
Storytelling is a craft that has to be studied. But as a former teacher, I am well aware that to study anything properly, you need motivation.
Why Story?
It's not a question of why story but of when-and it better be soon. As McKee told the Content Standard, "If [brands] don't get story, others will, and they will lose their place in the marketplace." It's not so much a case of following fashion; rather they have understood that the human mind is a story-making and taking-in machine.
Homo "Storycus"
Deliberate human burial-a practice that is at least 100,000 years old-is perhaps the earliest detectable form of storytelling. The proto-religious ceremony betrays a "concern for the dead that transcends daily life," and an impulse to make sense out of life and death. This storytelling impulse enabled our ancestors to record the past in an oral tradition and strategize for the future. That's why people from all cultures and nations throughout history and across the world have storytelling in their DNA. People get story.
Stories Communciate
Stories-unlike data-are memorable and shareable, In fact, according to Jennifer Aaker, a professor of marketing at the Stanford Graduate School of Business, information is up to 22 times more memorable when woven into a narrative. This is hardly surprising. By analogy, we can remember a string of letters if they form a sentence better than a random string-especially if the sentence arouses emotion.
Stories Resonsate
The mind is more likely to focus on stimuli of emotional significance. Again, this makes sense intuitively. We all remember those good times and bad times-the first kiss, the humiliation at the prom. We're unlikely to remember what we had for lunch two Tuesdays ago-unless it was particularly pleasant or unpleasant. And it doesn't have to be from our own lives either. Whether it's Sally's simulated orgasm in When Harry Met Sally or Quint being devoured by the shark in Jaws, the most memorable scenes from movies are precisely those that arouse the most emotion. Those scenes wouldn't work so well outside the context of the story. Watch the clip below. Doesn't it seem funny out of context? But when you watch it in the context of the story, it's deeply harrowing.
Stories Motivate
Stories can move us to tears, laughter, and action. Emotions motivate. It's not a coincidence that the word "emotion" has "motion" in it-they both come from the same Latin root. Not surprisingly, the power of stories affects our brain chemistry. Without getting into the neuroscience, we already know that throughout history-from Aesop's Fables to Reagan's jokes-stories have been used to influence attitudes and behavior. The meaning of the fable, or the punchline of the joke, carries a message-a message that is packaged within an emotive, memorable, and shareable structure.
How Does This Work in Practice?
Imagine a parent has a child who's teething and wants to give the child some relief. Say a brand publishes the article, "5 Natural Teething Remedies for Babies." At first glance, this is not a story (it isn't), and it has nothing to do with stories. Not so fast. While it's not a story, the article may participate in the reader's story. By empathizing with the audience's story-their pain points, the trigger, the object of desire-they can create content and a content strategy that address those pain points. The article, while not a story, plays a part in the story (or at least subplot) of the reader. In this case, a kind of fairy godmother-nay, a tooth fairy-with wisdom to share. If the solutions offered by the content bring relief, then the humble article will have taken the reader through a crisis, climax, and resolution.
To learn more about how brands can harness the power of storytelling in their marketing, order Storynomics by Skyword CEO Tom Gerace and renowned screenwriter Robert McKee.
Featured image attribution: Cristian Newman
Michael Box
When Marketing to Children, Being Ethical and Empowering Is How You Win Loyalty
What Cause Marketers Can Learn from One Campaign's Mission
How to Master Omnichannel Marketing with Seamless Data Storytelling
https://www.skyword.com/contentstandard/the-case-for-story-why-brand-storytelling-done-properly-always-works/ https://www.skyword.com/contentstandard/the-case-for-story-why-brand-storytelling-done-properly-always-works/ Michael Box


Two-bedroom air-conditioned apartment is fitted with a flat-screen cable TV, fridge and safe. The bathrooms come with shower facilities. Guests can sit back and relax at the provided seating area in the living room. A pool access balcony and kitchenette are available.


Imprimatur: +Edward C. Daly, O.P., S.T.M.
Emerson Hynes is a familiar figure of the Catholic Rural Life literary landscape. It was he who in 1940 wrote our first pamphlet, "City Slickers and Dumb Farmers." He edited our second one, "Farm-Family-Prosperity." Emerson and Arleen his wife, are Catholic college graduates. Their six youngsters, under seven years of age, are a joy to behold. Mr. and Mrs. Hynes find time to attend a few Rural Life Conventions, and amidst the busy life of their home, they write in behalf of the Catholic Rural Life cause.
"The Seven Keys to a Christian Home" first appeared in the "Marianist" under the title, "Building a Home." We are grateful to the editors for permission to reprint it.
We believe that the very house we live in can lead us to temptation or it can be an instrument of God's graces. The home must be a Sacramental. It can be made so even in a materialistic era. Too many families break up because they have purchased the house of a thousand gadgets with buttons everywhere and a swarm of collectors every payday. Then there are no children; then the wife has to work; then love does not grow deeper and stronger as the years go on; then hell on earth; then the break up, then the very high probability of losing one's soul.
We urge Church and State, banks, investment companies and even real estate interests to help young couples in planning their homes and building their nests along Christian lines.
Mr. and Mrs. Hynes present herewith The Seven Keys to a Christian Home. It is a blueprint as well as a living reality.
On his own ground. (Alexander Pope.) L.G.L.
We are indebted to Mr. Gruen and Miss Stoner of "Better Homes and Gardens" for the art work and proofreading, and to Sister Mary of the Incarnation for editorial assistance.
There are enough families," writes one expert, "to call forth a million houses a year for the next ten years, and houses are what America is eager to buy or rent."
That's a lot of houses, and those figures indicate that there are a lot of unhappy people living in cramped quarters. That's too bad. But from another standpoint, the figures symbolize the possibilities of a great adventure that ten million families could have--planning and building a home.
What worries me is that apparently many of the first principles of home-building have been lost in the battle for houses. There is a great difference between a house and a home. A house, according to Webster, is "a structure for human habitation"; but a home is defined as an "abode of one's family.... The abiding place of the affections.... The social unit or center formed by a family living together."
A house is only a means to the end--a home. Every step in building a house must be tested to determine whether it aids or hinders homemaking. It is more important, therefore, to know the principles of home-making than it is to secure land and materials. In practice, home-building and home-making fuse. But in planning, they must be kept separate--and the principles of home-making come first.
Difficulties have increased tremendously in the postwar years, but principles do not change. Circumstances may prevent achieving the ideal in its fullness, but the ideal is still the guide.
1. A home should be designed for family living.
2. A home should be independently owned.
3. A home should be built for permanency and growth.
4. A home should provide privacy.
5. A home should be part of a community.
6. A home should be a productive unit.
7. A home should be beautiful.
The exterior design, the number and size of rooms, the kind and amount of furnishings, the location of the house and of the rooms in it--all these are influenced more by how it will look to outsiders than by the service and convenience it will provide for the family. The home should not be a depot or a furniture store; it is not meant to serve or to sell the public.
You might assume that everyone hopes to own his home and that only the lack of money prevents the ideal. This assumption is far from the fact. The value placed on home ownership has gradually decreased. For many the convenience of apartment living and the ease of moving from one place to another are more important than ownership. A recent book was written about the hazards of owning one's house--and the book was a top-seller.
Ownership provides the owner with more security of shelter than renting could, and security is one of the greatest needs of a growing family. It gives the owner a sense of responsibility--to maintain ownership, to add improvements, and to make repairs.
Those are substantial arguments but there is still another-- one which appeals to the heart. That is the pride and joy of ownership. To stand on your own land, to plant and cultivate your own garden and flowers and trees, to build your own fences, to paint and beautify your own house, simply to stand back and survey your own property--here is a value the worth of which cannot be measured.
A house is brick and mortar when it is built. It becomes organic through adoption by a family. As the family thinks and feels and grows, so should the house reflect the change. One of our guests, a contractor, recounted how he had built several hundred houses, row on row, varying four basic designs. He built and furnished them completely, even to planting the shrubbery outside, and--as he said--he had food in the refrigerator when the families moved in. I cannot doubt his word, but I do doubt that he sold those houses to normal people.
It may seem intolerable to live in a house which is not completed or which is always being improved. That would be true if the house were not your own, or if you wanted it to be a show place to impress outsiders. Many of our visitors have arched an eyebrow as they looked at the unfinished condition of our house, and I suppose some were scandalized. But if you are always planning, you don't see things as they are but as they are going to be--and that is good.
The assumption that one cannot have a new house unless it is finished the last splendid detail is a major factor in preventing construction, for it increases the cost tremendously. Over the years we have worked an average of more than an hour a day on the house. Estimated at a dollar an hour (which would be optimistic for our unskilled labor) our work has added $2,500 in value to the house.
Pressure for space accounts for some of this crowding of families into areas where they can have only a superficial privacy--at the expense of remaining anonymous. In cities even single-unit dwellings are often jammed together like slices of bakery bread. Since the decentralization of family units depends upon the decentralization of cities and industry, there is no prospect of an immediate solution to the problem.
A family planning a home should put privacy high on the list. Securing land in a remote suburb or on the fringes of the town or city will mean sacrificing some conveniences, but you should weigh these disadvantages against the gain in family privacy before making a decision.
Fortunately for those who want "space, light, and air" for the family, as Pope Pius XII termed it, big lots in undeveloped areas are far less expensive than small lots in crowded areas. Our house was built in its entirety for less than the estimated cost of two rooms in a Harlem slum-clearance housing project.
Somewhere along the line we Americans lost a valuable principle guiding our European ancestors. They valued privacy; it was common practice for them to build their houses on the edge of the street, with all the services coming from the street, not from the alley. What we call the the front of the house, they have at the rear in the form of a little court where they and their neighbors can enjoy seclusion.
There are obstacles to working together and temptations to individualism. We fancied a pine-covered acreage overlooking a lake. It was alluring--but alone. No neighbors in sight. We have been grateful a thousand times for the advice not to isolate ourselves. We fitted our home into a small community of seven families, with each house about three to five hundred feet from the other. We vary in nationality, occupation, age, and size of family. No one interferes with anyone else, yet everyone is aware of and interested in the welfare of the other.
From many standpoints, no consideration in home making is more important than planning the home as a productive enterprise--productive for the wife, the husband, and the children. This is a principle to which Pope Pius XII has referred again and again. He says that no form of private property (no, not even automobiles and television sets) "is more conformable to nature . . . than the land, the holding in which the family lives, and from the products of which it draws all or part of its subsistence."
The purpose of play and recreation is to enable us to work and pray better--it "re-creates" us for higher things. Yet in homes where there is no wholesome work for the children, they can only play. Children, being children, may grumble at tasks to be performed, but usually it is because we have not taken time to train them or we have not given them really responsible work to do.
Nor should one plan conventional things just because they are conventional. It is probably impossible to please all outsiders anyway; public taste is fickle and changing. The test should be--is it pleasing to you and to your family? Not, what will other people think?


text:
Q: Databind text to a string property I'm new to Silverlight and the concept of data-binding and I still fail on resolving my problem. I haven't manage to find a solution after few days of research.
Here is my problem :
I correctly bind a String property to the text of my TextBlock as you can see below :
MainPage.xaml
<Grid  Background="Blue"  DataContext="{StaticResource WP8Displayable}">
        <TextBlock x:Name="tbCanvasTitle" TextWrapping="Wrap" Text="{Binding titleDisplayable}" FontWeight="Bold" HorizontalAlignment="Center"/>
</Grid>

WP8Displayable.cs
public class WP8Displayable : IDisplayable, INotifyPropertyChanged
{

    public String title { get; set; }

    #region INotifyPropertyChanged Members

    public string titleDisplayable
    {
        get
        {
            return title;
        }
        set
        {
            if (title != value)
            {
                title = value;
                NotifyPropertyChanged("titleDisplayable");
            }
        }
    }

    public event PropertyChangedEventHandler PropertyChanged;

    // Used to notify the page that a data context property changed
    private void NotifyPropertyChanged(string propertyName)
    {
        if (PropertyChanged != null)
        {
            PropertyChanged(this, new PropertyChangedEventArgs(propertyName));
        }
    }

    #endregion

    public void setTitle(String s)
    {
        this.title = s;

        NotifyPropertyChanged("titleDisplayable");
    }
}

I have a thread in my MainPage.xaml.cs that can instantiate one or more instance of WP8Displayable class. When one of the instance call setTitle(String s) the text in my TextBlock does not update, it seems that my DataContext is not set up properly.
EDIT :
My thread is launched in the MainPage.xaml.cs in the MainPage_Loaded(object sender, RoutedEventArgs e) method and does something like this :
  var instanceWP8Displayable = new WP8Displayable();
  //tbCanvasTitle.DataContext = instanceWP8Displayable;   HERE IS WHAT I WOULD LIKE TO DO ON XAML
  instanceWP8Displayable.setTitle("my Title");

EDIT 2 : App.xaml
<Application
x:Class="AMS.App"
xmlns="http://schemas.microsoft.com/winfx/2006/xaml/presentation"
xmlns:x="http://schemas.microsoft.com/winfx/2006/xaml"
xmlns:phone="clr-namespace:Microsoft.Phone.Controls;assembly=Microsoft.Phone"
xmlns:shell="clr-namespace:Microsoft.Phone.Shell;assembly=Microsoft.Phone"
xmlns:windows="clr-namespace:System.Windows;assembly=System.Windows"
xmlns:ioC="clr-namespace:AMS.Controller">

<!--Application Resources-->
<Application.Resources>

    <windows:ResourceDictionary>
        <local:LocalizedStrings xmlns:local="clr-namespace:AMS" x:Key="LocalizedStrings"/>
        <ioC:Locator x:Key="Locator" x:Name="Locator" />
    </windows:ResourceDictionary>
</Application.Resources>

MainPage.xaml
    <Grid x:Name="LayoutRoot" Background="White">
        <Grid  Background="Blue"  DataContext="{Binding Source={StaticResource Locator}, Path=WP8Displayable}">
        <TextBlock x:Name="tbCanvasTitle" TextWrapping="Wrap" Text="{Binding titleDisplayable}" FontWeight="Bold" HorizontalAlignment="Center"/>
    </Grid>
    <Grid.DataContext>
        <local:WP8Displayable />
    </Grid.DataContext>
    </Grid>

How can I dynamically set up the DataContext in that case ? And Is it possible to link more than one instance to the same object ?
If anyone as a clue or feels that my question is not clear enough don't hesitate to tell me.
Thank you.

A: I would recommend you check out MVVMLight which will help you eliminate a lot of boiler plate code you have to write e.g. INotifyPropertyChanged. Further it provides you with an IoC Container (Inversion of Control) that is most commonly used for the task you are trying to perform. You can implement a simple version of one on your own (see bellow).
You can set the DataContext in XAML but you will need a class that provides the Object, so for instance you could write a class like this (I'm assuming you add it directly to the project and not in a subfolder):
public class Locator
{
    public WP8Displayable WP8Displayable
    {
        get { return new WP8Displayable(); }
    }
}

Next you will have to register the Locator class in the App.xaml so you can reference it from within your view:
<Application
    ...
    xmlns:windows="clr-namespace:System.Windows;assembly=System.Windows"
    xmlns:ioC="clr-namespace:YOURAPPNAME">

 <!--Application Resources-->

 <Application.Resources>
     <windows:ResourceDictionary>
         <local:LocalizedStrings xmlns:local="clr-namespace:AMS" x:Key="LocalizedStrings"/>
         <ioC:Locator x:Key="Locator" x:Name="Locator" />
     </windows:ResourceDictionary>
 </Application.Resources>

        ...

</Application>

Now we can set the DataContext in XAML:
<Grid  Background="Blue"  DataContext="{Binding Source={StaticResource Locator}, Path=WP8Displayable}">
        <TextBlock x:Name="tbCanvasTitle" TextWrapping="Wrap" Text="{Binding titleDisplayable}" FontWeight="Bold" HorizontalAlignment="Center"/>
</Grid>

HTH

A: Your way for declaration property is wrong.
Plz Declare property as below;
#region INotifyPropertyChanged Members

public string _titleDisplayable;
public string titleDisplayable
{
    get
    {
        return _titleDisplayable;
    }
    set
    {
        if (_titleDisplayable != value)
        {
            _titleDisplayable = value;
            NotifyPropertyChanged("titleDisplayable");
        }
    }
}

and In class methods plz write below code:
public void setTitle(string s)
{
    this.titleDisplayable = s;

}

Plz changes ur code as per above code.
Thanks ,
Hitesh.


text:
Wing Commander Charles Midgley Maud  (1 April 1898 – 10 March 1974) was an English World War I flying ace credited with 11 confirmed victories. After going into business after World War I, he returned to military service during World War II, and served until 1954.

Early life
Charles Midgley Maud was the son of Charles Joseph Maud and his wife Lilian, of "The Rookery", Rodley, Yorkshire. In Charles Midgley's, and his sister Winnifred's (b. 1896), baptismal records at St. Andrews Church in Rodley, his father described his profession as "gentleman". He was educated at Shrewsbury School.

World War I
Maud was first commissioned as a second lieutenant in the Royal Field Artillery on 5 August 1915. He transferred to the Royal Flying Corps in July 1917, receiving a weeks preliminary classroom based training at the No 1 School of Military Aeronautics at Reading, before being posted to No. 13 Training Squadron for his basic flight training.
He was appointed a flying officer on 23 December, and on 3 January 1918 was posted to No. 201 Training Squadron for advanced flying training, followed by a final two-week course at the No. 2 School of Aerial Fighting and Gunnery at RFC Marske from 26 February.

Maud was posted to No. 66 Squadron based at San Pietro in Gu in northern Italy, flying the Sopwith Camel single-seat fighter, on 8 March 1918, and soon after was promoted to lieutenant, backdated to 1 July 1917. His squadron was tasked with flying offensive patrols and bombing and strafing enemy aerodromes, but poor weather prevented flying throughout most of April, so it was not until 1 May that Maud gained his first aerial victory, when he destroyed an Albatros D.III south-west of Conegliano. He then destroyed an LVG C south of Oderzo the next day. He went on to drive down 'out of control' an Albatros D.V south-west of Caldonazzo on 10 May, destroyed an Albatros D.III over the Centa Valley on 18 May, and drove down another D.V over Alano di Piave on 20 May, to gain his flying ace status. Maud went on to destroy an Albatros D.III south of San Stino di Livenza on 8 June, and an LVG C south-west of Belluno on 10 July. He gained three further victories in August, destroying LVG Cs west of Feltre, and over Vittorio, on the 5th and 22nd, and a DFW C on the 23rd over Vidor. He was appointed a flight commander with the temporary rank of captain on 1 September, and gained his eleventh and final victory on 7 October, by driving down another Albatros D.V over Oderzo. His tally amounted to five enemy reconnaissance aircraft and three fighters destroyed, with another three enemy aircraft driven down out of control.

His feats earned him the Distinguished Flying Cross, which was gazetted on 7 November 1918. His citation read:
Lieutenant Charles Midgley Maud.
"A bold Scout Pilot, who possesses in a high degree the true fighting spirit. He has shot down seven enemy machines."

In early February 1919 the Government of Italy conferred on him the Croce di Guerra al Valor Militare, and on 24 February Maud left No. 66 Squadron to return to England.

Post World War I
Maud was transferred to unemployed list on 8 April 1919, finally relinquishing his commission on 22 July 1921 on accepting an appointment in the Territorial Force, serving as a lieutenant in the 70th (West Riding) Brigade, Royal Field Artillery, until 22 August 1923.

On 31 December 1929, he broke up his partnership as a wool broker and left the family firm.

World War II and beyond
At the beginning of World War II, Maud returned to military service, being granted a commission as a pilot officer on probation in the Administrative and Special Duties Branch of the Royal Air Force Volunteer Reserve on 14 February 1939. On either 12 August or 5 September 1939, he was confirmed in his appointment, and promoted to flying officer.

When Maud received a mention in despatches on 1 January 1940 he held the rank of acting-squadron leader, but it was not until 22 October 1943 that he was promoted to the war substantive rank from flight lieutenant.

He would serve until 10 February 1954, when he resigned his commission as a squadron leader in the RAF Volunteer Reserve. He was allowed to retain the rank of wing commander on his retirement.

Aside from the medals already noted Maud also received the 1914–15 Star, the War and Victory Medals for World War I, and the Defence and War Medals for World War II, and also the Special Constabulary Long Service Medal awarded during the inter-war period.

Maud died in Ripon on 10 March 1974.

References

1898 births
1974 deaths
People educated at Shrewsbury School
Royal Flying Corps officers
Royal Air Force personnel of World War I
British World War I flying aces
Recipients of the Distinguished Flying Cross (United Kingdom)
Recipients of the War Cross for Military Valor
Recipients of the Croix de Guerre 1914–1918 (France)
Royal Air Force Volunteer Reserve personnel of World War II
Military personnel from Leeds
British Army personnel of World War I
Royal Field Artillery officers
Royal Air Force wing commanders

redpajama_set_name: RedPajamaWikipedia


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The banner from EggCon 2009.
EggCon 2009 was the first annual convention hosted by Cracked Egg Studios where employees, customers, and fans gathered to network, learn about the company's current projects, and have a good time. EggCon 2009 was held on September 5, 2009. Video coverage of the event was posted on October 3, 2009.
1Planning
2Panels
2.1General Panel
2.2Bongomon Panel
2.3The Twisted Mile Panel
2.4Ni-Ki-Oh! Panel
3Guest Speaker
4Concert
5Special Guest Awards
6Closing Remarks
7Critical Reception
8Video Coverage
Although general plans were in the works since February 2009, nothing was put into motion until Ted Phillips asked Rich Falantano for permission to host the convention on his estate in Bronx, NY during the second week of July 2009.
At the beginning of August, information about EggCon 2009 was posted in a Facebook event. Because of venue rules, only a small number of people were informed about the event and the venue would not be revealed until the day of the convention. There were multiple issues with the venue where it was changed and changed back several times. The most notable change was the reversion to Rich Falantano's estate one hour before the convention's start.
Many activities had to be canceled due to budgetary restrictions. The panels were added to fill these holes after a consultation between Ted and Nick Phillips and James Corbett about must-haves for the convention on August 8, 2009.
General Panel
Ted Phillips began by welcoming the guests to the convention. He proceeded to summarize the history of Cracked Egg Studios with emphasis placed on how it had changed in the previous few years. It was announced that several classic videos would be uploaded to the web site: The Twisted Mile, The Big Crunch, All Cat, Christmas Crisis, Mortal Combat. Ted also announced the development of The Chronicles of Bahud and the Narcoleptic Llama with Steel Leg Braces, Isles of Fortune, the upcoming remakes of animated classics Skelly and The Adventures of Bongo and Nakita, and the imminent production of Bean of the Dead and Life in Edgewater.
Then Nick Phillips, Joe Justus, and Rich Falantano led the panel discussion. Topics that came up included Cracked Egg Studios's substantial general diversification and marketing strategy.
Bongomon Panel
Nick Phillips gave an overview of the first episode of Bongomon and its place in the wider 3D Movie Maker era. He announced the upcoming second episode and gave information about its new villains.
In the panel discussion, Nick Phillips revealed information about the variety of Bongomon types and species, including the legendary Bongomon. He also responded to allegations of animal fighting, satanism, eugenics, and racism in Bongomon. He disputed animal fighting and offered racism as an alternative. He defended the inclusion of satanism and racism in the show as a way of educating children about diverse points of view.
Nick Phillips said:
We hope that the NAACP uses Bongomon as an educational tool for the betterment of society, through its depiction of racial stereotypes.
The Twisted Mile Panel
Nick Phillips described the confusing nature of The Twisted Mile and announced the spin-off series as a solution, along with exciting new characters.
In the panel discussion, Tom Fulgione discussed his involvement with Cracked Egg Studios and his inspiration for the teaser for The Even More Slightly Twisted Mile. He proceeded to provide an origin story for his character of Pizza Guy.
Ni-Ki-Oh! Panel
Ted Phillips defended the web release of Ni-Ki-Oh! from criticism, promoting it as a solution to the hiatus. He presented a clip show of the top 5 Ni-Ki-Oh! moments, chosen by fans via poll on the web site in the weeks leading up to the event. He described the upcoming season 4 and displayed a trailer for it.
In the panel discussion, Nick Phillips discussed the connections between Ni-Ki-Oh! and Isles of Fortune. Nick and Ted Phillips responded to allegations of speciesism against cats, citing evidence of a balanced treatment. Ted Phillips continued to discuss other potential foes for Niki Moto in future seasons.
Ted Phillips introduced HoJeong Park with a brief fictional biography. HoJeong then spoke to the guests, expressing his happiness to have returned. He described his feelings as a reluctant celebrity, and predicted success in the future of Cracked Egg Studios.
HoJeong then answered questions about his military experience, his knowledge of dragon-slaying, his opinions on the songs about him, and his corresponding characters on popular television series.
In honor of HoJeong Park, the band Gorath-Ur and the Riding Yaks made a live performance. The band almost cancelled the performance because of a scheduling conflict. They were able to attend, but were forced to eliminate several songs from the set list due to time constraints. The final set list consisted of:
The brand new song Three Trials, which the band had never even practiced before.
Remixes of You Don't Fuck with HoJeong and Basically, set to music the vocalists had never heard before.
Despite these issues, all three songs were well-received. The improvised remix of "You Don't Fuck with HoJeong" was considered to be "better than the original".
Special Guest Awards
Ted Phillips presented Ni-Ki-Oh! T-shirts to whom he called the "honorary cast members," David Collura and HoJeong Park.
Billy Helfrich gave his closing thoughts in the form of a review of EggCon. He said that EggCon answered all his questions and left him with a feeling of total calm. He stressed the epic nature of Cracked Egg Studios and advised viewers to buy into Cracked Egg Studios in order to avoid a life of poverty, loneliness, and despair.
Some attendees admitted that they attended EggCon with very low expectations upon arrival, but were pleasantly surprised to enjoy themselves, despite much of the festivities not having come to fruition.
Video Coverage
Web site administrators planned to upload video coverage of EggCon 2009 as soon as the following weekend, but several factors delayed the release until October 3, 2009. Earlier deadlines for other projects made scheduling editing time difficult, and imminent hard drive failure made the encoding process take longer than necessary.
Because the source was over four hours in length, editors decided to upload the video in separate clips, but the existing EggPlayer was not fully capable of playlist functionality until October 5, 2009. Although available from October 3-5, the videos saw much downtime during this period.
At the time of its release, the EggCon 2009 coverage was the highest resolution video published on the web site at 1920 x 1080 pixels (progressive scan).
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on Oct 1, 2009
Last updated by
NickyPhils
CES Staff
Epicness! I especially enjoyed Billy Helfrich's speech at the end.
It also seems like you're trying to avoid stating the fact that there was a Bahud panel.
"No single preposition can describe what is going on in there."
- A person from a dream I had once
It was improvised and added spur-of-the-moment during the convention. It wasn't really intended as a panel either - Joe hadn't really talked about Bahud at all during the general panel when he was supposed to so people didn't really know what it was, and I just wanted you guys to spend a minute or two to say a few words about it. For this reason, I include it as part of the general discussion.
Didn't realize you would spend a half hour spilling an entire season's worth of storylines. For this reason and the fact that the video would be too long, it's not included in the coverage.
pegasus;5413 said:
Didn't realize you would spend a half hour spilling an entire season's worth of storylines.
Oh yes, that's exactly what Joe asked me to do. I was a little annoyed that I was not told ahead of time, so I had to recite the entire thing from memory as best as I could.
By the way, I really enjoyed Gorath-Ur's new song, Three Trials. It is written very well and the ukulele added a whole new atmosphere that is not present in Gorath-Ur's previous work.
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Throughout the Stanley Cup playoffs, Chicago Blackhawks head coach Joel Quenneville has made heads turn with the various line combinations that he trotted out, but there's something especially head-scratch-worthy about his latest assemblage.
Yesterday, Quenneville set the Twitterverse on fire by changing up the lines that had carried the Hawks through their Game 4 and 5 victories over the Los Angeles Kings. The biggest change was the one that saw Patrick Kane and Jonathan Toews, who had clicked so well in the previous two games that Kane had scored four goals, separated once again.
Before we get back to the top line shuffle, there is something else different about the lines that caught the attention of plenty of Blackhawks fans. Viktor Stalberg, who was famously benched for the first two games of the team's series against the Detroit Red Wings, is once again out of the Hawks' lineup, and in his place is Brandon Bollig.
The 26-year old forward, known more for his prodigious beard than his on-ice ability, has played in only three postseason games for the Blackhawks, picking up zero points, three shots on goal, and is averaging a little over seven minutes per contest.
Most people would choose to express their indignation toward the new-look Hawks lineup by focusing on Bollig's appearance, and there is a good deal of reason to that hatred. Bollig only playing seven minutes a game essentially means that other forwards like Kane and Bryan Bickell will likely begin to be double-shifted if Bollig gets into penalty trouble, or begins to routinely blow defensive assignments. That happened to Kane during the Minnesota series, but with three days of rest between games, clearly Queneville is thinking that he can do that again if Bollig falters.
There surprisingly isn't the amount of hand-wringing over the absence of Stalberg from the Game 1 lineup that there was following the Minnesota series when he was benched. He hasn't done much of anything in these playoffs, playing fourth line minutes despite being paired up with guys like Brandon Saad and Andrew Shaw, as well as Bickell on occasion. His three assists and 21 shots in 15 games for the Hawks clearly isn't good enough for Quenneville, and fans seem content with letting him exit the lineup against a more physical Bruins team.
The moves that really don't make sense are the ones in the top half of the Hawks' lineup. During the last two games of the Western Conference Finals, the top line of Bickell-Toews-Kane seemed to be working really well, as both wingers were goal-scoring machines. Furthermore, it looked like Marian Hossa and Patrick Sharp were quite comfortable with the plodding Michal Handzus, who continued his impressive scoring run as of late with the primary assist on Hossa's game winning tally in Game 4.
Swapping forwards between the two lines, in short, makes little sense. Kane clearly engaged more in the swing of the game when he was skating alongside his longtime cohort Jonathan Toews, who has gone through his own struggles during the playoffs and seemed to benefit from a familiar face by his side. By contrast, Kane looks slow and out of sorts when having to play alongside the significantly less athletic Handzus, who for all his great passing ability can't seem to get in sync with guys with great side-to-side speed like Kane has.
Obviously Quenneville never seems wedded to lines, so it feels foolish to judge him so harshly for the current construct of his lineup. In spite of those reservations though, it does still seem odd that going into the Stanley Cup Final against the Boston Bruins, a coach would want to break up lines that clearly were working in previous games.


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With Hope Hicks interview, Democrats breach Trump's inner circle
Video courtesy Reuters
Hope Hicks, once a close aide and communications director for President Donald Trump, will become on Wednesday the first member of his inner circle to testify to the congressional panel leading a probe into possible obstruction of justice by Trump.
Then-White House Communications Director Hope Hicks arrived to meet behind closed doors, in Feb. 2018, with the House Intelligence Committee, at the Capitol in Washington. The House Judiciary Committee will interview Hicks behind closed doors on Wednesday, the first time lawmakers will hear from a person linked to the president's inner circle since House Democrats launched investigations to review special counsel Robert Mueller's report.
WASHINGTON >> The House Judiciary Committee will interview former White House Communications Director Hope Hicks behind closed doors on Wednesday, the first time lawmakers will hear from a person linked to the president's inner circle since the release of special counsel Robert Mueller's report.
Obtaining the testimony from Hicks, a close and trusted former aide to President Donald Trump, is a significant victory for Democrats as Trump has broadly stonewalled their investigations. The committee originally subpoenaed Hicks to give public testimony, but agreed to the closed-door interview after negotiations. A transcript of the session will be released in the days afterward.
Still, it is unclear how much new information Hicks will provide. She already cooperated extensively with Mueller's probe, and a White House lawyer who will be in the room for the interview is expected to try and block her from answering certain questions.
In a letter sent to House Judiciary Committee Chairman Jerrold Nadler today, White House Counsel Pat Cipollone wrote that Trump had directed Hicks not to answer questions "relating to the time of her service as a senior adviser to the president."
Cipollone cited executive privilege, or the power to keep information from the courts, Congress and the public to protect the confidentiality of the Oval Office decision-making process. Democrats say they disagree that her answers are covered by such privilege, especially since she has already cooperated with Mueller.
The panel has also subpoenaed Hicks for documents, but she has only partially complied. She agreed to provide some information from her work on Trump's campaign, according to the Judiciary panel, but none from her time at the White House.
Testimony from witnesses like Hicks is one step in House Speaker Nancy Pelosi's methodical approach to investigating Trump. While more than 60 lawmakers in her caucus — including almost a dozen on the Judiciary panel — have called for opening an impeachment inquiry, she has said she wants committees to investigate first and come to a decision on impeachment later.
While Trump has continued to block their requests, Democrats have made some minor gains in recent weeks with Hicks' appearance and the Justice Department agreeing to make some underlying evidence from Mueller's report available to Judiciary members.
As one of Trump's closest aides, Hicks was present for many of the key moments reviewed in the Mueller report, and her name is one of the most frequently mentioned in the document. Hicks was a key witness for Mueller, delivering important information to the special counsel's office about multiple episodes involving the president. That includes the president's role in the drafting of a misleading and incomplete statement about a 2016 Trump Tower meeting at which Trump's son, Donald Trump Jr., expected to receive dirt on Democrat Hillary Clinton.
Mueller wrote in his 448-page report released in April that there was not enough evidence to establish a criminal conspiracy between Trump's 2016 campaign and Russia, but he said he could not exonerate Trump on obstruction of justice. The report examined several situations in which Trump attempted to influence or curtail Mueller's investigation, including the drafting of that statement.
Democratic aides said today that they plan on asking Hicks about several of those episodes, including the drafting of the statement, efforts to remove Mueller from the investigation and the firing of FBI Director James Comey. The aides requested anonymity to discuss their plans for the closed-door meeting.
The aides said that lawmakers will also ask about her knowledge of hush-money payments orchestrated by former Trump lawyer Michael Cohen to two women who claimed to have had affairs with Trump — the porn actress Stormy Daniels and model Karen McDougal. Trump has denied the allegations. Cohen is now serving three years in prison partly for campaign violations related to the payments.
The Democrats plan to use some of Hicks' answers to those questions to inform a committee hearing to review Mueller's report on Thursday. It's the second in a series of hearings in which the committee is talking to expert witnesses about the report. The transcript will then be released, possibly as soon as this week, according to the aides.
Other Trump associated frequently mentioned in Mueller's report have refused to appear before the Judiciary panel, including former White House Counsel Donald McGahn. McGahn's former chief of staff, Annie Donaldson, was also subpoenaed for documents and an interview and has declined to provide the documents, like Hicks and McGahn. It is unclear whether Donaldson will show up for a scheduled deposition next week.
Republicans have strongly criticized the investigations and say they are unnecessary after Mueller spent two years reviewing the same material and talking to the same witnesses.
Georgia Rep. Doug Collins, the top Republican on the panel, said Hicks' appearance proves that Trump is not stonewalling Congress. And he said they could have probably heard from her sooner if they hadn't taken "a scorched-earth approach to pursuing information" with subpoenas.
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Looking to buy tickets for Pune Warriors India for IPL 2012? Now the tickets are available online to purchase easily to watch the live matches of Pune Warriors India which will be played at Subrata Roy Sahara Stadium, Pune. The first match of Pune Warriors India is on April 6th against Mumbai Indians on Mumbai venue and the first home ground match is on April 8th, between Pune Warriors India Vs Kings XI Punjab at Pune Stadium. Here we have provided the match schedules for PWI and ticket price details which helps the PWI fans to get tickets for the matches they would love to watch.
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Premiere: Sludgeworth's Unreleased Track "To Be The Same" From The Upcoming Redscare Reissue "Losers of the Year"
December 6, 2022 (December 7, 2022) // Nikki Roberts
It's been nearly 30 years since the band Sludgeworth split, and almost as long since the album The Losers of the Year was released, but what was missing off that original CD release was two tracks: "To Be The Same" and "Here For A While."
Now, for the first time ever, you can see the lyric video for "To Be The Same" exclusively on RiotFest.org.
We also had a chance to sit down with Dan, Brian, and Adam to talk about the Losers of the Year reissue on Redscare that you can also hear for the first time ever on streaming services.
After nearly three decades, Chicago punk veterans Sludgeworth are seeing a reissue of their posthumous compilation, Losers of the Year, thanks to the efforts of Red Scare Industries. Composed of members of Screeching Weasel and Ethyline, the band was only active for a few years before calling it quits, but their songs left a lasting legacy on the city's punk community — and on listeners far beyond the city limits.
Losers of the Year sold tens of thousands of copies in its heyday, but this will be the first time the songs are pressed on vinyl and made available on streaming services, exposing a new generation of listeners to Sludgeworth's melodic Midwest punk. The Red Scare reissue includes two unreleased tracks (available on CD/digital versions only), never-before-seen photos, and liner note from Naked Raygun's Jeff Pezzati, Rise Against's Joe Principe, Mikey Erg, Dillinger Four's Patrick Costello, and more. Preorder the reissue here, or stream Losers of the Year on December 9. Before the comp is made widely available next week, Riot Fest talked to Sludgeworth vocalist Dan Schafer, drummer Brian Vermin, and guitarist Adam White about the Losers of the Year reissue, who they've been listening to lately, and their thoughts on a possible Sludgeworth reunion.
Losers Of The Year
Waste It Away
I Analyze
She's Not Disposable
Nearest One To Stand Behind
Angry Man
Two Feet On The Ground
To Be The Same*
Here For A While*
*CD Only Bonus Tracks
The Vinyl
the CD
How did the Chicago music scene of the '80's to '90's influence you?
Brian Vermin: Outside of Naked Raygun, I didn't pay much attention to where a band was from. My brother was my metal influence, Martin from Los Crudos turned me on to Crass and Conflict, Dave Simon had me listening to Bad Brains and Fishbone, Ben Weasel turned me on to the Angry Samoans and the Meatmen… so there were a lot of influences from a lot of different people.
Dan Schafer: My answer is similar to Brian's. Naked Raygun were huge for me. Local bands like the Bhopal Stiffs and Screeching Weasel likely played a role, but mostly our musical influences came from growing up in the '80's listening to music from everywhere.
Adam White: Naked Raygun, Big Black, Out of Order, Fugazi, Dead Kennedys, Samiam, Slayer, and Public Enemy were all huge influences for me, so a little of everything. The "scene" at the Metro in the 80's was awesome and WNUR Northwestern college radio had a Friday night punk show that Dan and I listened to all the time as kids which turned us onto tons of punk music from Articles of Faith to Descendents, etc.
Sludgeworth's career was very short lived. Why do you think it was so impactful, specifically in Chicago?
Brian: I don't think we realized we had an impact. We were 5 friends that played music we enjoyed and were lucky that other people were liking it. We were hella young and just excited to play and not sound like shit.
Dan: I believe it was timing. We started off experimenting with Naked Raygun, Fugazi, Jawbreaker, and people were receptive to it. We rehearsed a lot as a band and often had fun experimenting even though the results are mixed for me. However, I believe the tracks on Losers of the Year were the best and I'm glad to see its re-release.
Adam: I feel like Sludgeworth was just some catchy music we made at the right time and place. I never understood why it has turned out to be so impactful. Like Brian said, we were just 5 friends with similar music interests and influences having fun making music together.
As a Chicago-based band, how did you end up releasing Losers of the Year on Lookout! in California?
Dan: Ben Weasel was the liaison. He said something to them when I was too sheepish to ask, and Lookout! responded warmly.
Fast forwarding to present-day, how did this reissue with Red Scare come about?
Brian: Dan mentioned it to me a couple years ago. I guess they had a bad email address because about a week ago my brother just said to me 'Hey, did you know someone is re-releasing Losers of the Year?'
Dan: People have been asking for a re-release for years, just nobody offered to put it out. Red Scare stepped up to the plate and now this record is seeing the light of day once again.
What does it mean to be reissuing this comp with a Chicago label like Red Scare?
Brian: I'm really grateful. I had spoke to Tony at Victory Records about doing something years ago…he in the most polite and professional way told me to fuck off. I'm glad that Red Scare saw the value in that body of work and had the balls to green light it.
Dan: I'm grateful as well. It's a good feeling to see people excited about these songs after 30 years and see them celebrate its re-release.
Sludgeworth performing Someday at McGregors in Chicago. 1992
With Losers of the Year on streaming services for the first time, a new generation of punks will be exposed to Sludgeworth. For a new fan listening to the compilation for the first time, what do you hope they'll take away from it?
Brian: You're talking about music from 30 years ago made by a bunch of shitheads, that to this day gives me chills to hear. So for a younger generation to experience it, and for that music to stand the test of time, the take away for a new generation is to hear the honesty and passion in those songs.
Dan: Hopefully the younger generation takes from it what ours did back then. We'll see. I sincerely would love to see them hop on board.
Adam: I am really happy to have this stuff available on streaming now. I know I only find out about music through streaming them now, so I hope to reach some new people. I hope they just feel the same way I do about it at least, which is that it is fun and catchy music.
What can you tell me about the two new tracks on this re-release? Why were they not previously released?
Brian: I can tell you they're really fuckin' good songs! They were recorded by Phil Bonnet (rest his soul) and that guy was like the scout leader and we were trying to earn our punk badges. In the song "To Be The Same," there is a pain in Dan's voice in the chorus that tells the story of Sludgeworth disbanding. It was in that moment, in that session, that things would never be the same again.
Dan: We broke up while in the process of recording a record. "To Be The Same" was unfinished in my mind, but hearing the track again, I enjoyed it just the same.
Adam: They were never released because the album never happened, and I don't think Dan was sure he wanted to release them back when the Lookout thing happened? I have been trying to share these with people since we finished recording them. I do not like creating songs that never end up getting heard. That is what I am in it for, really. Not for money, or playing shows — just sharing some music and seeing how people react to them. I feel like the two unreleased songs show more of our "groove," or Fugazi influenced stuff.
In the past, Sludgeworth has reunited for a couple of festival performances. Any plans to perform at any fests or other shows to promote the reissue?
Brian: Plans… no. But I will say this: I would do a show in a heartbeat. I've been lobbying for that since I heard about the re-release. And if it happens, god willing, it would be a show you would not wanna miss… but it might be a show that never happens. Which would be stupid. If there's people from the original line up that want to, and people from the original line up that don't… well, I say ya make do with what ya got! Shit, who from Black Flag is in Black Flag now?
Dan: Difficult, but perhaps not impossible. I would be open to it but there's a lot to discuss first.
Adam: I am up for it, for sure. Dave is usually the hold out as he does not see the point in doing any more Sludgeworth shows for whatever reason.
Which newer bands are you listening to today? Bonus points if they're from Chicago!
Brian: I'm into a lot of metalcore and hardcore bands these day. I can't explain why. There's a band called Canal Irreal, which is Martin from Los Crudos new band, and I'm digging them. I saw Rise Against for the first time in the summer and Joe is hella cool. There's a band from Palatine called Born of Osiris that's cool.
Dan: What constitutes as new? [Laughs] Rhett Miller's The Misfit has been on repeat. Death Cab for Cutie's Asphalt Meadows, The Beths Future Me, Hates Me, is all new. Love the word smiths like Bob Dylan, John Samson, Blake Schwarzenbach. I went into a phase where I listened to nothing but metal for like a year. I grew up on metal and it was the gateway to punk. Many of us can thank Metallica for that.
The last question I always ask: Is there anything you'd like to add, or a question that I should have asked you?
Brian: A lot of people say Sludgeworth broke up because of "musical differences". I had 30 years to mull that shit over and in my opinion we had "communication issues". We were young. Our tastes were changing. I [wish] someone would have said "there's music you like, and there's music you play, and it's cool to be influenced and bring in elements if and when they work, but you need to be open to understanding sometimes, that shit won't work". Everything works how it's supposed to. Dan had great success with Weasel, The Methadones, Dan Vapid and the Cheats… the rest of us had fun in Ethyline, we're all still alive and luckily able to tell the stories of Sludgeworth… The Losers of the Year.
Dan: In my case, I felt like I was drifting away from these guys. We change a lot when growing up and I was no exception. However, I do believe musical differences were a factor. Brian is right about communication. It was a problem. It isn't pleasant stuff to talk about this, but, there it is. That said, I look back fondly even though we have differences. Some of the best times I ever had were in Sludgeworth. I don't think I ever laughed as hard as I did when with these guys. We made music I'm proud of, to this day, and I'm happy to see this record materialize.
Adam: This band was lots of fun at an important time in my life. Always laughing and hanging out with each other was great and collaborating on writing songs together always felt great. Some of the band became shitty toward Dan for the last year or so of our existence, just based on young and dumb opinions and the fact that Dan wanted to get away from the "experimental" side of our song writing. Like Brian mentioned, we all happily parted ways really because Dan went on to do great things and the rest of us formed Ethyline and kept doing our thing. I do wish the band had stayed together and see where we would've gone with it, but we all kept making music so there is no need to dwell on that.
You can listen to Losers of the Year for the first time on vinyl and streaming services from the reissue release from Redscare featuring "To Be The Same" and the additional unreleased track: "Here For A While."
Yellowcard's Ryan Key Breaks Down 'Ocean Avenue' Track by Track Premiere: No Trigger's "Antifantasy" is a Ripping Ballad Against Bootlickers
Nikki Roberts
Nikki Roberts is a freelance culture writer, punk blogger, and reporter based in Chicago. Her writing has also appeared in Chicago Reader, Chicago magazine, South Side Weekly, and many indie music blogs. Email her at or find her on Twitter and Instagram at @bynikkiroberts.
Posted in InterviewsTagged angry samoans, Bad Brains, bhopal stiffs, big black, crass and conflict, dead kennedys, Descendents, dillinger four, ethyline, Fishbone, fugazi, los crudos, metro, naked raygun, out of order, public enemy, punk, red scare, Red Scare Industries, samiam, screeching weasel, slayer, sludgeworth, the meatmen, the methadones


Liverpool went into the match against West Ham needing a response following their 1-1 draw against Leicester in midweek.
But, just over 24 hours after Manchester City had closed the gap at the summit to two points, the Reds fell short again.
Sadio Mane put Liverpool in front at the London Stadium, with the goal being awarded despite James Milner appearing to be offside in the build-up.
The Hammers were able to secure a point, however, after Michail Antonio levelled things up.
Speaking after the game, Klopp was in reflective mood.
But the Liverpool boss appeared unhappy with referee Friend, who he was seen deep in conversation with at the final whistle.
"It was a tough game," Klopp said.
"You saw around the set-piece, we knew about the routine but when we trained we had three other players in the team.
"Apparently our goal was offside and maybe the referee knew that in the second half.


Magic Pie began taking shape during the autumn of 2001. The members – Kim Stenberg (Guitars/Vocals), Gilbert Marshall (Keyboard/Vocals), Eirik Hanssen (Vocals), Jan Torkild Johannessen (Drums) and John "Mini" Kamphaug (Bass) – came from a wide variety of musical backgrounds, with each previously having played in several bands and projects of different genres.
Although the band started out playing cover songs alongside some original material, they soon heeded suggestions to cut the covers out completely and concentrate on writing their own songs. This proved to be a major turning point, and really set the band into work mode.
During 2001 – 2004, Lars Petter Holstad replaced John "Mini" Kamphaug on bass, while Allan Olsen came on board as the third lead vocalist, bringing a powerful voice to the table.
The intention was to create a "progressive" sound texture in the spirit of the `70´s, blending musical tendencies from that decade and today´s "progressive" scene.
Linking the band members together is their mutual love for listening to bands and artists considered a little to the "side" of `80´s & `90´s mainstream rock, as well as their using the great musical "revolution" of the `70's as a source of inspiration.
Magic Pie never set out to make songs with a specific sound, and was never interested in trying to copy someone else´s style and signature. Instead they have tried to extract the different musical and instrumental influences buried inside each member.
The debut album "Motions Of Desire" was released in 2005 and was very well received by both the public and the press. This album really set Magic Pie on the map, and they became a household name for prog fans around the world with their blend of classic prog, 70´s hard rock, and progressive metal.
In 2011, Magic Pie released their third album, "The Suffering Joy," another concept album bringing the band a step upwards. This album instituted the first radical change in the band's musical expression by introducing Eirikur Hauksson (Artch, Ken Hensley) as the new lead singer, replacing Allan Olsen. This talented Icelandic/Norwegian singer brought a much-needed frontman to the band, and the album consequently presented a more mature and cohesive Magic Pie with perhaps a harder edge.
After their 3rd album Magic Pie decided it was time for a another serious change, due to Gilbert Marshall leaving the band in 2012, as well as a desire and need for a wider horizon and larger footprint in the progressive rock segment. As a result, Erling Henanger acquired the keyboards, and Magic Pie signed with the Norwegian company Karisma Records.
In 2015 the band released their 4th album "King for a Day," and with their new record company they were also able to finally release their first and long-awaited Vinyl/LP. The album was mixed and mastered by Rich Mouser (Neal Morse, Transatlantic, Spock´s Beard) to ensure the songs and overall sound would reach their full potential – another big step for Magic Pie. The song "Trick Of The Trade" was chosen as the first single & video, and fans and critics alike praised the album as the strongest Magic Pie has released to date.
With newcomer Erling Henanger on the keyboards, the band has never sounded as fit – whether it's in the studio or live.
Magic Pie can't wait to get on stage at ROSfest in May 2016!