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Tag: Yoji Yamada
The Village (同胞, Yoji Yamada, 1975)
February 3, 2019 February 7, 2019 by Hayley Scanlon Leave a comment
Best known for the long running Tora-san series, Yoji Yamada has often been disregarded by international critics for a perceived over indulgence in sentimentality. Nevertheless, his films are often at pains to capture a Japan which is changing with a noted ambivalence towards the results of those changes. Home From the Sea had rooted itself in the difficult decision of a young couple in realising that their way of life was no longer sustainable in a rapidly modernising economy. The Village (同胞, Harakara) returns to a similar theme, once again harping on "furusato" while the conflicted younger residents of a farming village struggle with the decision to accept the life passed down to them by their parents or abandon it in favour of the bright lights of an urban future.
Narrated by Takashi (Akira Terao), a young farmer and president of the local youth club, The Village revolves around one heady spring in which the arrival of a sophisticated woman from Tokyo injects additional stimulation into the sometimes stagnant community. Takashi, in many ways a very typical resident of Matsuo and many other rapidly depopulating rural villages like it, has taken over his family dairy farm following the death of his father when he was relatively young. His brother, Hiroshi (Hisashi Igawa), took a factory job to help make ends meet and put Takashi through school but has now become embittered and resentful as the widowed father of two young girls. Trapped by circumstance he berates Takashi for his diffidence in remaining uncommitted to farm life while perhaps dreaming of something better that he is too afraid to pursue.
The arrival of Hideko Konno (Chieko Baisho) seems to give Takashi a new sense of purpose. Hideko works for an itinerant theatre company based out of Tokyo which makes a point of taking shows to remote areas which might not ordinarily get much access to the arts. The snag is that the locality will have to take the responsibility of producing the show and absorbing the shortfall should they fail to sell enough tickets to cover costs. Takashi is tempted but he's also well aware of the risks – the investment is sizeable given the relative poverty of the rural area and the risks involved with failure extreme.
Yamada places the dilemma surrounding whether or not to produce the show at the forefront, but the questions are bigger than they might at first seem. It has to be said that farming, whatever its rewards, is an extremely hard life. As a character puts it in the emotively titled play "Furusato", it's disheartening when you get a bad harvest and all your work goes for nothing but it's almost worse when the harvest is good and the value of your work drops exponentially. For Takashi and the others, the youth association is a much needed social outlet even if many of them regard it as something of a joke and rarely get around to doing very much with it. The idea of the play is attractive to them for several reasons, having something more interesting to do not the least among them, not to mention offering a valuable break in routine in what can often be an overly ordered and somewhat stagnant existence.
However, the very same reasons the play appeals to the youngsters are the ones their elders find suspicious. Having made their peace with rural life and learned to adapt to its rhythms, the older generation worry that the young ones are being swayed by outside influences and neglecting their work in favour of idle pursuits. Meanwhile, many of the youngsters have already left to try their luck in the cities, some of them returning and bringing new experiences back with them while others resolve to remain where the lights are brighter.
Setting the scene, Yamada reminds us the factories have long been encroaching on farmland and that this "ancient" way of life is becoming ever harder in a rapidly modernising economy, but through their involvement with the play and its extremely close to home themes, the members of the youth association are finally able to look at their village through new eyes, seeing not only its immense visual beauty for the first time but learning to reappreciate the value of community and friendship. Life in the city might be more glamorous but perhaps it's no less hard and only lonely in a different way. At once a celebration of and lament for a changing rural landscape, The Village asks an accidentally profound series of questions about life and happiness but once again puts its faith in goodhearted people creating meaning from togetherness in a world that might otherwise set them apart.
Original trailer (no subtitles)
Posted in JapanTagged 1970s, 1976, Akira Terao, Atom Shimojo, Chieko Baisho, Chieko Misaki, Hisashi Igawa, Japan, Japanese, Kiyoshi Atsumi, Kyoko Okada, Masami Shimojo, shochiku, Tetsuo Takaha, Tokuko Sugiyama, Yoji Yamada
Home from the Sea (故郷, Yoji Yamada, 1972)
December 18, 2018 by Hayley Scanlon 1 Comment
By the early 1970s, Japan was well on its way to an economic recovery with memories of post-war privation fading and modern consumerism rapidly taking hold in the national mindset. Contemporary cinema understandably saw this as a good thing, that brighter times were coming and soon enough everyone would be enjoying a comfortable, prosperous life. The future, however, was not always evenly distributed and modernisation brought with it problems as well as solutions. Yoji Yamada's Home from the Sea (故郷, Kokyo/Furusato*) paints a melancholy picture of a changing Japan as an earnest young couple are forced to consider leaving their beloved hometown to seek their fortunes elsewhere.
Seiichi Ishizaki (Hisashi Igawa) owns a small transport boat he uses to ferry rocks between construction sites. He is sometimes joined by his wife, Tamiko (Chieko Baisho), who serves as the boat's engineer. The couple live with Seiichi's elderly father (Chishu Ryu) and their two daughters on a small island in the Inland Sea. Times are hard. Fuel costs are increasing making Seiichi's business much less profitable while his boat is old and slow. The maintenance costs alone are difficult to contemplate and the family cannot afford to invest in one of the new steel boats which are currently sucking up most of the available work. Seiichi's younger brother who used to work on the boat with him has already given up and moved on, taking his wife and children to another town where he works in a factory. Many people seem to think Seiichi would do well to do the same, but he is stubborn. He refuses to be pushed out of his ancestral home and occupation simply because of the unfairness of his times.
A little way into the film, a friendly fishmonger, Matsushita (Kiyoshi Atsumi), who often stops by to have dinner with the family expounds on the beauty of the town. He can't understand why anyone would want to leave somewhere as lovely as this. Unlike the Ishizakis, Matsushita wasn't born on the island but in Korea – his parents died during the repatriation after the war and he's been getting by on his own ever since. He's done many different jobs and lived in many different places but has chosen to make his home here. A fishmonger's job is probably always safe (to an extent, at least) in a small harbour town, but Seiichi's isn't and he needs money to feed his family. There is no other work on the island, and so there is no way to stay without making the boat pay.
The boat, however, is already 19 years old. Transport ships are only intended to last 10. The engine is faulty and the hull is in desperate need of repair but a visit to the original shipwright reveals that to do so would not be cost effective. The best thing to do would be to buy one of the shiny new steel vessels like their neighbour's, but that's far out of Seiichi's reach. All along the shoreline, you can see the charred remains of boats belonging to those like Seiichi who've finally come to the conclusion that their era has passed.
"Can't beat the Big" is a local mantra. In early '70s Japan, counterintuitively enough, size is everything. Not just the boats themselves, but the fleets and the architecture of life. You can't survive as your own boss anymore because the little guy alone has no power when corporations and conglomerates are extending their reach even into tiny islands. Seiichi goes to have a look at the factory in Onomichi to which he's been recommended by a friend. It's not as bad as he thought, but it's huge and filled with hundreds of identically dressed faceless men. The food is awful, and they'd have no friends. Nevertheless, needs must. If you can't fight the Big you'll have to become a part of it or it'll swallow you whole.
Still the sadness of leaving one's hometown behind against one's will with one eye always looking back towards the shoreline is difficult to bear. Seiichi's father, who had been looking after the children and was therefore extremely close to them, will be staying behind with no one left to look after him save the community itself. Progress might be a good thing, but there are costs too and small town Japan is one of them. It's sad, but there's nothing you can do about it. The post-war world might not require so much "gaman" anymore, but bearing the demands of modernity just might.
*According to Shochiku's website and the narrator in the trailer, the official title is "Kokyo" which is the Sino-Japanese reading of the kanji (故郷) but it's also often listed under the title "Furusato" – the slightly more emotive native Japanese reading.
Posted in JapanTagged 1970s, 1972, Akira Miyazaki, Chiaki Ito, Chieko Baisho, Chishu Ryu, Gin Maeda, Hiro Kasai, Hisashi Igawa, Japan, Japanese, Kenichi Matsuno, Kiyoshi Atsumi, Masaru Sato, Mayumi Ito, Reiko Tajima, Sen Yano, shochiku, Tetsuo Takaha, Tooru Iwasaki, Toshiya Sugita, Yoji Yamada, Yuriko Abe
Shitamachi no Taiyo (下町の太陽, Yoji Yamada, 1963)
December 9, 2018 by Hayley Scanlon Leave a comment
Yoji Yamada's debut feature, The Strangers Upstairs, was very much of its time as it attempted to capture the aspirational fighting spirit of the post-war era through the struggles of a nice young couple who are trying to "get on" and escape their humble origins for the salaryman dream through achieving the goal of home ownership as quickly as possible. His second film, Shitamachi no Taiyo (下町の太陽, also known as The Sunshine Girl / Sunshine in the Old Neighbourhood), takes a slightly different look at a similar issue as a young woman from Shitamachi – a working class industrial area on the outskirts of Tokyo, agonises over her future prospects as she considers a marriage to her longterm boyfriend who has ambitions to join the salaryman revolution.
Yamada opens with shots of Shitamachi and its prominent smokestacks while the now famous song plays in an instrumental version over the credits, before abruptly shifting to visions of the upscale Ginza where Machiko (Chieko Baisho) and her boyfriend Michio (Tamotsu Hayakawa) are enjoying a demonstration of an extraordinarily expensive, state of the art radio before retreating to a cafe where they agree that sometimes its more fun to "aspire" to things than actually obtain them. After all, there's no way they could ever afford the diamond rings they walked past on their way out of the department store unless they decided to rob the place. Both Machiko and Michio are residents of Shitamachi and work in a local soap factory. Michio, however, has his sights firmly set on the path to a middle-class life and is planning to take the exam for a promotion to head office – though he lacks qualifications, Michio is confident because he's studying hard (though more so because his dad and his section chief served together in the war so Michio is sure a good word will be put in for him).
Despite her fondness for Michio, Machiko has her doubts about his overriding ambition to get out of Shitamachi. Since her mother died, Machiko has been the lady of the house and primary caregiver for her naughty little brother Kenji (Joji Yanagisawa) while her older brother Kunio (Toshio Suzuki) is the family brainbox and also planning to bust out only through the path of education rather than advancement. Having left education behind, Machiko is happily contributing to the family finances with her job on the packing line at the soap factory which is, all things considered, not too bad – the work may be dull and methodical but also relatively quiet and stress free, not to mention sweet smelling. Nevertheless, Machiko does not necessarily want to work on the shop floor all her life but knows her opportunities are limited.
This fact is one cruelly brought home to her by a moody Michio when descends into a major sulk on learning that he hasn't passed the test for head office because another of his colleagues outdid him – both in terms of his study ranking and in one upping him in having a direct connection to the director. While Machiko tries her best to sympathise and put up with his moody petulance, Michio chooses to throw her sympathy back in her face by abruptly announcing that she can't understand the pain he's going through because careers are irrelevant to women who only use them as a stopgap until they get married. Thoroughly annoyed, Machiko leaves Michio to his wallowing before things get any worse but she can't argue with the fact that he's only said what most people think.
Still, Machiko isn't even sure she wants to get married. One of her friends, Kazuko (Kyoko Aoi), recently won the jackpot – she married a nice man who did get a promotion to head office and won the housing lottery for a home on one of the shiny new "danchi" – brand new apartment complexes for upwardly mobile young couples and the very embodiment of post-war aspiration. However, when Machiko and a friend visit the new bride they find that she is not quite as happy as one might expect. Though married life is peaceful enough and she and her husband evidently get on, Kazuko is also intensely lonely. With her husband away at work all day and often out playing golf with colleagues on Sundays too (not to mention after hours drinking and miscellaneous get togethers), there's precious little for Kazuko to do, stuck at home all day cooking and cleaning while waiting for her husband to return. Having moved to the danchi she's also lost her community and is no longer close enough to her friends to see them very often.
Meanwhile, Machiko is also somewhat disturbed by Kazuko's collection of expensive cosmetics which her husband has instructed her to buy because he's "very particular" about her appearance. Kazuko makes sure her makeup is on point before her husband gets home because that's apparently what he likes. Machiko, however, does not like this – to start with, she thinks Kazuko looks better without. Not that there's anything wrong with wearing makeup because you want to wear it, but the idea of wearing it because someone told you to and you're worried they'll "get bored" with your face doesn't strike her as a particularly healthy relationship dynamic. If this is what a love marriage is like, perhaps Machiko would rather do without.
Despite her otherwise close relationship with Michio, it quickly becomes obvious that she does not love him and if she decides to marry him it will be because it's the "sensible" decision rather than any great romantic desire. Annoyingly enough, Michio hasn't really even asked her, he just assumes they will marry once he gets his promotion. He also assumes that Machiko, like him, will want to shake the dust of Shitamachi off her feet for good for the bright lights of Tokyo. Machiko, however is not so sure. "Getting on" is one thing and there's nothing wrong with "aspiration", but that doesn't mean you need to look down on the people who come from the same place as you – after all, the sun still shines even in Shitamachi and there's nothing wrong in choosing to be happy here rather than always chasing an unattainable dream of conventional success.
Another possibility presents itself when Machiko meets an unrefined boy who has an ordinary job in the steelworks. Though their first meeting did not make a good impression – he creepily chased her off a train and then made a mess of trying to explain why, they later bond when she realises he has befriended her troubled little brother and the pair then end up spending a pleasant evening together which is far more romantic than any of her dull and conventional outings with Michio. Then again the choice she faces isn't between two men but whether or not to embrace her own ability to make a definitive choice about her future. What she rejects is cold and selfish path of men like Michio who only want to get ahead and are willing to step on anyone who gets in their way to make it happen. Machiko doesn't want fancy radios and diamond rings, she just wants to not have to worry too much about money and for someone to actually listen to what she's saying. She doesn't want to end up like Kazuko, all alone in a sparkling apartment with nothing to do but knit. When Michio tells her to shut up and do as he says because he'll definitely make her happy, the choice seems clear. Hard work, community, and maybe the fiery boy who seems determined to get a yes rather than assuming he already has one. Who wouldn't want to live here?
Famous title song performed by Chieko Baisho
Posted in JapanTagged 1960s, 1963, Bokuzen Hidari, Chieko Baisho, Eijiro Tono, Hiroshi Dowaki, Homare Suguro, Isao Kumagai, Isao Tamagawa, Japan, Japanese, Joji Yanagisawa, Kamatari Fujiwara, Keiko Mizushina, Kin Sugai, Koei Yamamoto, Kosuke Nono, Kyoko Aoi, Kyosuke Machida, Masahiko Inoue, Masayuki Ikeda, Michi Aoyama, Mizushina Keiko, Satoko Yamazaki, Shinji Tanaka, shochiku, Susumu Ishikawa, Takanobu Hozumi, Tamotsu Hayakawa, Toshio Suzuki, Toyoko Takechi, Yoji Yamada, Yoshi Kato
Downtown Heroes (ダウンタウンヒーローズ, AKA Hope and Pain, Yoji Yamada, 1988)
September 14, 2018 by Hayley Scanlon Leave a comment
Unlike many of his contemporaries, Yoji Yamada was an infrequent visitor to the youth movie. Best remembered for his long running Tora-san series, Yamada's later output is marked by an alternation of laughter and tears, running between raucous family comedies and poignant examinations of wartime loss. Set in the immediate postwar period, 1988's Downtown Heroes (ダウンタウンヒーローズ, AKA Hope and Pain) adapts the autobiographical novel by Akira Hayasaka for a twin tale of endings and beginnings as a group of boys prepare to leave the Japan of their childhood behind and set out into the brand-new post-war future.
Our narrator for the tale is Hayasaka's stand-in, Kosuke (Hashinosuke Nakamura), a sensitive young man from the mountains studying at the prestigious boys' boarding school in town. The Matsuyama high school is one of the last to still be operating in Japan's pre-war educational model. In fact, when the boys graduate the school will shut down in favour of the American 6-3-3 standard model of organising the educational system. Nevertheless, Kosuke and his friends enjoy what seems like a fantastically broad curriculum to modern eyes, much of which consists of classic German literature. Rather than their family names, the boys refer to each other with a series of nicknames inspired by their studies and have been heavily influenced by European left-wing political ideology. Accordingly, they are less than happy about the imposed American "reforms" and, paradoxically, the restrictions placed on their individual "freedom" by the "imperialist" occupation.
The central drama revolves around two episodes occurring one after another during the final year of high school. The first involves Kosuke's friend Arles (Toshinori Omi) and a prostitute he helps to rescue from the red light district – Sakiko (Eri Ishida) was supposed to elope with a student from the school, but he didn't show up and if the people from the brothel she was sold to find her she'll be in big trouble. Her suitor turns out to be a fraud, but the boys are committed to saving her and hide Sakiko in their dorm, sharing their meagre rations with her before helping her escape to her home town. Meanwhile, the boys are also preparing for the very last culture festival the school will ever see at which they will present their adaptation of a classic German play. The snag is, the play needs a girl. Eventually the gang enlist the help of Fusako (Hiroko Yakushimaru) – a student at the girls' school recently repatriated from Manchuria who also happens to be the young lady Kosuke had a meet cute with on the road and has been in love with ever since. Trouble brews when Gan (Tetta Sugimoto), the play's director, falls in love with her too.
Told from the POV both of the old and the young Kosuke, the atmosphere is one of intense melancholy and inescapable nostalgia. Though these were times of hardship – rationing is fierce and intense, so much so that the school no longer serves meals at all on Sundays and the boys largely subsist on rice gruel, they were also times of joy and possibility. These are however youngsters in the best tradition of the sensitive young men of Japanese literature. They feel everything deeply, fully aware that they are living on the cusp of something new, which necessarily also means to be standing atop a grave. Their world is collapsing and the values they've been given (progressive though they seem to be) are about to be thrown out of the window. They have been taught that nothing is more important than their personal autonomy and that personal freedom is attained only through overcoming hardship, but their lives will increasingly be dictated by occupying forces and they feel themselves robbed of something without the right to reply.
Nevertheless their problems are also ordinary teenage ones of romantic crises and friendship dilemmas. Kosuke struggles with his love at first sight crush on Fusako but remains too diffident to say anything until it's almost too late, while he also struggles to figure out what the most proper thing to do is when Gan reveals he is also in love with her. Gan, a sensitive writer, apparently burns with longing – so much so that he's written a book long confession of love in apology for being unable to declare himself in person. Kosuke, a good friend, agrees to deliver the letter but both of them have neglected to consider Fusakao's feelings so bound up are they in their own solipsistic dramas. Fusako was also struck by the love bug on her first meeting with Kosuke and has been patiently waiting for him to say something (as is the custom of the time). She is therefore doubly hurt and offended when he delivers a mini-tome on the theme of love from someone else before attempting to leave abruptly in a huff. Truth be told, there are few women who would enjoy being handed a thesis as a confession, but Fusako is really not in the mood to read one now.
Ending on a melancholy epilogue in which the old Kosuke looks on at field of young men playing American football before some others in running shorts brush past him and a young couple enjoy an evening walk, Yamada embraces the mild sense of deflation that has been building since the beginning. Young love faded and the dreams of youth were destined to come to nothing – not quite a tragedy, or perhaps only one of the ordinary kind, but food for the regrets of age all the same. The times were hard, and then they got better but somehow they were never so happy again. A youth drama indeed.
Theme song "Jidai" performed by Hiroko Yakushimaru
Posted in JapanTagged 1980s, 1988, Akira Hayasaka, book to film, Chieko Baisho, Eri Ishida, Fumie Kashiyama, Hashinosuke Nakamura, Hikaru Kurosaki, Hiroko Yakushimaru, Japan, Japanese, Jun Togawa, Kei Suma, Keiko Awaji, Kiyoshi Atsumi, Masakane Yonekura, Osamu Kuroda, Shikan Nakamura, Shinobu Sakagami, Takashi Sasano, Takeshi Kato, Teizo Matsumura, Tetsuo Takaha, Tetta Sugimoto, Toshinori Omi, Toshiro Yanagiba, Yoji Yamada, Yoshitaka Asama
The Strangers Upstairs (二階の他人, Yoji Yamada, 1961)
March 30, 2018 by Hayley Scanlon 1 Comment
Late into his career, veteran Japanese director Yoji Yamada has become synonymous with a particular brand of maudlin comedies and tearjerking dramas often starring veteran actress and long standing collaborator Sayuri Yoshinaga. He is, however, most associated with the iconic long running Tora-san series which revolved around the heartwarming adventures of the titular travelling salesman. Tora-san does indeed epitomise Yamada's general philosophy which leans towards realistic humanism, finding resolution in kindness and decency yet accepting that oftentimes the rules may need to be bent in order to accommodate them. In this respect his Shochiku debut, featuring a script written by his mentor Yoshitaro Nomura, is a good indicator of Yamada's future career in its humorous tale of a newlywed couple filled with ambitions of social mobility in the rapidly modernising post-war economy.
Salaryman Masami (Kazuya Kosaka) has taken out a huge loan to build a new house for himself and his new wife, Akiko (Kyoko Aoi), but, to keep costs manageable, they've decided to do without a bathroom (there's a bathhouse across the street) and added an extra floor with the intention of renting it out for a little extra money. So far, married life is going pretty well – Masami and Akiko are a nice, well matched young couple happy in each other's company and committed towards forging a harmonious future.
The problem is their lodgers are a little, well, difficult. Not having anticipated any "difficulty", Masami and Akiko are becoming worried that their upstairs neighbours are already a few months behind on the rent and seeing as their contract also includes food, they've been eating for free. Not really wanting to broach this difficult subject, Masami and Akiko try gentle prodding to remind their lodgers they need to pay their dues only for the couple to act embarrassed and claim they'd forgotten because they'd always lived with their parents in the past. Finding out that the central concern is that the husband, Hisao (Masaaki Hirao), is currently unemployed, Masami decides to help him find a job but quickly finds out that working is just not Hisao's thing. Meanwhile, Hisao's wife, Haruko (Chieko Seki), is picking up extra money working as a hostess in a bar, rolling in roaring drunk in the middle of the night and singing loudly as she does so.
With their patience wearing thin, Masami and Akiko ponder the best way to evict lodgers who refuse to leave but they have another problem on their hands in the form of Masami's cantankerous mother, Tomi (Toyo Takahashi), who has arrived from the country without warning for an "indefinite" visit after falling out with another of her daughter-in-laws. An unsophisticated country bumpkin with a wicked tongue and serious hanafuda habit, Masami's mum does not quite fit with the couple's upwardly mobile aspirations and, annoyingly, immediately sides with Hisao and Haruko whose self-centred laziness is more in keeping with her backstreet ways.
If Masami and Akiko disliked Hisao and Haruko essentially for being too common, their second set of lodgers present the opposite problem. Taizo (Tatsuo Nagai) and Yoko (Reiko Hitomi) seemingly have money to burn, so why are they renting an upstairs room in an "up and coming" area of the city? Akiko is quickly taken with their small luxuries, in awe of her lodgers' sophistication and upperclass elegance and obviously happy that they won't be having the same kind of troubles that they had with Hisao and Haruko. When Taizo and Yoko offer to front the money to build a bathroom, Masami and Akiko are surprised but eventually grateful even if taking a "loan" from the people who are renting from you presents a definite shift in power dynamics.
The dynamic shifts even further with another crisis sparking the return of Masami's mum who has once again been kicked out by a disgruntled relative. Masami's older brother, who put up some of the money for the house, insists that he honour a vague promise he made that family members in need of refuge would be free to stay with him by kicking out his lodgers and letting his mother live in the upstairs room. Not really wanting to take responsibility for his troublesome mother, and feeling friendly with Taizo and Yoko, Masami refuses and promises to pay his brother back instead – ironically borrowing the money from Taizo.
As predicted Taizo and Yoko are not quite all they seem, but like Masami and Akiko, they are a fairly new couple trying to make a go of it in the often cruel post-war world. On finding out the scandalous secret about their lodgers, Masami and Akiko are torn – they like Taizo and Yoko, plus they're massively indebted to them thanks to the loan and the money for the bathroom, but they also worry about becoming an accessory or being accused of aiding and abetting. Their first reaction is to feign politeness and carry on as normal pretending not to know whilst asking around to see if they can borrow more money from other friends to pay back Taizo and Yoko before asking them to leave quietly.
Masami and Akiko, like many of their peers, have aspirations beyond their current pay level and have put themselves at a huge disadvantage trying to live up to the salaryman dream. Yamada opens with an ironic title sequence featuring a series of "Lego" model houses – something which Masami later plays with while lamenting the seemingly small possibility of hanging on to his new home. Homeowning is unexpectedly complicated and becoming a landlord even more so. Masami and Akiko wanted their own mini castle – a status symbol (the policeman's wife from behind is very jealous), but also a space to call their own which reflects their individual hopes, dreams, and aspirations. They've forgone the convenience of a bathroom for the impact of a second floor all while hoping it will pay for itself until they're ready to use it to expand their family. Until then, they're content to live in one room and share a kitchen, even providing communal meals if necessary.
The money, however, is a constant worry – the original debt which they accrued to build the house quickly brings its own share of troubles, shifting from one creditor to another as the couple try to invest their fortunes with "nicer" or "worthier" people. Not everyone is nice, as Akiko finds out when she asks Masami's lecherous boss if he'd mind lending them the money only for him to hint at an extremely indecent proposal. Though Masami seems to be a decent and honest sort who wants to work hard and get on, he is still subject to the salaryman chain of command which means doing his boss' bidding out side of work hours which turns out to entail further "alibi" duties when he discovers they're virtually neighbours (though the boss' house is obviously far more impressive).
Despite all their difficulties, the goodness of Masami and Akiko eventually pays off, their one and only row quickly resolving itself without rancour. Taizo and Yoko, neatly matched in kindness with their former landlords, are grateful for the brief time they spent in the upstairs room and resolved not to bring any trouble into the lives of the nice young couple from downstairs. Masami and Akiko, equally grateful for the consideration, commit themselves to moving forward with a little more temperance, saving the money to pay back Taizo and Yoko and help them in turn when they might need it. Hard work, honesty, and a kind heart, it seems, are what you need to be happy in the burgeoning post-war economy and Masami and Akiko are happy indeed.
Original promo roll (no subtitles)
Posted in JapanTagged 1960s, 1961, Chieko Seki, christmas, Fujio Suga, Japan, Japanese, Kazuya Kosaka, Koei Yamamoto, Kosuke Nono, Kyoko Aoi, Masaaki Hirao, Reiko Hitomi, Reiko Minakami, Ryoko Mizuki, shochiku, Takanobu Hozumi, Tatsuo Nagai, Toyo Takahashi, Yoji Yamada
Flag in the Mist (霧の旗, Yoji Yamada, 1965)
July 6, 2017 July 6, 2017 by Hayley Scanlon 2 Comments
In theory, we're all equal under the law, but the business of justice is anything but egalitarian. Yoji Yamada is generally known for his tearjerking melodramas or genial comedies but Flag in the Mist (霧の旗, Kiri no Hata) is a rare step away from his most representative genres, drawing inspiration from America film noir and adding a touch of typically Japanese cynical humour. Based on a novel by Japanese mystery master Seicho Matsumoto, Flag in the Mist is a tale of hopeless, mutually destructive revenge which sees a murderer walk free while the honest but selfish pay dearly for daring to ignore the poor in need of help. A powerful message in the increasing economic prosperity of 1965, but one that leaves no clear path for the successful revenger.
Kiriko (Chieko Baisho), a twenty year old typist from Kyushu, has taken an arduous train journey into Tokyo to get a meeting with a top lawyer she hopes will defend her older brother and only living relative from a trumped up murder charge. The clerk attempts to dissuade her – Mr. Otsuka (Osamu Takizawa) charges a hefty sum for his services and, in any case, his docket is too full to be travelling back and forth to Kyushu never mind the additional travel and accommodation costs. Kiriko is disappointed but undeterred – she thinks she can manage the expenses, but asks for a discount on the fee. The clerk finds this amusing and does at least ask Otsuka who finally agrees to see Kiriko seeing as she's come all this way. She makes an impression on him but ultimately he tells her he's just too busy and she's better off looking for a lawyer closer to home.
Kiriko leaves disappointed but refuses to give up, missing her original train to try again by telephone but Otsuka has already gone out "to see clients" and so she finally has to accept her mission to save her brother may have stalled. While Kiriko was using the public phone, she was overheard by a reporter, Abe (Yosuke Kondo), who wants to write something on the case but his Tokyo based bosses aren't so keen on a local interest story from halfway across the country.
A year later, Kiriko's brother Masao (Shigeru Tsuyuguchi) has been convicted and sentenced to death. After his second appeal fails, Masao dies of illness in prison before the sentence could be carried out. Kiriko writes a bitter letter to Otsuka blaming him for her brother's death which forces Otsuka to reconsider his decision not to take the case. He comes to the conclusion that the case was unwinable and therefore his decision not to take it made no difference but then, he spots something that no one else seems to have noticed.
A tenacious and strong willed young woman – you'd have to be to jump on a long distance train from a tiny village all the way to the big city on your own in 1965, Kiriko is determined to save her brother but finds herself facing an uphill battle against a society deliberately structured to ignore her voice and those of everyone like her. Kiriko is an orphan and so her older bother is also a kind of father figure as well as the only living relative she has left. Masao had been a primary school teacher, which is to say a respected member of society, but found himself involved with a loanshark who was later murdered after he lost some cash collected from students to pay for a school trip and borrowed money he couldn't pay back from a ruthless old woman. Masao has made a mistake he's going to pay for dearly – disgraced and humiliated, it was easy work to frame him for a violent crime and force him into a confession through the usual police methods. Kiriko won't stand for it, but she's powerless to help him.
Otsuka is, in a sense, entitled to charge what he wants for his services. He's clearly a talented lawyer, very much in demand, and so why "should" he trek all the way out to Kyushu for a case that doesn't interest him when he has enough clients already. He does, at least, bother to listen to Kiriko's pitch before letting her down gently, but just when it seems he might be about to change his mind he tells his clerk to cancel all his appointments and winds up on the golf course with his girlfriend. So much for being too busy to save an innocent man's life.
Kiriko's "whole life has been desecrated by one incident" as she cuttingly writes later in a letter which forms a crucial part of her plot of revenge against the man who refused to save her brother's life (half talking about something else). Forced out of her hometown where she's the murderer's sister, she finds work as hostess going by the club name of Rie in a Tokyo bar which has a Kyushu theme. This brings her back into contact with the reporter, Abe, and that isn't the last of the coincidences as Kiriko finds herself swept up by circumstances which allow her to turn an unfortunate series of events into a cunning plan to ruin Otsuka by neatly echoing the precise circumstances of her brother's case. Now it's Otsuka forced to plead with her night after night, begging on his knees that she agree to testify and turn over key evidence that proves his client is innocent all while Kiriko adamantly sticks to her story.
Yamada conjures a tense and gloomy film noir world, following Kiriko down foggy passageways as she tries to navigate the city from the shadows, chasing the spectre of the unjust but losing herself in the process. Masao dies because he was too poor to hire a good lawyer to save him from the police who were supposed to be protecting him, but decided it was easier to stitch up someone without influence than find the real killer. His sister destroys herself to get revenge not just on lawyers more interested in fame and success than in serving justice but on an entire society which believes her existence is insufficiently important to merit full consideration. Otsuka is not a bad man, he is not corrupt or incompetent, he is merely selfish in all the ways his society encourages him to be. Originally letting himself off the hook with the excuse that his decision made no difference, he's genuinely horrified when he realises he's noticed a crucial clue which could have exonerated Masao even if it's an equally selfish guilt he feels more than a recognition that he's failed his duty to justice by letting an innocent man die while a guilty one lives to kill again. No one wins in this case, everyone emerges ruined and broken by the increasing inequalities and selfish individualism of the post-war world. Justice is blind, so they say, but perhaps she needs to open her eyes.
Posted in JapanTagged 1960s, 1965, Black & White, book to film, Chieko Baisho, Chieko Misaki, Etsuko Ichihara, Fumio Omachi, Hikaru Hayashi, Hiroshi Aoyama, Hiroyuki Wachi, Hisashi Igawa, Japan, Japanese, Jiro Kawarazaki, Kamon Kawamura, Keiji Tsuchida, Keisuke Maeda, Ken Okabe, Kenzo Tabu, Kiyo Murakami, Koji Kiyomura, Masakazu Kuwayama, Michinari Sugihara, Michiyo Aratama, Munemaru Koda, Nobuo Kaneko, Osamu Takizawa, Seicho Matsumoto, Shigeru Tsuyuguchi, Shosuke Oni, Sonosuke Oda, Sumiko Abe, Takanobu Hozumi, Taketoshi Naito, Tetsuo Takaha, Torahiko Hamada, Tsuneko Sasaki, Yoji Yamada, Yoshiko Maki, Yosuke Kondo, Yuji Takasugi, Yumeko Aizome, Yusuke Kawazu
Nagasaki: Memories of My Son (母と暮せば, Yoji Yamada, 2015)
February 26, 2017 February 26, 2017 by Hayley Scanlon Leave a comment
After such a long and successful career, Yoji Yamada has perhaps earned the right to a little retrospection. Offering a smattering of cinematic throwbacks in homages to both Yasujiro Ozu and Kon Ichikawa, Yamada then turned his attention to the years of militarism and warfare in the tales of a struggling mother, Kabei, and a young a woman finding herself a haven from the ongoing political storm inside The Little House. Nagasaki: Memories of My Son (母と暮せば, Haha to Kuraseba) unites both of these impulses in its examination of maternal grief set amidst the mass tragedy of the atomic bomb and in the obvious reference hidden inside Japanese title (another Yamada trend) to the 2004 Kazuo Kuroki film The Face of Jizo (父と暮せば, Chichi to Kuroseba), itself based on a play by Hisashi Inoe. Whereas the young woman of Hiroshima found herself literally haunted by the image of her father to the extent that she was unable to continue living in the present, the mother at the centre of Nagasaki is approaching the end of her life but only now, three years after the bombing, is she ready to allow the idea of her son's death to cement itself within her mind.
Nobuko's (Sayuri Yoshinaga) son Koji (Kazunari Ninomiya) left as normal on that fateful morning, in a hurry as always, leaping onto the outside of a crowded bus that would take him to the university for a lecture on anatomy. That was three years ago and now it's August again but in the absence of a body Nobuko has never been able to accept the death of her son, despite the picture on the altar and the two previous trips she's made to the family grave on this date along with Koji's girlfriend, Machiko (Haru Kuroki). Finally, Nobuko is beginning to feel it's time to accept the inevitable, that her son is not lost somewhere and unable to find his way home but in some other world. This grudging acceptance of Koji's death is the thing which returns him to her as the prodigal son suddenly appears one evening in spirit form to reminisce with his mother about the carefree pre-war days.
Kazunari Ninomiya's Koji is, appropriately enough, a larger than life presence. A cheerful chatterbox, Koji blusters in to his old family home with the same kind of amusing energy he'd always lent it, laughing raucously to his mother's polite but strange under the circumstances greeting of "have you been well?". Reminiscences generally lean towards happier times but each time Koji becomes upset he suddenly disappears again, leaving his mother alone with all her sorrows. Nobuko lost both her sons to the war and her husband to TB and so she is quite alone now save for the kindhearted attentions of Machiko who continues to stop by and help her with house work or just keep her company.
The two women share an intense bond in their shared grief. Almost like mother and daughter Nobuko and Machiko help each other to bear the weight of their loneliness in the wake of such overwhelming tragedy. However, Nobuko is beginning to feel guilty in monopolising the life of this young woman who might have been her daughter-in-law or the mother of her grandchildren by now if things were different. Can she really ask her to sacrifice the rest of her life to a memory? Machiko swears that she has no desire to ever marry, preferring to remain loyal to her true love. "Shanghai Uncle" a black marketeer who brings Nobuko all the hard to find items not available through the normal channels, offers to set up an arranged marriage for the young woman but Nobuko is quick to turn it down on her behalf. In this new age of democracy, she says, young women ought to have the right to choose their own path whatever that may be. Nobuko respects Machiko's choice, but after talking things over with Koji, urges her to consider letting the past go and honouring Koji's memory by living fully while there is still time.
Interestingly enough, Machiko's potential suitor, Kuroda – an injured war veteran and fellow teacher at the school where she teaches, is played by Tadanobu Asano who also played the shy researcher who began to reawaken the heart of the daughter at the centre of The Face of Jizo, Mitsue. Mitsue's problem was more obviously one of survivor's guilt, literally haunted by the friendly spirit of her genial father who continually urges her to embrace this last opportunity for happiness, to go on living even whilst others can't. Nobuko's journey is almost the reverse as she, essentially, attempts to cleave herself away from her life by ensuring Machiko is taken care of and knows that she has nothing to feel guilty about in seeking happiness even if it can't be with Koji.
Despite the innovative opening sequence featuring the cockpit and targeting system of the plane which eventually dropped the bomb and the chilling effects sequence as it takes hold, Yamada then reverts to a kind of classical stateliness which is never as effective as Kuroki's eerie magical realism. Adding in the Christian imagery associated with Nagasaki, the film takes a turn for the mawkish during the final sequence which descends into a series of heavenly cliches from fluffy white clouds to angelic choirs. Warm and melancholy, Nagasaki: Memories of My Son is a poignant exploration of life in the aftermath of preventable tragedy but one which also makes the case for moving on, honouring the legacy of the past with a life lived richly and to the full.
Original trailer (English subtitles)
Posted in JapanTagged 2010s, 2015, Emiko Hiramatsu, Haru Kuroki, Isao Hashizume, Japan, Japanese, Kazunaga Tsuji, Kazunari Ninomiya, Ken'ichi Kato, Masashi Chikamori, Mikuu Yamada, Miyu Honda, Nagasaki, Nenji Kobayashi, Oscar submission, Sayuri Yoshinaga, shochiku, Tadanobu Asano, Taiki Yoshida, World War 2, Yoji Yamada, Yuriko Hirooka
The Rescue (紧急救援, Dante Lam, 2020)
Little Q (小Q, Law Wing-Cheong, 2019)
The War in Space (惑星大戦争, Jun Fukuda, 1977)
Suzaki Paradise: Red Light (洲崎パラダイス 赤信号, Yuzo Kawashima, 1956)
Suspicion (疑惑, Yoshitaro Nomura, 1982)
Archipelago: Exploring the Landscape of Contemporary Japanese Women Filmmakers
Asian Pop-Up Cinema
BFI Early Korean Cinema: Lost Films from the Japanese Colonial Period
BFI Tears and Laughter: Women in Japanese Melodrama
Camera Japan 2017
Chinese Visual Festival 2018
Creative Visions: Hong Kong Cinema 1997-2017
Fantasia International Film Festival 2018
Five Flavours 2019
Japan Cuts 2019
Kotatsu 2017
London East Asia Film Festival 2017
London Korean Film Festival 2017
New York Asian Film Festival 2018
Raindance 2017
Taiwan Film Festival UK 2019
The Japan Foundation Touring Film Programme 2018
Udine Far East Film Festival 2017
Korean Film Archive
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Asian Film Strike
Eastern Kicks
Film-Momatic Reviews
Genkinahito
Hangul Celluloid
Indievisual
Modern Korean Cinema
Mubi Notebook Contemporary Chinese Cinema
nichi-ei
Projected Figures
Sino-Cinema
2020 Windows on Worlds


text:
Bell PersonJW Marriott - Houston DowntownHouston, TX
A property of: Dimension Development CompanyPosted 1 week ago
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This is the job description for BELL STAFF
Job Title: Bell Person
Department: Front Desk
Company: Dimension Development
Reports To: Bell Captain
Supervises: N/A
Job Description Date: May 1, 2014
Job Purpose: To serve hotel guests during their stay by making it easier and more enjoyable to arrive, check in and stay at the property.
1. Escorts incoming hotel guests to rooms and assists guests with luggage.
2. Attends and participates in monthly front desk meetings.
3. Inspects guest's room to ensure that it is in order and that supplies are adequate.
4. Explains features of room such as operation of radio, television, telephone, in-room movie
system, etc.
5. Offers information pertaining to available services and facilities of hotel, points of interest and
entertainment attractions.
6. Pages guests in lobby, dining rooms or other parts of property. Delivers messages and runs
errands.
7. Maintains courtesy van consisting of washing, cleaning, and fueling.
8. Raises, lowers, and ensures proper handling of American flag.
9. Maintains lobby in a clean and tidy manner; this includes, but is not limited to ashtrays, trash,
seating areas, front doors, floors, etc.
10. Maintains the front porte-cochere by picking up trash, cleaning oil leaks, shoveling snow,
melting ice, hosing off sidewalks, etc.
11. Other duties as assigned.
1. Carry out specific oral or written instructions, frequently following a routine.
2. Do the same task over and over, frequently in the same way.
3. Lift and carry things like luggage, trays of dishes, and bags of golf clubs.
Job Qualifications: Describe the minimum qualifications needed to complete the job responsibilities.
Education HS Diploma or equivalent
Experience None required
Licenses/Certifications N/A
room Count:
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JW Marriott - Houston Downtown
Set in the historic Samuel F. Carter skyscraper, the JW Marriott Houston
Downtown eloquently carries the rich legacy of the city forward, blending
past and present in a dynamic fusion. Our luxury hotel shoshow moreshow more
806 Main street, Houston, TX, 77002 View map
Sam J. FriedmanFOUNDER & CEOIn 1958, Sam Friedman obtained a B.S. degree from Louisiana State University. He went on to graduate from the LSU Law School in 1961. He also served in the U.S. Army and was honorably discharged as a Captain in 1963. In 1973, Sam Friedman who was then a practicing attorney in Natchitoches, LA, left his practice to develop and operate hotels. Since that time Sam has developed or participated in the development of more than 40 hotels and has acquired ownership and/or management of an additional 25 hotels over his development career. Mr. Friedman formed Dimension Development Company in 1988 to develop extended stay hotels and has since grown his company to where today Dimension owns and/or manages 51 hotels in 13 states with hotels being Hilton, Marriott and IHG hotel brands. Sam has served as President of the International Association of Holiday Inns and continues to serve as the longstanding Chairman of the Homewood Suites Franchise Advisory Board. Mr. Friedman is the Principal Managing Partner and Asset Manager for The Roosevelt, A Waldorf Astoria Hotel in New Orleans. Dimension redeveloped this hotel at a budgeted cost of 150 million dollars from the former Fairmont Hotel New Orleans following the significant damage that closed the hotel after the impact of Hurricane Katrina. Dimension also recently completed a major renovation of the Inter Continental Hotel also in New Orleans. Formerly Mr. Friedman served as Chairman of the Louisiana State University Board of Supervisors and currently is a member of both the LSU Alumni Board and the LSU Foundation. Sam has played significant roles in the development of Holiday Inn, Residence Inn and Homewood Suites as franchised hotel brands. Sam resides in Natchitoches, LA, with his spouse Edwina Friedman.

redpajama_set_name: RedPajamaCommonCrawl


text:
The Embassy of the United States of America to the Holy See (or Embassy Vatican for short) is the diplomatic mission of United States of America to the Holy See, a term referring to the central government and universal reach of the Roman Catholic Church.

The current embassy moved to new headquarters in September 2015 in a separate building on the same compound as the United States Embassy Rome. The embassy was previously located on Aventine Hill in the Villa Domiziana in Rome, Italy, which was built as a private residence in 1953. In 1994, the U.S. government acquired the property as the new chancery for embassy. On October 16, 2017, Callista L. Gingrich was confirmed by the U.S. Senate as the next Ambassador to the Holy See. On October 8, 2021, President Biden nominated former U.S. senator Joe Donnelly to be ambassador to the Holy See, and the U.S. Senate confirmed the nomination on January 20, 2022. Donnelly presented his credentials to Pope Francis on April 11, 2022.

The embassy is a part of the "Tri-Mission Community" in Rome, the other two being the Embassy of the United States, Rome and the United States Mission to the U.N. Agencies in Rome.

History
Formal diplomatic relations with the Holy See were established in 1984 by President Ronald Reagan and Pope John Paul II. The mission works in partnership with the Holy See on global issues including: democracy, peace, and security; trafficking in persons; interreligious dialogue; development and foreign aid; and human rights.

This facility became the focus of an unexpected controversy when it was falsely reported on November 27, 2013, that the Embassy would be closed. The embassy was set to be transferred in January 2015 to a larger building adjacent to the U.S. Embassy to Italy for reasons of cost, security, and proximity to the Vatican itself. However, as part of a broader push to cut security for U.S. embassies, Congress blocked the move in 2014. The Embassy of the United States to the Holy See, previously located on Aventine Hill, moved to new headquarters in September 2015 in a separate building on the same compound as the United States Embassy Rome.

References

External links

Holy See
United States
Holy See–United States relations

redpajama_set_name: RedPajamaWikipedia


text:
Is Minecraft WorldPainter safe?
How do I use WorldPainter map?
How big is a Minecraft world?
How was earth named?
Who gave name earth?
What planet is the best to live on besides Earth?
Can humans live on another planet?
Will humans ever leave the Milky Way?
WorldPainterhttps://www.worldpainter.nethttps://www.worldpainter.net
Load it in Minecraft, and fly along all the edges, forcing Minecraft to generate all the chunks around the edges. Import the map into WorldPainter using Ctrl+I or File -> Import -> Existing Minecraft map… Use the Smooth tool, terrain tools, and any other tool of your choice to merge and smooth the seams.
The Minecraft world is 256 blocks from the sky to the ground. While, horizontally, the world is 60,000 kilometers by 60,000 kilometers. It's actually bigger than Neptune.
Etymology. Unlike the other planets in the Solar System, in English, Earth does not directly share a name with an ancient Roman deity. The name Earth derives from the eighth century Anglo-Saxon word erda, which means ground or soil. It became eorthe later, and then erthe in Middle English.
The name "Earth" is derived from both English and German words, 'eor(th)e/ertha' and 'erde', respectively, which mean ground. But, the handle's creator is unknown. One interesting fact about its name: Earth is the only planet that wasn't named after a Greek or Roman god or goddess.
A 2015 review concluded that the exoplanets Kepler-62f, Kepler-186f and Kepler-442b were likely the best candidates for being potentially habitable. These are at a distance of 1,200, 490 and 1,120 light-years away, respectively.
Richard Gott has estimated that the human race could survive for another 7.8 million years, but it is not likely to ever colonize other planets. However, he expressed a hope to be proven wrong, because "colonizing other worlds is our best chance to hedge our bets and improve the survival prospects of our species".
Our Galaxy, the Milky Way, is a disk of stars about 100,000 light-years across, and about 1,000 light-years thick. So, to leave our Galaxy, we would have to travel about 500 light-years vertically, or about 25,000 light-years away from the galactic centre.


Ethos T-shirts was created to help under 18's achieve their goals and ideas in the t-shirt design industry.
Everything is created by under 18's from the t-shirt designs to the website.
Ethos T-shirts have redesigned their site with a fantastic great new fresh colour scheme for the New Year and to represent their vibrant youth.


Tyler Alexander joined the legal affairs department of Delta Dental in 2018. His primary role with Delta involves legal and policy research of matters affecting the specialty health care insurance industry. Additional responsibilities include issues related to regulatory compliance and general corporate governance.
Prior to Delta, Tyler worked at Baker McKenzie handling general legal research tasks across practice groups. He started his career in Oregon working in the government affairs practice of an agricultural trade association; focusing on legal and policy research.
He is a 2015 graduate of Lewis & Clark Law School, a 2012 graduate of Portland State University, and a member of the Oregon State Bar. Tyler loves CrossFit, cycling, and exploring California's beautiful landscapes. His favorite food is ceviche.


Dina Kowal Creative: Love and Joy - House Mouse challenge!
Love and Joy - House Mouse challenge!
I made this card just for fun, not for an assignment or any obligation... it's been a long while since I've done that, and it was relaxing and fun. I have a short lull between projects, so I'll take it! I'm entering this card in the current House Mouse challenge, HMFMC# 231.
I used an unmounted House Mouse image that I purchased from Joanna Sheen - she isn't carrying the line any more, but they're sometimes available on ebay.
This was my first time coloring the image, and I loved adding the little details - I stamped it on a 4-inch Art Square from Inchie Arts, and used QoR watercolor paints to fill in the scene. The sentiment is one of mine, available from Impression Obsession. The banner die is from Simon Says Stamp.
Once my envelopes and packaging arrive, I'll be having a big card destash sale - one of my goals this year is to purchase a wide format printer so I can begin doing my art prints on demand instead of ordering away for them. This would open up a lot of possibilities for me, maybe even including some watercolor kits and classes in the new year... so a fundraiser is in order to make that printer mine! I will keep you posted.
In the meantime, take a peek in my store - I have more pendants to choose from!
Oh Dina, so glad you had time for crafting fun. Your card and coloring are amazing!
How darling. Your colouring is done to perfection. This is a very cute House Mouse stamp. Happy Holidays.
Dina this is gorgeous also your colouring.
Dina this is fabulous...I've never seen this image...I LOVE it!! Your design and colouring are beautiful! Thank you for sharing with us at House Mouse and Friends Monday Challenge...good luck and hope to see you again next challenge!
Congratulations, Dina! Please email us at submissions@stampendous.com to claim your prize for winning with this darling card over on the House-Mouse and Friends Challenge Blog!


How do I see only my yellow highlights?
The colored highlight icons at the top of the annotation summary pane allow you to filter and view only the highlight colors you wish to see. In your annotation summary pane, you will see all of your annotations by default. To see only your yellow highlights, deselect by clicking all of the note icons and the green and pink highlight icons.


MEXT has additionally been enhancing measures to help international kids to entry school education, selling education for worldwide understanding and enhancing Overseas Japanese Children's Education, to nurture people who are capable of flourish in our internationalized society. While pre-main and obligatory training is the responsibility of municipalities, central government is answerable for the operation of upper secondary colleges and higher schooling institutions. In the fifth e book of Emile" Rousseau presents his views on ladies's training by introducing an imaginary lady called Sophy.
At the Central Council for Education, a Working Group on High School Education has been arrange under the Subdivision on Primary and Secondary Education of the Central Council for Education, and deliberations on future education, and so on. To improve transparency, fairness and equity in the sports trade, MEXT improves governance of sports activities associations and helps prompt and clean settlement of sports-associated disputes and anti-doping actions. The previous paragraphs clarify that the challenges dealing with contemporary science and technology education are multi-faceted.
Young people in growing international locations understand science and expertise as the important thing to progress and development, and the folks working in these areas are correspondingly considered heroes and helpers. A good grounding in science, expertise and mathematics is important right here since many innovations are more likely to be derived from scientific and technological analysis and development.


text:
Luisa Recabárren de Marin, född 1777, död ?, var en aktör i det chilenska självständighetskriget.

Hon höll en välbesökt politisk salong och kunde genom den och sitt kontaktnät bedriva en effektiv spionverksamhet till förmån för revolutionen.

Källor

 https://es.wikisource.org/wiki/Las_mujeres_de_la_independencia:_06
 R. Adams, Jerome:  Notable Latin American Women: Twenty-nine Leaders, Rebels, Poets, Battlers and spies, 1500-1900 MacFarland (1995)

Personer i Chile under 1800-talet
Salongsvärdar
Födda 1777
Avlidna okänt år
Kvinnor


text:
Tag: COVID-19 virus Aug
COVID-19 vaccine;
Answer some questions to check when you can get a COVID-19 vaccination, find out where, and book an appointment. You can do this for yourself or another person.
Do not go outdoor, and by Best VPN surf the World!
The Australian Technical Advisory Group on Immunisation (ATAGI) recommends the COVID-19 Comirnaty (Pfizer) vaccine as the preferred vaccine for people aged 16 to 59 years, but the AstraZeneca vaccine can also be provided to this age group.
All residential aged care workers are eligible to receive the Pfizer vaccine regardless of age. If you work in residential aged care, you can contact the National Coronavirus Helpline on 1800 020 080 and select option 4 for priority assistance and advice relating to booking your COVID-19 vaccine.
If you are aged 40 years or more, you are eligible for vaccination.
If you are aged 16 to 39 years you may be eligible for vaccination. Complete the checker to find out.
If you are not yet eligible and aged 18 years or over, you can register to be notified when you are.
If you are eligible and can't find a clinic or make a booking that suits you, please check back later. New clinics and appointments are being added all the time.
People under 16 years of age are not able to get vaccinated at this time unless they are 12-15 years of age and Aboriginal or Torres Strait Islander people or have an identified underlying medical condition.
NSW Health is working closely with the Australian Government to plan and implement a safe and effective COVID-19 vaccination program in NSW.
Can you still spread Covid if vaccinated?
While new research shows vaccinated people can become infected and carry high levels of the coronavirus, it's important to remember that those cases are rare, and it's primarily the unvaccinated who get infected and spread the virus.
What are the chances of getting Covid after being fully vaccinated?
There is a small chance of getting COVID-19 after vaccination, but the shot does reduce a person's chances of being hospitalized, which health experts say is the most important thing. "They should not assume that being vaccinated gives them 100% protection — it does not," Weiss said.
When can 30 year olds get Pfizer?
Anyone aged 30 to 50 can get the Pfizer vaccine. The Pfizer vaccine is also available for residential aged care or hotel quarantine workers, or by exception.
How much will the COVID-19 vaccine cost?
Vaccines for everyone in Australia COVID-19 vaccines will be free for everyone living in Australia. You will not need a prescription from a GP to get vaccinated.
Do I have natural immunity to COVID-19 after recovering?
If you have already had COVID-19 and recovered, you may have some natural immunity to contracting the disease again. However because this virus is new, it's not clear how long natural immunity might last.
Do not go outdoor, and by strong VPN surf the web!
The importance of credible information
Australians are encouraged to rely on reputable sources of information to help them make informed choices and stay up-to-date on the latest information about COVID-19 vaccines.
With new vaccine developments every day, it's normal to have questions or concerns, and possibly feel hesitant about getting a vaccine. This is a new vaccination program and these are new vaccines.
Sometimes it's hard to tell misunderstandings or false information apart from facts.
Usually people are simply seeking more information to answer questions or allay any concerns they may have.
The information below can help people make informed decisions – and get information from a trusted source.
Is it true? Does the AstraZeneca COVID-19 vaccine cause blood clots?
There has been a link established between the AstraZeneca vaccine and a very rare but serious side effect called thrombosis in combination with thrombocytopenia. There is a very low chance of this side effect, which may occur in around 4-6 people in every million after being vaccinated.
With new COVID-19 vaccine developments every day, it's normal to have questions or concerns, and possibly feel hesitant about getting a vaccine. That's why we're providing accurate, evidence-based answers to questions about COVID-19 vaccines.
If you work in a residential aged care facility, in any type of job, you and your colleagues are a priority for vaccination. Questions? Call 1800 020 080 and press option 4.
Use the COVID-19 vaccine eligibility checker to find out when and where you can receive a COVID-19 vaccine, including your second dose.
What are the factors that can determine transmission risk of COVID-19?
Factors that determine transmission risk include whether a virus is still replication-competent, whether the patient has symptoms, such as a cough, which can spread infectious droplets, and the behavior and environmental factors associated with the infected individual.
Will my Centrelink payments stop if I refuse COVID-19 vaccination?
If people choose not to have a COVID-19 vaccine, this will not affect their family's eligibility for Family Tax Benefit Part A or childcare fee assistance which only includes National Immunisation Program vaccines for those aged younger than 20.
Can asymptomatic people transmit COVID-19?
Yes, infected people can transmit the virus both when they have symptoms and when they don't have symptoms. This is why it is important that all people who are infected are identified by testing, isolated, and, depending on the severity of their disease, receive medical care.
Last month, the Royal Flying Doctor Service (RFDS) were able to deliver over 500 vaccines to the Ngaanyatjarra Lands (NG Lands), working in partnership with NG Health.
Kate from RFDS (pictured in the middle) said the community gave her and the rest of the crew a warm welcome.
"We had people who were scared at first, come back after their vaccine and bring their friends and families to see the nurses from the Kimberley who were here to help. Little Chloe (pictured, left) also wanted her vaccine, but had to settle for supporting her mum because she is too young. Instead she gave me a cuddle and shared my orange," said Kate.
Follow the RFDS Facebook page to keep up to date with good news stories like this one.
Thanks to the Royal Flying Doctor Service for providing this image, with consent.
Tags COVID-19, COVID-19 virus, COVID-19 virus Aug, COVID-19 virus Aug 2021


[Progress of stress-induced flowering in plants].
[Ubiquitinated proteomics research of Hep3B].
[Gene regulatory network of hepatocellular carcinoma: a review].
[Progress in microbial production of prodigiosin].
[Construction and verification of NF-κB luciferase reporter gene system].
[Influence of expressing IrrE from Deinococcus radiodurans on osmotic stress tolerance of succinate-producing Escherichia coli].
[Soluble expression, purification and structural analysis of the bHLH transcription factor Bmsage of Bombyx mori].
[Progress and prospect of bio-jet fuels industry in domestic and overseas].


Gas mass flow solutions for life science.
Our mass flow controllers in particular see extensive use in bioreactors, pill coating and the creation of artificial atmospheres for research. Our flow meters are used to leak test critical medical devices like stents, while our larger industrial devices are used to heat or steam-clean bioreactors and in facilities management in hospitals. Download Infographic.


Want help from a designer like Kelli B.?
I am a CAD designer/GIS professional with over a year of experience working with CAD to create site plans and network designs. I also have 15 years of experience working in the GIS industry. I like to use CAD and GIS to complement each other to make sure that site layouts can be seamlessly used in both a CAD and GIS environment.


We are going to show you the list of football clubs and seasons in which Jean Romaric Kevin Koffi	has played. It includes the total number of appearance (caps), substitution details, goals, yellow and red cards stats.
Jean Romaric Kevin Koffi has played in the following competitions and football tournaments.


The European Medicines Agency (EMA) and other EU bodies have updated technical and practical guidance, as well as a document describing the legal obligations for drug manufacturers under Brexit.
The three documents include an updated Q&A and a 23-page practical guidance – both addressing a situation where the UK leaves the EU without a withdrawal agreement – and a document on legal rules that explains how EU rules in the field of medicinal products for human and veterinary use will no longer apply to the UK after 30 March.
The practical guidance deals with questions on variations, transfers of marketing authorization, transfers of orphan designation, the Qualified Person for Pharmacovigilance, ongoing initial marketing authorization procedures and GMP, GCP and GLP compliance, submission of information to EMA databases and more.
The answer for the second question noted how as of the withdrawal date, UK authorities will no longer be a supervisory authority on inspections. "The new Union supervisory authority responsible for supervision of manufacturing sites located in UK and third country sites previously inspected by UK will decide, using a risk-based approach, when an inspection of the site(s) concerned will be required, in order to confirm or re-confirm GMP compliance," the Q&A says.
The updated Q&A also features a series of questions on parallel distribution.


The municipality of Aurland's sea area covers Aurlandsfjorden and Nærøyfjorden, and the harbours at Flåm, Gudvangen, Aurland, Undredal, Dyrdal, Styvi and Bakka. The entire sea area lies within the Nærøyfjord section of the West Norwegian Fjords area on UNESCO's World Heritage List. There are year-round scheduled boat services.
Aurland Hamnevesen KF – the Aurland Harbour Authority – is a municipal enterprise that operates harbours and builds new facilities. The organisation was founded in 1999 when the cruise harbour at Flåm came into use. The Harbour Authority has an office on the cruise quay at Flåm. Post, current items and filing are handled digitally by the municipality of Aurland.
The board members are elected by the local council.


text:
The Classics…and Lady Gaga, Dancing With the Stars Week 7 Recap
by Sarah Johnson Carter
Tags:dancing with the starsdwtsreality tvTelevision
Classical night made for an elegant evening in the ballroom. We finally saw a team score a perfect 30! Here's how it went…
Maria and Derek's dramatic vampire-themed paso doble electrified the dance floor. Carrie Ann said it didn't suck (get the vampire humor?). For the first time this season, we saw three judges raise their "10" paddles. Congratulations on the 30, you guys!
Three couples scored 27 with their individual dances. Katherine and Mark (9, 9, 9) wore very cool costumes (or in Mark's case, half a costume) for their rumba. Carrie Ann thinks Katherine is technically unmatched in the competition, although she wanted to see more genuine heat between the two. This week, William and Cheryl (9, 9, 9) wowed the ballroom with a moving Viennese waltz. Carrie Ann said they brought romance to life. Donald and Peta (9, 9, 9) received a standing ovation for their Viennese waltz. The judges were all pleased, with Len calling it terrific.
Roshon and Chelsie were on a mission to avoid the bottom two with their Argentine tango to classic Lady Gaga. Wait. What? Len and Bruno praised their seamless lifts. Even though Len and Bruno said Roshon needed more strength in his legs, Carrie Ann was impressed by the caliber of his performance. Scores of 9, 8, 8 gave the pair a 25.
Jaleel and Kym danced a pleasing Viennese waltz. Len liked the floaty feel of the routine, but thought the footwork just wasn't there. While they were slightly disheartened by their score of 24 (8, 8, 8), the couple was excited to attack the team dance.
Melissa and Maks danced the Argentine tango, complete with several ambitious lifts. While the audience loved it, Bruno thought it got messy at times, and Carrie Ann said they should have gone for quality rather than quantity with their lifts. Ouch. Triple 7s gave them a disappointing total of 21, the lowest of the night.
This season's first team dance was brought to us by Team Tango (Katherine, Maria, Roshon, and Jaleel) storming the dance floor. Len thought Maria and Roshon were the standouts. Bruno praised the choreography. Scores of 10, 9, 8 totaled 27 for the team, which was added to each couple's individual score.
Team Paso's (William , Melissa, and Donald) fiery performance was spectacular. Bruno called them superheroes, and Carrie Ann said it will go down in history as the fan favorite paso doble. The judges' total score of 26 (9, 8, 9) elicited loud boos from the audience, and I was booing from my couch! I'll admit the team wasn't technically perfect, but it was super-enjoyable to watch.
Another week of dances is now in the archives. Who will wind up in the dance duel? Will this week's low scoring couple, Melissa and Maks, be eliminated? I'll be watching tonight!
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No matter what you've done before, in order to work at Google as a software engineer you have to pass the interview process. This entails at least 5 interviews, usually 45 minutes each. You will be asked about data structures, algorithms, testing, software design and general technical knowledge.
Google organizes a universal coding contest called Code Jam in which contestants from over 125 countries take part. The current Google Code Jam contest is underway, and you can prepare yourself to compete in the contest for the next season. There are multiple rounds to go through to be one of the top 15 finalists selected from different countries. The rounds are the qualification round, round 1, round 2, round 3 and the onsite finals. Even though it is tough to reach the finals, as a programmer, you should take part in it and be in the top 1000 coders in the Round 2.
The rounds consist of algorithmic puzzles and you can enhance your skill in coding by participating in it. Getting in the top 1000 will strengthen your resume. This will open up your chance to apply for jobs in Google, and you can take part in Distributed Code Jam contest as well. Google also ships free T-shirts to the top 1000 programmers. Without further ado, let us guide you on how to prepare for it to progress as far as you can.
One of the biggest reasons why so many coders participate in the contest is not just in top 100, 100, or being a finalist but for the thorough preparation sessions. There are unlimited resources provided by Google to prepare for the contest, and this is going to help you become a better coder. As a matter of fact, professional coders who are working in MNCs also take part for the same reason.
Google APAC or as it is called now, Kickstart is something that coders all over the world look out for. It is more than just a Code Jam competition. And it takes more than programming skills to succeed in Kickstart. Performing well in Kickstart comes with a lot of perks including interview calls from Google either for a full time job or for internships. Programmers who are looking to move ahead in their career by enhancing their programming skills also find taking multiple rounds in Kickstart beneficial.
Before actually taking the challenges you could practice by taking up past challenges. This would prepare you for the actual Code Jam challenges as well as help you work on your overall coding skills even if you do not plan to take up Kickstart. Each problem would come with a detailed description of what exactly has to be solved and the restrictions to be followed including any time limits given. This would help you solve the problem so as to obtain the desired output format with the given sample inputs.
Expand your programming skills - You would have to write more than just code. A majority of the rounds would consist of algorithmic puzzles that would require knowledge about data structures and various algorithms.
A working knowledge of Data Structures is indispensable in helping you come up with efficient solutions to such problems. Here is a complete list of the data structures and algorithms that you would have to familiarise yourself if you are serious about Kickstart.
There are numerous online practice materials available for those aspiring to succeed in Google APAC. Check out the practice page on Code Jam portal for previous rounds, especially if you are attempting Kickstart for the first time. And when you know you are ready, check out the schedule for your region and join the next round.
As one of the most anticipated programming contests, the Association for Computing Machinery - International Collegiate Programming Contest, has been popular among programmers for 13 years. It started small and has now expanded to a multi-tiered contest attracting participants from all over the world.
This comes as a team contest and again involves algorithmic challenges like Kickstart. The awards that the top teams get themselves are great and as an additional advantage the winning teams also get noticed by several IT giants including Google. That's why this remains on the top of the chart for those striving to land a job in Google.
To begin with, all the teams that apply for would be taking up online challenges. The best teams would then be shortlisted and called for the actual regional challenges. There might be slight variations in the number of rounds actually held and to make it more challenging when there are competitive teams there might be bonus rounds added as well. Teams that perform well in regionals would then move on to compete at the world level finals.
Each challenge given to the team would come along with time and memory limits to be adhered to besides the actual constraints. Incorporating all these, the teams would have to come up with a solution that would help resolve the given problem. The input to be tested would be given along with the exact format of output expected.
There are online archives to find the best resources on tackling ACM-ICPC. Besides basic arithmetic skills the programmer teams would also require thorough understanding of algorithms, data structures and more.
One of the most effective ways to prepare yourself for Google APAC, ACM-ICPC and other such programming contests is to take coding courses like the Competitive Coding Bootcamp.


text:
package io.fabric8.kubernetes.client;

import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

import okhttp3.ConnectionPool;
import okhttp3.Dispatcher;
import okhttp3.OkHttpClient;
import io.fabric8.kubernetes.api.model.RootPaths;
import io.fabric8.kubernetes.client.dsl.base.BaseOperation;
import io.fabric8.kubernetes.client.utils.HttpClientUtils;
import io.fabric8.kubernetes.client.utils.Utils;

import java.net.URL;
import java.util.List;
import java.util.concurrent.ExecutorService;
import java.util.concurrent.TimeUnit;

public abstract class BaseClient implements Client, HttpClientAware {

  private static final Logger LOGGER = LoggerFactory.getLogger(BaseClient.class);

  protected OkHttpClient httpClient;
  private URL masterUrl;
  private String apiVersion;
  private String namespace;
  private Config configuration;

  public BaseClient() throws KubernetesClientException {
    this(new ConfigBuilder().build());
  }

  public BaseClient(String masterUrl) throws KubernetesClientException {
    this(new ConfigBuilder().withMasterUrl(masterUrl).build());
  }

  public BaseClient(final Config config) throws KubernetesClientException {
    this(HttpClientUtils.createHttpClient(config), config);
  }

  public BaseClient(final OkHttpClient httpClient, Config config) throws KubernetesClientException {
    try {
      this.httpClient = httpClient;
      this.namespace = config.getNamespace();
      this.configuration = config;
      this.apiVersion = config.getApiVersion();
      if (config.getMasterUrl() == null) {
        throw new KubernetesClientException("Unknown Kubernetes master URL - " +
          "please set with the builder, or set with either system property \"" + Config.KUBERNETES_MASTER_SYSTEM_PROPERTY + "\"" +
          " or environment variable \"" + Utils.convertSystemPropertyNameToEnvVar(Config.KUBERNETES_MASTER_SYSTEM_PROPERTY) + "\"");
      }
      this.masterUrl = new URL(config.getMasterUrl());
    } catch (Exception e) {
      throw KubernetesClientException.launderThrowable(e);
    }
  }

  @Override
  public void close() {
    ConnectionPool connectionPool = httpClient.connectionPool();
    Dispatcher dispatcher = httpClient.dispatcher();
    ExecutorService executorService = httpClient.dispatcher() != null ? httpClient.dispatcher().executorService() : null;

    if (dispatcher != null) {
      dispatcher.cancelAll();
    }

    if (connectionPool != null) {
      connectionPool.evictAll();
    }

    Utils.shutdownExecutorService(executorService);
  }

  @Override
  public URL getMasterUrl() {
    return masterUrl;
  }

  @Override
  public String getApiVersion() {
    return apiVersion;
  }

  @Override
  public String getNamespace() {
    return namespace;
  }

  @Override
  public Config getConfiguration() {
    return configuration;
  }

  @Override
  public OkHttpClient getHttpClient() {
    return httpClient;
  }

  @Override
  public <C> Boolean isAdaptable(Class<C> type) {
    ExtensionAdapter<C> adapter = Adapters.get(type);
    if (adapter != null) {
      return adapter.isAdaptable(this);
    } else {
      return false;
    }
  }

  @Override
  public <C> C adapt(Class<C> type) {
    ExtensionAdapter<C> adapter = Adapters.get(type);
    if (adapter != null) {
      return adapter.adapt(this);
    }
    throw new IllegalStateException("No adapter available for type:" + type);
  }

  @Override
  public RootPaths rootPaths() {
    return new BaseOperation(httpClient, configuration, null, null, "", null, null, false, null, null, false, RootPaths.class, null, null) {
    }.getRootPaths();
  }

  @Override
  public boolean supportsApiPath(String apiPath) {
    RootPaths rootPaths = rootPaths();
    if (rootPaths != null) {
      List<String> paths = rootPaths.getPaths();
      if (paths != null) {
        for (String path : paths) {
          if (path.equals(apiPath)) {
            return true;
          }
        }
      }
    }
    return false;
  }
}

redpajama_set_name: RedPajamaGithub


text:
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General Discussion: If RAIDERS get's the LA LA treatment
1 2 3 NEXT LAST
By: Mark malmstrom (Member)
I hope they do separate the THE WAREHOUSE and END CREDITS
or give us both options since the film did not have the intro for the end credits but rather started with the trumpet theme
By: Jeannot (Member)
Yes,it's a very important thing
By: Jeyl (Member)
Full 'Desert Chase'.
By: Replicant006 (Member)
There's absolutely no doubt in my mind that LLL would fix that gross oversight. One simply doesn't truncate one of the greatest compositions by John Williams.
And correct me if I'm wrong but wasn't there also a timing issue with that track? Or the entire Raiders release? I don't recall.
By: Adam. (Member)
The DCC edition has the full Desert Chase cue. I put that one DCC track into my whittled CD of the score. The rest came from the Concord box set.
By: DeviantMan (Member)
the INDIANA JONES scores
deserve the deluxe "book" presentation like the DISNEY LEGACY albums and the very first STAR WARS (4,5,6 black book) expanded editions
I'm absolutely sure they won't as long as Intrada has exclusive access to Disney.
Posted: Jan 14, 2023 - 10:18 PM
If RAIDERS get's LLL treatment, second or third post here (after "ordered!") will be "when TEMPLE is coming?"
Oh, so only Intrada has access to Disney-owned properties and no one else?
By: Bond1965 (Member)
You guys have some "Fantasy Football" type bullshit going on here.
Let me know when you wake from your crack induced comas.
All this is wild wishful thinking. No way is Disney letting an independent label do these scores. Not even Intrada.
By: Spymaster (Member)
There's absolutely no doubt in my mind that LLL would fix that gross oversight. One simply doesn't truncate one of the greatest compositions by John Williams. And correct me if I'm wrong but wasn't there also a timing issue with that track? Or the entire Raiders release? I don't recall.
Wasn't this edit specifically request by Williams though (for some peculiar reason)? If that's the case I'm sure LLL (or others) would have to follow Williams' same wishes.
Yes, apparently the Concord release of Raiders is at the wrong pitch (too fast) - the entire album!
Posted: Jan 15, 2023 - 11:03 AM
I'm curious how something like that happens - with the wrong pitch. I can't think of another release where this happened. Maybe it's more common than we know.
By: alexp (Member)
The faster the pitch, the shorter the duration. The result is more music to fit on a disc.
No way is Disney letting an independent label do these scores.
There was a time when the same was said about Star Trek, and James Bond, and scores like Titanic. Marvel is a much bigger property now than Indiana Jones, and yet Intrada did a few of those. (I know that more recently it's been all downloads.)
Do we even imagine any major label would be interested in 2023?
By: Ron Pulliam (Member)
Define "major label". I think La La Land or Intrada or any one of the other boutique labels would love to do it.
Define "major label".
Ron, if you read up to Bond1965's post a few post up, that's what I was referring to. I meant no disrespect to any of our beloved labels, nor I think did Bond1965, but I do agree that they are "independents" as defined differently from "majors."
By: Steve H (Member)
I would love the complete film edit of the end credits as a bonus track. The Warehouse straight into the Raiders Theme. I think it's wonderful.
By: ShabbyBlue (Member)
Isn't Raiders already fairly complete aside from 1 or 2 oversights? If by some miracle LLL or Intrada got a chance to do any Indy scores, I'd much prefer Temple of Doom get done first since so much is still missing from it officially. I guess I'd be in the minority by feeling "Meh" if Raiders was revisited yet again while I've been waiting for a complete Temple of Doom for decades.
Of course, ideally I'm sure we'd all prefer a big box set of the first 3 films complete, similar to the Jurassic Park and Harry Potter scores we got in the last few years.
By: NSBulk (Member)
If tapes are transferred "wild" without using the sync pilot tone, it can happen. I've rejected transfers that weren't resolved and had them re-done because the speed was off. If it's something like a 1/4" tape, which doesn't have sync, it's possible the unit it was played on was mis-calibrated.
For an upcoming project I had to have tapes moved from one facility to another to accommodate my need for the tapes to be played back properly. Maybe they thought I was being a pain, but if you start with a bad foundation (a poor transfer) nothing after it will get it right.
Here's a quote from Lorent Bouzereau that appears on all the original three movie soundtrack liner notes. He REALLY wanted to get this point across.
"One thing I learned from John Williams when I first had the chance to work with him on previous CD reissues, was how he "orchestrated" a very specific musical experience for listeners. There was a science and musical logic to how the cues were to be organized, merged together and divided. The CDs didn't need to include everything and every note featured in the films. For this new Indy soundtrack release, some of the cues are as John had originally mixed them for the first album issues; other cues were dropped simply because they didn't fit the musical journey envisioned for these new CDs."
- Laurent Bouzereau
And this isn't the first time someone working for Lucasfilm had to BS their consumers (Or "listeners") over their questionable handling of music. Remember the first DVDs for the original Star Wars trilogy and how a portion of music during the Battle of Yavin was missing? They said that was an artistic decision despite the clear fact that
A. The music was present on other language tracks on the same disc.
B. The music was present on the recent soundtrack re-releases.
C. The music was present on the GOUT discs that came out later with these same discs.
D. Future Blu-ray/4K UHD put the music back in.
Couple that with the fact that the total runtime of Concord's Raiders soundtrack is 74 minutes, than I think the real issue is more practical. Isn't that around the limit that a CD can hold music before things get wacky? I think Laurent was given a budget for 1 CD per film and 1 Bonus CD and he couldn't fit everything onto them. He knew that the DCC would be compared to this new program so he pulled the 'Artistic Decision' on why material was cut/left out and called it a day.
"The result, however, represents a unique musical experience for listeners and fans of the now classic film series that stimulates the imagination and makes you want to watch the films again"
Good thing the movies don't come with a 'Music-Only' track or else I'd be using a different optical disc for my music needs. It wouldn't sound as good but it'd be an option!
< 1 2 3 > >> Go to page: 1 2 3 4


Green beans, also known as mung beans, is a type of plant base food that comes from the legumes family. These tiny beans are low in calories and is an excellent source of protein and fiber. It is also known to have cooling and detoxing properties and thus during period where I had my intensive chemo, it quickly became one of the food that was somewhat staple in my diet - mum in law would make sure I had plenty of green beans during those days.
However, as green bean is usually prepared sweet as a type of soup desert by the Chinese, called Green Bean Soup, so the moment I was off the sugar diet, mum in law had to look for alternative ways to make this dish edible for me.
Instead of using artificial sugar, she had substituted it with nature's naturally sweet ingredients - sweet potatoes and pumpkin. As for the taste? It is not going to taste like how it used to with sugar, however, it is quite delicious that I would gladly finish it without complains.
1. After washing the green beans, put every it inside the thermal pot and recommended/ desired amount of water.
2. Bring to boil then transfer into thermal cooker and leave for at least 3 hrs.
3. Bring out onto a bowl and enjoy..!


text:
Summer Blockbuster Hotties - 2017
Summer movies return to the blockbuster scene yet again and this time there's definitely no shortage of hotties to wet your tongue. I'm pretty sure there's more to life than being really, really, 'really' ridiculously good looking, but not here. Here, you will see Hollywood serving up some sizzling HOT realness of outrageous proportions. And with these fine babes of toy-land infiltrating our movie theaters this summer it's going to be hard to stay away. Caution: May cause third degree burns.
~Mouth-Watering Bombshells~
It's hard to fully resist this incredibly sexy, Oscar award winning starlet. This sparkling diamond, of Swedish descent, is a total babe, and has proven she's a force to be reckoned with. Check her out in Tulip Fever, out August 25th. It's a story about an artist who falls for a young married woman while he's commissioned to paint her portrait during the Tulip mania of 17th century Amsterdam.
Up Next: Sisters in conflict traveling through Europe toward a mystery destination in Euphoria, out sometime later this year.
There is something mysterious that surrounds this exotic mouth-watering, bombshell, and it has everyone fully intrigued! The calm, cool and collected actress is without question irresistibly stunning. She blew our minds away as the ever-so-powerful super-hero in this summer's epic-hit Wonder Woman, which happens to be one awesome blockbuster. Is it any "Wonder" this Israelian beauty made the cut?
Up Next: Reprising her role as Diana Prince / Wonder Woman in DC's Justice League, out November 17th.
Freaky-deaky, silly-billy, fierce Cara-Cara-Cara is one of my all time favorite supermodels. This stunning, sex-kitten oozes sex appeal whether she's on the cat-walk or on the silver screen. One thing's for sure, this blonde vixen is making quite a splash in Hollywood. Be sure to check her out as she fights the dark forces of evil in Valerian and the City of a Thousand Planets, out July 21st. She also has a small role in Tulip Fever as well.
Up Next: As far as modeling, I'm sure it'll be sexy AF, but when it comes to her acting chops she's currently filming Life in a Year. A story about a 17 year who finds out his girlfriend is dying, so he sets out to give her an entire life in the last year she has left.
This enchanting beauty of Dominican and Puerto Rican ancestry, is absolutely one sexy-licous knock-out! How can you not adore everything about her?! She's practically perfect. But this mom of three doesn't get by on those vapid hot-chick roles alone. Opting instead, to play a pirate, an assassin, a blue 'alien', all the way to her latest butt-kicking role as Gamora in this summer's monster-hit Guardians of the Galaxy Vol. 2, currently in theaters. If you haven't see it yet... what are you waiting for?!
Up Next: She's currently filming Avengers: Infinity War, where she'll reprise her role as Gamora. It's scheduled for release next summer.
As a rule, I would say most men want to date her, while most women want to be her. This long-legged, gorgeous, bombshell exudes confidence and strength in everything she does. With her vivacious sex appeal, those piercing, stunning blue eyes, and that deep husky voice, it's no wonder people all over the world are drawn to this sex-siren. Watch this undercover MI6 agent kick a little boo-TAY in Atomic Blonde, which lands in theaters July 28th.
Up Next: A political journalist tries to hook up with his old babysitter, who now holds an important government position in Flarsky. Out sometime next year.
~Lip-Smackin Man-Candy~
Hubba-Hubba! They sure know how to grow 'em gooooood across the pond. The 37 year British babe is one absolute hunk! He's 'fasho' one delicious piece of lip-smacking, man-candy and an excellent addition to our summer blockbuster hotties. He seems so charming which definitely adds to his sex appeal. That tender, humble smile will easily render the ladies helpless in a matter of seconds. Don't miss this eight-pack-toting, sexy, heart-throb breathe new life into an old classic in King Arthur: Legend of the Sword, which already entered theaters May 12th.
Up Next: He plays a prisoner detained on a remote island who plots his escape in Papillon. Which happens to be a 1973 remake.
Oh baby! Break me off a piece of that yum-yum, chocolate chip, honey-hip... This devastatingly, gorgeous tall drink of water has got it going on! With that naughty body that just won't quit, this 6'2" beef-cake has everyone drooling. You make me wanna shoop! You don't wanna miss him in what is bound to be a rad sci-fi series either. The Dark Tower hits theaters everywhere August 4th. He can be my 'gunslinger' any day.
Up Next: He has two other movies hitting the scene later this year: The Mountain Between Us, out October 6th and Thor: Ragnarok, out November 3rd. Boy be on fire!!
He has this kind of charismatic and extremely sultry way about himself that one can't quite quantify or analyze. It has to do with a sincerity and a clarity that makes you see something good in him. Which is undeniably fierce and sexy. Aside from being blessed genetically this Irish born talent will blow your mind in this summer's drama The Beguiled, which storms theaters June 30th. Don't miss out!
Up Next: He will star in Tim Burton's live-action remake of Dumbo, out sometime next year.
Three words: DEE-LISH-US. Damn, this 27 year old, brown-eyed, stunner from down under is sure to make the lady-folk weak in the knees. I mean c'mon! This tall, dark and handsome, "boy-next-door" type has got it made! And while this sex-on-a-stick isn't exactly a house-hold name he's bound to be soon enough. He proves he can play with the big boys too, staring alongside Johnny Depp and Jeffrey Rush in Pirates of the Caribbean: Dead Men Tell No Tales, in theaters now. Don't miss this him make a Caribbean splash.
Up Next: He will star in Office Uprising, which is an action/comedy about an employee at a weapons factory who discovers that an energy drink turns his co-workers into zombies. Due for release later this year.
This handsome looker has both sexes drooling over those breathtaking baby-blues and that lip-smackin hottie-body! He's definitely a thing of beauty and embodies style and grace with the up-most confidence and humility. I feel safe in declaring him one of our national treasures. There's little doubt Hollywood and the entire world are a better place thanks to his presence. Not only did he woo the general masses, but he stole the heart of our beloved Diana Prince in Wonder Woman, currently in theaters and taking the box office by t'town.
Up Next: He will star in A Wrinkle in Time, which is a film about the aftermath of the disappearance of a girls father and how these three peculiar beings send them into space in order to find him.
All the sizzling babes in this segment turned K-Rated's hotness dial up to... 11. What can I say, 2017 means bidniss! Don't believe me? Check out this movie mash-up highlighting all the goodies summer blockbusters have to offer. Enjoy!
The floor is now yours. Share some of your favorite Summer Blockbuster Hotties of 2017 in the comment section below.
Labels: Best of the Best, Movie Mash-Ups