text:
The director of Drive has a new film he hopes challenges "goddamn old-school morality"
Alex McLevy
Only God Forgives
Nicolas Winding Refn (Photo: Amazon Studios/Broad Green Pictures)
For 20 years now, director Nicolas Winding Refn has made bold and uncompromising films that explore the messy nature of men and masculinity. From the Pusher trilogy to his recent collaborations with Ryan Gosling (Drive and Only God Forgives), creating violent and difficult men has been a touchstone of his career. He flips the gender script in his new film, The Neon Demon, which stars Elle Fanning and Jena Malone in a story about a beautiful young ingenue who arrives in L.A. and immediately starts climbing the ladder of fashion industry success, only to discover the ugly underside of this new reality. The famously oddball director sat down with The A.V. Club to talk about his new movie, but the conversation quickly spun into a discussion about the nature of art, what it means to create, and why the new generation of selfie-obsessed millennials might make the greatest art yet.
The A.V. Club: The film focuses on the obsession with beauty in the fashion industry, but it seems like there are almost as many parallels with art and cinema. Did you see aspects of your own experiences in moviemaking reflected in the story as you were doing it?
Nicolas Winding Refn: A lot of people have asked me that, and it's interesting because I've never thought of it like that. But I guess it evokes some kind of parallel that maybe subconsciously I wasn't really aware of.
AVC: Because the danger of narcissism that's depicted in the film is clear, but it does seem like there's an element of that in any serious artistic endeavor. A willingness to obsess over ideas and—
NWR: Oh, absolutely. Creativity is very self-indulgent. I've heard people talk about the movie being self-indulgent, and I'm like, "Yeah." I mean, what do you think creativity is? Nothing but self-indulgence. And the more self-indulgent it is, the more interesting it becomes. So I think that part of creativity is also falling in love with your own narcissism: accepting it, using it as an asset. I also think that something we're seeing in the younger generation, like Elle [Fanning]'s generation, is that narcissism is no longer a taboo. It's a sign of quality; it's encouraged. I think those things are interesting.
AVC: It strikes me as almost this tightrope walk; you need that element of narcissism to achieve great creative endeavors, but, at the same time—
NWR: Absolutely. There's always a danger; that's the walk you walk. And it's that balance—there's no right or wrong in it. It's a very individual journey that only you can take—do you know what I'm saying? Nobody can teach you how to do it, not even people that have gone there. You can only do it yourself. And I think the idea of individualism has become more dominating in our society. You can even see it by our political system: how people vote, the job situation, the sociological evolution that's happening, what's happening in the Middle East and so forth. The kind of group mentality that we had lived under since the Second World War is starting to erupt, and the craving for individualism is now much stronger. It's not as taboo anymore, as it was when I was younger. The idea of narcissism, essentially, is and will be accepted as a virtue.
AVC: It's interesting that you say there's no right or wrong on how you go on that. You can't say "this is a good way to do it," or "this is bad," but as the culture becomes more accepting of narcissism as a virtue, at a certain point, you do have to start making value judgments.
NWR: Oh, and that's individual. That's where your goddamn, old-school morality kicks in: how you were brought up, what did they teach you, how do you base your opinions. Because we still base a lot of our society on a fairly conventional—either on a religious or a law[-based] rule, which is great to have, because there's a sense of order, but the human mind within that still needs to express its own identity. I think that nowadays it's getting more accepting of this diversity of individuals. And we can see it as we're moving along.
AVC: Do you have times when you see or feel your own "goddamn old-school morals" intruding, as you call it? When you're looking at the rise of contemporary digital culture, are there moments when you feel that sense of moral outrage?
NWR: Oh, absolutely. I don't feel outrage as much as my wife does, for example, because I think there's something going on that's so much more complex than we can grasp yet. I think the diversity from my parents' parents was not very grand—we don't have to go very far back to where Elvis shaking his pelvis was a national outrage. That was how little needed to change. And you can say, my mother and me was a lot harder—my choices were probably more alien to her. My children's choices are obviously even more alien to me because the digital revolution has certainly made a bigger new reality than we had ever imagined would even exist. My children don't know the orientation of that reality because they are born into it. That reality of course is the digital revolution, where partly narcissism—and those elements that were in my childhood and my parents' childhood were certainly a very strong taboo subject—but are now becoming accepted and encouraged. And I think that, in the near future, the digital revolution and the physical, the physique, will of course mutate into something completely different.
AVC: That really ties it into the film directly, because Alessandro Nivola's character very explicitly calls out this link of beauty with power as almost a form of currency in itself. It functions as cold water in the face of the other characters, but it's also a pivot point moment where you see that shift in Elle Fanning's character.
NWR: Absolutely. She's gone to the other side. She has completely merged herself into her own narcissism and fallen in love with it. It's consumed her. And in that world, that future—is like a science fiction. And when her boyfriend, who she tries to bring into that world, confronts everyone—Sarno says to her, "Higher currency: without it, you'd be nothing." Her boyfriend's old-school, brought-up morals bring in a very important factor, to remember that beauty isn't everything. She's so much more. But then Sarno very quickly sees the hypocritical nature: "Yeah, that may be true. But if she wasn't beautiful, you wouldn't even have looked." And I think that's the struggle of our normality is that we have oppressed desires because of what is accepted and not accepted in society.
AVC: The cultural acceptance of ever more distinct identities is going hand in hand with an almost rigid repression of anything that's not blandly liberal values. Is that what you mean?
NWR: Yeah.
AVC: And that danger, or what we see as this sort of inevitable corruption, is also—
NWR: Liberation.
AVC: You could almost imagine Elle Fanning going on in the film to create great art.
NWR: Yeah. She would have been a full-fledged version of me.
AVC: You've said that this film was like getting in touch with your inner 16-year-old girl. Do you feel like there's a way that power seduces or corrupts young women or men differently, or younger and older people?
NWR: I don't know if power seduces less or more. I think power is a constant evolving mechanism that, since the dawn of time, on one level corrupts and on another level does not. But I think, no matter what, mutates. Understanding one's own power is more interesting than someone being given something powerful.
AVC: How so?
NWR: Because she knows that she is beautiful. She knows it's a currency. She doesn't know the value of it in the beginning. When she transforms, she realizes that it's the other way around. She doesn't want to be them, as she thought; they want to be her. So the power has shifted. And it goes to show how fragile our moral society is.
AVC: The way that culture either poisons or enriches, or both at the same time in the film, feels very visceral. The emotional change you see in her is more disturbing, in a lot of ways, than the violence that then happens.
NWR: Look at the birth of anything; it's always more violent than anything you could ever imagine.
AVC: How much of that came from your own experiences?
NWR: [Laughs.] Not so much my own experiences, but certainly the act of creation can be an extreme violent experience. The act of movement. But also the satisfaction of it is enormous, which is why you keep on going back to it. But I try not too much to look at that parallel in terms of my own career because it doesn't really interest me. But I like the notion of what fantasizing sends you, like having been born beautiful. I mean, it must have been an incredible, beautiful life. I don't have to go very far to see the power of beauty. Being desired, feeling desired is a very seductive aspect of our being.
AVC: And that desire to be desired is almost like a second-tier layer of it. Do you find that in your own work as you're trying to create?
NWR: Absolutely. There's incredible effect in being either loved or hated, but knowing that, either way, you have penetrated the mind and have altered it; that is a very pleasurable feeling. Because in the end, self-indulgence is very much about your ego and your vanity and your own id. The more you can indulge in it, the more pleasurable it becomes. And then when it feeds out, it's able to penetrate the mind and create a reaction. There is a sense of my own—it becomes very sexualized. At the same time, I also believe on a practical level, if you're taking time away from people, besides entertaining them, I think it's important that there's something to react to. Because reaction is what changes your understanding of the world. Good and bad, I don't really care. I don't even understand it.
AVC: In what way?
NWR: Good and bad, what's good and bad? I don't know. I had a Chinese dinner last night—that was pretty good. It's like, how can creativity be bad? You can have, "I liked it" or "I didn't like it," but, in the end, it's an individual experience. How can you even begin to define that? I find that sometimes extremely arrogant and counter-productive. I think that experiencing through art is a wonderful way to expand the horizon and everything around it.
Elle Fanning and Refn (Photo: Amazon Studios/Broad Green Pictures)
AVC: That shift, though—is that maybe what constitutes engagement with art? This idea that art has to be beyond good and bad, whereas our interactions with others and our social contract that we all agree to participate in, where we have to feel good or bad based on these things.
NWR: But that's not what creativity is about. Creativity is going out of that zone into a pure reactionary system where you react to it, and however you react will obviously alter—maybe just on a small level, or a small molecule—but it will alter your view of the world. The world needs change, change needs an activity. It has to be planted by a thought. The power of art is as powerful as weapons of mass destruction; it's just where war destroys, art inspires. But in order to inspire, you need to react to it. And, if it doesn't penetrate your mind, you can't react to it.
AVC: I heard somebody the other day suggest that maybe your films should come with a trigger warning—
NWR: [Laughs.] Right.
AVC: It seems like that would be counter-productive to the exact experience you're describing.
NWR: Right. Again, it's like you're not—we live in a society right now which is the last phase of the ecosystem in terms of the old entertainment value, or the old entertainment construction, which is we've gone down to this instant gratification, instant numbers, instant understanding, instant. But it's like the exact—it has perfected itself to the instant click, when, in a way, creativity originates as a much more complex beast. So we now have to reinvent a new canvas where we can indulge in it. And that's where the digital revolution creates a whole new ecosystem of entertainment.
Recent from Alex McLevy
Legion becomes a literal horror show with one of its creepiest threats ever
Stranger Things season 3 ruined Hopper
Thursday 9:00am
Please, someone introduce Dwayne Johnson to better directors


text:
Ezra 10:39
39 Shelemiah, Nathan, Adaiah,
Ezra 10:39 — English Standard Version (ESV)
Ezra 10:39 — King James Version (KJV 1900)
39 And Shelemiah, and Nathan, and Adaiah,
Ezra 10:39 — New Living Translation (NLT)
Ezra 10:39 — The New King James Version (NKJV)
Ezra 10:39 — New Century Version (NCV)
Ezra 10:39 — American Standard Version (ASV)
Ezra 10:39 — 1890 Darby Bible (DARBY)
Ezra 10:39 — GOD'S WORD Translation (GW)
Ezra 10:39 — The Holman Christian Standard Bible (HCSB)
Ezra 10:39 — The New Revised Standard Version (NRSV)
Ezra 10:39 — The Lexham English Bible (LEB)
Ezra 10:39 — New International Reader's Version (1998) (NIrV)
39 So did Shelemiah, Nathan, Adaiah,
Ezra 10:39 — New American Standard Bible: 1995 Update (NASB95)

redpajama_set_name: RedPajamaCommonCrawl


text:
#include "BuddycloudFollowing.h"
#include "AvatarConstants.h"

/*
----------------------------------------------------------------------------
--
-- CFollowingItem
--
----------------------------------------------------------------------------
*/

CFollowingItem* CFollowingItem::NewL() {
	CFollowingItem* self = NewLC();
	CleanupStack::Pop(self);
	return self;
}

CFollowingItem* CFollowingItem::NewLC(){
	CFollowingItem* self = new (ELeave) CFollowingItem();
	CleanupStack::PushL(self);
	self->ConstructL();
	return self;
}

CFollowingItem::~CFollowingItem() {
	if(iId)
		delete iId;
}

CFollowingItem::CFollowingItem() {
	iItemType = EItemNotice;
	iIconId = KIconNotice;
}

void CFollowingItem::ConstructL() {
	CBuddycloudListItem::ConstructL();

	iId = HBufC::NewL(0);
}

TFollowingItemType CFollowingItem::GetItemType() {
	return iItemType;
}

void CFollowingItem::SetItemType(TFollowingItemType aItemType) {
	iItemType = aItemType;
}

TDesC& CFollowingItem::GetId(TIdType /*aType*/) {
	return *iId;
}

void CFollowingItem::SetIdL(const TDesC& aId, TIdType aType) {
	if(iId)
		delete iId;

	iId = aId.AllocL();
	iIdType = aType;
}

TIdType CFollowingItem::GetIdType() {
	return iIdType;
}

/*
----------------------------------------------------------------------------
--
-- CFollowingChannelItem
--
----------------------------------------------------------------------------
*/

CFollowingChannelItem* CFollowingChannelItem::NewL() {
	CFollowingChannelItem* self = NewLC();
	CleanupStack::Pop(self);
	return self;
}

CFollowingChannelItem* CFollowingChannelItem::NewLC(){
	CFollowingChannelItem* self = new (ELeave) CFollowingChannelItem();
	CleanupStack::PushL(self);
	self->ConstructL();
	return self;
}

CFollowingChannelItem::CFollowingChannelItem() {
	iItemType = EItemChannel;
	iIconId = KIconChannel;
	iChannelUnreadData.iEntries = 0;
	iChannelUnreadData.iReplies = 0;
}

TXmppPubsubSubscription CFollowingChannelItem::GetPubsubSubscription() {
	return iPubsubSubscription;
}

void CFollowingChannelItem::SetPubsubSubscription(TXmppPubsubSubscription aPubsubSubscription) {
	iPubsubSubscription = aPubsubSubscription;
}

TXmppPubsubAffiliation CFollowingChannelItem::GetPubsubAffiliation() {
	return iPubsubAffiliation;
}

void CFollowingChannelItem::SetPubsubAffiliation(TXmppPubsubAffiliation aPubsubAffiliation) {
	iPubsubAffiliation = aPubsubAffiliation;
}

MDiscussionUnreadData* CFollowingChannelItem::GetUnreadData(TIdType /*aType*/) {
	return &iChannelUnreadData;
}

/*
----------------------------------------------------------------------------
--
-- CFollowingRosterItem
--
----------------------------------------------------------------------------
*/

CFollowingRosterItem* CFollowingRosterItem::NewL() {
	CFollowingRosterItem* self = NewLC();
	CleanupStack::Pop(self);
	return self;
}

CFollowingRosterItem* CFollowingRosterItem::NewLC(){
	CFollowingRosterItem* self = new (ELeave) CFollowingRosterItem();
	CleanupStack::PushL(self);
	self->ConstructL();
	return self;
}

CFollowingRosterItem::~CFollowingRosterItem() {
	if(iJid)
		delete iJid;

	for(TInt i = 0; i < iGeolocs.Count(); i++) {
		delete iGeolocs[i];
	}

	iGeolocs.Close();
}

CFollowingRosterItem::CFollowingRosterItem() {
	iItemType = EItemRoster;
	iIconId = KIconPerson;

	iChannelUnreadData.iEntries = 0;
	iChannelUnreadData.iReplies = 0;
	iRosterUnreadData.iEntries = 0;
	iRosterUnreadData.iReplies = 0;

	iSubscription = EPresenceSubscriptionUnknown;
}

void CFollowingRosterItem::ConstructL() {
	CFollowingChannelItem::ConstructL();

	iJid = HBufC::NewL(0);

	for(TInt i = 0; i < EGeolocItemBroad; i++) {
		iGeolocs.Append(NULL);
	}
}

TBool CFollowingRosterItem::OwnItem() {
	return iOwnItem;
}

void CFollowingRosterItem::SetOwnItem(TBool aIsOwn) {
	iOwnItem = aIsOwn;
}

TDesC& CFollowingRosterItem::GetId(TIdType aType) {
	if(aType == EIdRoster) {
		return *iJid;
	}

	return *iId;
}

void CFollowingRosterItem::SetIdL(TDesC& aId, TIdType aType) {
	if(aType == EIdRoster) {
		if(iJid)
			delete iJid;

		iJid = aId.AllocL();
	}
	else {
		CFollowingChannelItem::SetIdL(aId, aType);
	}
}

TPresenceState CFollowingRosterItem::GetPresence() {
	return iPresence;
}

void CFollowingRosterItem::SetPresence(TPresenceState aPresence) {
	iPresence = aPresence;
}

TPresenceSubscription CFollowingRosterItem::GetSubscription() {
	return iSubscription;
}

void CFollowingRosterItem::SetSubscription(TPresenceSubscription aSubscription) {
	iSubscription = aSubscription;
}

CGeolocData* CFollowingRosterItem::GetGeolocItem(TGeolocItemType aGeolocItem) {
	if(iGeolocs[aGeolocItem] == NULL) {
		iGeolocs[aGeolocItem] = CGeolocData::NewL();
	}

	return iGeolocs[aGeolocItem];
}

void CFollowingRosterItem::SetGeolocItemL(TGeolocItemType aGeolocItem, CGeolocData* aGeoloc) {
	if(iGeolocs[aGeolocItem]) {
		delete iGeolocs[aGeolocItem];
	}

	iGeolocs[aGeolocItem] = aGeoloc;
}

MDiscussionUnreadData* CFollowingRosterItem::GetUnreadData(TIdType aType) {
	if(aType == EIdRoster) {
		return &iRosterUnreadData;
	}

	return &iChannelUnreadData;
}

/*
----------------------------------------------------------------------------
--
-- CBuddycloudFollowingStore
--
----------------------------------------------------------------------------
*/

CBuddycloudFollowingStore* CBuddycloudFollowingStore::NewL() {
	CBuddycloudFollowingStore* self = NewLC();
	CleanupStack::Pop(self);
	return self;
}

CBuddycloudFollowingStore* CBuddycloudFollowingStore::NewLC() {
	CBuddycloudFollowingStore* self = new (ELeave) CBuddycloudFollowingStore();
	CleanupStack::PushL(self);
	self->ConstructL();
	return self;
}

void CBuddycloudFollowingStore::BubbleItem(TInt aIndex, TBubble aDirection) {
	// Never bubble top item
	if(aIndex >= 1 && aIndex < iItemStore.Count()) {
		CFollowingItem* aBubblingItem = static_cast <CFollowingItem*> (iItemStore[aIndex]);

		if(aBubblingItem->GetItemType() == EItemNotice) {
			// Auto insert notice item
			iItemStore.Remove(aIndex);
			iItemStore.Insert(aBubblingItem, 1);

			return;
		}
		else if(aBubblingItem->GetItemType() >= EItemRoster) {
			// Get bubbling items unread/replies
			CFollowingChannelItem* aBubblingChannelItem = static_cast <CFollowingChannelItem*> (aBubblingItem);
			TUint aBubbleValue = (aBubblingChannelItem->GetUnreadData()->iReplies * 100);

			if(aBubblingItem->GetItemType() == EItemRoster) {
				CFollowingRosterItem* aBubblingRosterItem = static_cast <CFollowingRosterItem*> (aBubblingItem);

				aBubbleValue += (aBubblingRosterItem->GetUnreadData()->iEntries * 10000);
			}

			// Initialize first list item
			TInt aListPosition = aIndex + aDirection;

			while(aListPosition > 0 && aListPosition < iItemStore.Count()) {
				CFollowingItem* aListItem = static_cast <CFollowingItem*> (iItemStore[aListPosition]);

				if(aListItem->GetItemType() == EItemNotice) {
					break;
				}
				else if(aListItem->GetItemType() >= EItemRoster) {
					CFollowingChannelItem* aListChannelItem = static_cast <CFollowingChannelItem*> (aListItem);
					TUint aListValue = (aListChannelItem->GetUnreadData()->iReplies * 100);

					if(aListItem->GetItemType() == EItemRoster) {
						CFollowingRosterItem* aListRosterItem = static_cast <CFollowingRosterItem*> (aListItem);

						aListValue += (aListRosterItem->GetUnreadData()->iEntries * 10000);
					}

					if((aDirection == EBubbleDown && (aBubbleValue > aListValue ||
								(aBubbleValue == aListValue && (aBubblingChannelItem->GetUnreadData()->iEntries > 0 || aListChannelItem->GetUnreadData()->iEntries == 0)))) ||
							(aDirection == EBubbleUp && (aBubbleValue < aListValue ||
									(aBubbleValue == aListValue && aBubblingChannelItem->GetUnreadData()->iEntries == 0 && aListChannelItem->GetUnreadData()->iEntries > 0)))) {

						iItemStore.Remove(aIndex);
						iItemStore.Insert(aBubblingItem, (aListPosition - aDirection));

						return;
					}
				}

				// Next
				aListPosition += aDirection;
			}

			iItemStore.Remove(aIndex);
			iItemStore.Insert(aBubblingItem, (aListPosition - aDirection));
		}
	}
}

void CBuddycloudFollowingStore::FilterItemL(TInt aIndex) {
	CBuddycloudListStore::FilterItemL(aIndex);

	CFollowingItem* aFollowingItem = static_cast <CFollowingItem*> (iItemStore[aIndex]);
	TPtrC aFilterText(iFilterText->Des());

	if(aFollowingItem && !aFollowingItem->Filtered()) {
		if(aFilterText.Length() <= aFollowingItem->GetId().Length() &&
				aFollowingItem->GetId().FindF(aFilterText) != KErrNotFound) {

			// Id match
			aFollowingItem->SetFiltered(true);
		}

		if(!aFollowingItem->Filtered() && aFollowingItem->GetItemType() == EItemRoster) {
			CFollowingRosterItem* aRosterItem = static_cast <CFollowingRosterItem*> (aFollowingItem);
			TPtrC aCurrentPlace(aRosterItem->GetGeolocItem(EGeolocItemCurrent)->GetString(EGeolocText));
			TPtrC aFuturePlace(aRosterItem->GetGeolocItem(EGeolocItemFuture)->GetString(EGeolocText));

			if((aFilterText.Length() <= aCurrentPlace.Length() && aCurrentPlace.FindF(aFilterText) != KErrNotFound) ||
					(aFilterText.Length() <= aFuturePlace.Length() && aFuturePlace.FindF(aFilterText) != KErrNotFound)) {

				// Current or future place match
				aFollowingItem->SetFiltered(true);
			}
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
Professor Nicola Stonehouse
Job title: Professor of Molecular Virology
Email: n.j.stonehouse@leeds.ac.uk
School: Molecular and Cellular Biology
Location: 8.53b Garstang
Areas of expertise: Virology; RNA; vaccines; virus structure and assembly
Research is the Stonehouse group spans virology and RNA biology, applying novel approaches to the study of virus replication.
Picornaviral replication, especially the role of the RNA-dependent RNA polymerase of foot-and-mouth disease virus and processing of the viral polyprotein. This project is funded by BBSRC.
Design of novel virus-like particle vaccines (e.g. to polio and EV71) and design of generic vaccine scaffold systems. This project is funded by MRC and by WHO.
Picornaviral replication
Picornaviruses are responsible for a number of serious diseases, including polio and foot-and–mouth disease. There is an urgent need to develop new therapeutic strategies to address the continuing issue of infection. Foot-and–mouth disease virus (FMDV) is an important animal pathogen – the 2001 UK outbreak cost several billion pounds. The project aims to study the features of the viral genome responsible for both rapid replication and persistence, using a replicon system. The long-term aim of the work is to utilise our knowledge of the molecular details of replication in the development of new strategies of disease diagnosis and control.
This interdisciplinary project includes other UK academic institutions and BBSRC Pirbright Institute.
Development of novel picornavirus virus-like particle vaccines
Virus-like particle (VLP) vaccines are the future of vaccinology. They contain no viral nucleic acid, therefore they represent no risk of virulence and can be produced safely under low biocontainment e.g. the HPV vaccine Gardasil. However, there are significant challenges to be overcome in applying this strategy more widely. We have developed stabilised VLPs for a range of picornaviruses. Targets are poliovirus (PV) and many emerging viruses such as enteroviruses 71 and 68D and Coxsackie virus A16, which can result in paralysis and death. The PV VLPs are able to elicit an immune response similar to the current vaccines.
This project is part of two Leeds-led consortia involving the Universities of Oxford, Reading, Florida, the JIC, NIBSC and Pirbright Institute.
Development of a vaccine platform
We have developed a vaccine platform system that allows a presentation scaffold and a glycoprotein antigen to be made separately and then combined in vitro. We are using our novel scaffold system to capture the glyocoprotein ectodomains of Junín virus and SARS-CoV-2. The scaffold is a virus-like particle (VLP) composed of fused dimers of hepatitis B core protein (HBc) that display a novel, high affinity binding sequence (an affimer to SUMO). This allows the attachment of SUMO-tagged proteins onto preformed VLPs without the need for co-expression. The structure of these VLPs is currently at 2.8 Å resolution by cryo-EM.
The project is in collaboration with several partners including the University of Oxford.
We also work in collaboration on the following projects:
RNA aptamers as tools and delivery of aptamers into the skin as potential novel therapeutics with Dr Miriam Wittmann
Zikavirus and chikungunya virus replication with Dr Andy Tuplin
Murine norovirus structure with Dr Morgan Herod
Hepatitis E virus replication with Dr Morgan Herod and Professor Mark Harris


Panther Dryers , they have been aroung a long time.
Over priced uk made DINOSAURS ready for the scrap yard.
Value less Scrap metal .
Do their Panther Dryers really offer value for money ?
Suitable for any small or medium size t-shirt printing company using mainly "plastisol" printing inks.
Good for t-shirts, sweatshirts, working clothes, umbrellas and many more substrates.
First and for most they claim this Panther dryer cures 500 prints on t.shirts an hour.
T.shirts small to xl are 30 inches long and 20- 24″ wide. A3 size print is 12 x 17″ long.
The Panther tunnel on the 700 model is 42″ long and 36″ wide..
Most reputable screen printing supplies of Plastisol inks.
minute in the oven set at a temperature above 300°F.
T. Shirts layed flat for consistant even curing .
Lay 3 end to end equates to 90″. 1 min inside the oven to travel 42″.
To be very kind and genorous , 120 prints an hour.
What beggers belief where did they come up with the figure 500?
Sounds like a load of shoe repairers.
The price is over £3000. you might as well flush your money down the toilet.
Made by a company that manufactures wiper motors.
These were fitted to the Mcfurson tunnel dryers 40 years ago they kept leaking oil.
WPS still peddals these PantherDryers with these fitted wiper motors.
WPS also went into administration 3 years ago owing customers and suppliers money.
Finally the sums and the facts dont lie.
Panther Dryer More updates and horror stories.
we are having problems with it not curing everything and the heat dropping up and down, does anyone have one or had the same problems?
OK, let's try and keep it civil folks 🙂 We don't tolerate rudeness from anyone on here.
I can't comment on the actual machine. As you'll know, WPS have recently been bought out.
Unfortunately this was just after they sold me a load of kit, most of which went back.
Even the pallette knife had to go back as it was like tin foil!
Everything that was 'acceptable' arrived damaged.
So if this is an ad for WPS (and i don't believe it is!) I'd be the first to say steer clear!
I appreciate they've been bought out but when I approached the new owners about the (frankly) crap flash heater they 'mis-sold' me.
I was simply told that it wasn't there problem as they'd just taken over the business following liquidation.
Very kindly they offered me a discount on future purchases but that'll never happen!
The dryers are made in the UK entirely from European parts, explains the company, which also reports that the dryers are low maintenance "as long as they are kept clean and are well looked after".
Texitunnel 700 Panther Dryer. This dryer is designed with just one bank of elements – it is good for drying t-shirts after screen printing.
FULLY CURING 500 A3 PRINTS AN HOUR WHITE ON BLACK , METALIC ON BLACK PULL THE OTHER ONE DAVE.!!!
Elements and thermocouples have been periodically replaced. Belts replaced.
Serviced by Panther on several occaions.
as you can see, they do not hold any value.
Built by SISS (WPS) in the UK, it is ideal for DTG printers, says the manufacturer, curing both light and dark garments. It can also be used with manual and semi-automatic screen printers using plastisol, as well as water-based and water-based discharge ink, which the company says will be cured in a single pass.
The dryer comes as standard with variable belt speed, temperature controls and an element array that can be moved up and down as needed, allowing it to accommodate large substrates. It uses ceramic infrared elements, which SISS says are efficient and long-lasting.
Final conclusion, we agree there is no need of a rocket scientist! just some one who can count and tell the time.
As a result the Panther dryer does not achieve the production levels they claim.
Especially with a semi auto printing machine.
Further more to this conclusion , Panther dryer 700 is physically challenged .
We advise our customers not to waste thier money and time on the panther 700.


text:
Fire, Brimstone, and a Loaded .38: The Rise and Fall of J. Frank Norris
J. Frank Norris was a fundamentalist preacher who believed in the literal interpretation of scripture, but he was a little lax on the whole "turn the other cheek" injunction. On July 17, 1926 a man named D.E. Chipps stormed into Norris's office at the massive First Baptist Church of Fort Worth and threatened to kill the preacher. Norris—one of the most powerful religious figures in America at the time—pulled out a gun and shot him dead.
The killing scandalized Texas and riveted the country as the preacher was put on trial for murder, but the killing of D.E. Chipps was not Norris's first experience with bloodshed, nor was it his first time to tangle with the law. In some ways, his whole life had led him to that courtroom.
Born in 1877, John Franklyn Norris had grown up in an atmosphere of violence and intense religious faith. The two first merged when he was thirteen years old. His father, a hopeless drunk named Warner Norris, accused a man named John Shaw of being a horse thief and cattle rustler. Enraged, Shaw rode out to the Norris home and shot Warner in front of his family. When Frank attacked the gunman with a knife, Shaw shot him three times. The wounds could have been fatal, but Norris eventually rebounded—aided by the prayers of his pious, longsuffering mother—and he committed his life to the ministry.
From the start, he was a success. After graduating at the top of his class from Southern Baptist Seminary in Louisville, Kentucky in 1905, he took the pastor's job at McKinney Avenue Baptist Church in Dallas, Texas. The church had 13 people when he took over. By the time he left, two years later, it had a thousand members. That was just the beginning, though. When he moved to Forth Worth and took over the First Baptist Church, Norris turned the church into the largest Protestant congregation in America.
J. Frank Norris was a megachurch preacher before the term had even been coined.
One thing was for sure, he knew how to get attention. In 1912, he started raising hell about "Hell's Half Acre," Fort Worth's saloon and prostitution center, and he publically accused Mayor Bill Davis of misappropriating funds. When Norris held an outdoor tent revival preaching against the lax enforcement of laws, Davis had the fire department tear the tent down.
Then someone set fire to Norris's church. Only minimal damage was done, and rumors flew around Fort Worth that Norris had set the fire himself. Less than a month later, his church was burned to the ground on the same night that another fire broke out at Norris's home. Suspicious, the mayor hired a New York detective agency to investigate the pastor. Norris then produced threatening letters he said he received before the fire. He was indicted for perjury, the theory being that he wrote the letters himself. Shortly afterwards, the city attorney incited Norris for arson for the burning of his church and home. Norris attempted to resign from the church, but the church refused to accept his resignation. On April 25th, Norris was found not guilty of perjury. On January 24, 1914—almost two years after the house and church burnings—he was found not guilty of arson.
By the end of the ordeal, Norris was more popular than ever.
In the 1920s, he burst onto the national scene when he began to crusade against the teaching of evolution in public schools. At the same time, he was the leading crusader against liberalism and modernism in the Southern Baptist Church. He felt that the church had ceded too much ground to scientists and philosophers. The bible, he preached, was the one and only authority.
He labeled the Catholic Church a false authority. Preaching a series of sermons called "Rum and Romanism" he proclaimed Catholicism anti-American and warned against the "conspiracy […] to elect a Catholic president to overthrow the Constitution and control this government."
Norris's virulent anti-Catholicism intensified when he got into a quarrel with the city's new mayor, H.C. Meacham over property taxes and a parcel of land owned by a local Catholic school. Norris charged that the mayor, who was Catholic, was helping the church with public funds and, in the process, lining his own pockets. He protested outside a store owned by the mayor. The mayor responded by firing five store employees who attended Norris's church.
It was a serious misstep for Meacham. Norris made the mayor's action public, raging that the Baptists were being religiously persecuted. He also revealed a sex scandal in the mayor's past, charging that he had had to spend $22,500 "to settle" with a young woman in the community.
The mayor faced a ferocious backlash from the public, and he turned to his friend, local lumber king Dexter Eliot Chipps, to vent his frustration. Furious, D.E. Chipps—a man who could put away the booze and who was known for his quick temper—went to see Norris.
What happened next was widely debated. Norris and Chipps had words. Threats were exchanged. Chipps turned to leave. Then he turned and went back in the room. Did he return to attack Norris or just to issue some more insults? Either way, Norris pulled a .38 out of his desk and shot Chipps three times.
The resulting trial was a national sensation. Norris wasn't simply a preacher, he was a religious kingpin, a man with a radio show, his own newspaper, and the biggest church in America. Imagine Joel Olsteen gunning someone down in his office. Eventually, though, Norris was acquitted of murder on the grounds that he had shot Chipps in self-defense.
J. Frank Norris on the stand at his murder trial where he was acquitted.
After the killing, Norris continued to prosper. In 1935, he took on the pastorate of a second congregation, Temple Baptist Church in Detroit, while keeping his pastorate of First Baptist Church of Forth Worth, bringing his combined church membership to over 26,000 people. He was a national figure, on good terms with heads of state, and when he visited England in the forties he did so bearing a letter of introduction to Winston Churchill from Secretary of State Cordell Hull ("Dr. J. Frank Norris is one of the great pulpit speakers of this country"). He remained controversial, though. He helped purge modernizing elements in the Southern Baptist church, and he founded a separatist fundamentalist organization called the World Bible Fellowship, which—through various offshoots—would train people like John Birch and Jerry Falwell.
Norris died in 1952, but considering his status as the first megachurch preacher and a founding father of the Christian fundamentalist movement, his legacy has been murky. Today, he remains a largely unknown figure, even among most Christians. He never made the transition into being an elder statesman in the way that someone like Billy Graham did, nor did he leave behind any sermon or book that has become a standard piece of American inspirational literature.
In the end, the controversies surrounding his church burnings, bigoted statements, and the killing of D.E. Chipps have made him a figure many fundamentalists would rather leave in the past. Norris remains a fascinating character, though—and a distinctly American one at that—a man with a bible in one hand and a gun in the other.
This sweepstakes has ended. Thanks for entering!
Comment below for a chance to win a paperback copy of The Big Ugly by Jake Hinkson, which features Ellie Bennett, a former corrections officer turned ex-con who's hired by a Christian political advocacy group to find a missing Arkansas woman, an odd target for the richest and most powerful men in the state.
To enter, make sure you're a registered member of the site and simply leave a comment below.
TIP: Since only comments from registered users will be tabulated, if your user name appears in red above your comment—STOP—go log in, then try commenting again. If your user name appears in black above your comment, You're In!
The Big Ugly Comment Sweepstakes: NO PURCHASE NECESSARY TO ENTER OR WIN. A purchase does not improve your chances of winning. Sweepstakes open to legal residents of 50 United States, D.C., and Canada (excluding Quebec), who are 18 years or older as of the date of entry. To enter, complete the "Post a Comment" entry at https://www.criminalelement.com/blogs/2014/11/fire-brimstone-and-a-loaded-38-the-rise-and-fall-of-j-frank-norris-jake-hinkson-the-big-ugly beginning at 12:00 p.m. Eastern Time (ET) November 6, 2014. Sweepstakes ends 11:59 a.m. ET November 13, 2014. Void outside the United States and Canada and where prohibited by law. Please see full details and official rules here. Sponsor: Macmillan, 175 Fifth Ave., New York, NY 10010.
Jake Hinkson is the author of several novels, including the newly-released The Big Ugly.
OFFICIAL RULES: The Big Ugly Comment Sweepstakes
American Horror Story: Freak Show 4.05: "Pink Cupcakes"
Gordon Bingham
Added to my list
Jody Darden
Religion and crime can make intersting bedfellows…
You just couldn't make up a story like Norris's – people just wouldn't believe it.
Sharon Kaminski
This I think would be a "can't put it down" read.
What a facinating read this would be. I could imagine myself unable to put it down.
Shannon Baas
I would like this.
Barbara Lima
jdsmom98
george ashmore
I love historical fiction–will enjoy reading this.
Carolyn Dileo
I want this so badly! Thanks for the opportunity!
Beatrice P
Sounds like an interesting crime story
HESTER MAYO
Love the cover!!
Karen Mikusak
lynette thompson
What a great giveaway, sounds like such a good book. Good luck everyone
Russell Moore
Always looking for a good read. This looks like one.
Vicky Boackle
sounds pretty good
JAMES LYNAM
HINKSON is awesome.
Hope I WIN!!!!!!!!!
Kim Keithline
Karl Stenger
I would love to read this book.
Mike zinn
What a fascinating story. I'm looking forward to reading the book.
Mary Borger
wow! love to read to read it.
Ruth Bousquet
Sounds intriguing to me.
Kristin Centorcelli
Would love to win a copy! Thanks!
Leslie Bitner
We are crazy about religion down here.
Robin Weatherington
[u][b]Pick Me, Pick Me![/b][/u]
Shedding light on the foundations of fundalmentialism in America is important. It's interesting to see someone doing it.
Now I know what "duper's delight" means! Can't wait to read the book.
Sounds like a real interesting read. I would love to win!
Anna Mills
This could be the best one you have ever offered! And, perfect for today.
susan beamon
You really can't make this kind of thing up.
Barbara Bibel
Typical Texas-religious hypocrisy and guns!
Daniel Morrell
sounds like a fun on
Denise S
This sounds very interesting.
Steven Wilber
Crystal Blackburn
This sounds interesting.
Yes, please enter me in the sweepstakes.
Peter W. Horton Jr.
Fire and brimstone! Yes!
Andra Dalton
Book blurb sounds very intriguing!!! Can't wait to read!!! Thanks for the opportunity to win & good luck to all who enter!!!:)
Lori Walker
Lori P
It's unsettling that this highfalutin hypocrisy can be so entertaining. This would certainly make a captivating read.
charles j hauser jr
so many great stories in the past that have been totally forgotten but would make great mysteries
Cindy Hipolito
Love the storyline of this book. Would love to read it! Thanks for the giveaway.
sue weatherbee
Love these kind of stories, so crazy it has to be true!
Cheryl English
What an Amazing read. Thanks for the chance. Now please pick me.
Sounds very timely
Angel W
I love a good book!
patricia gibby
Can you say CULT?
This sounds like a terriffic book.
Vernon Luckert
Looks like it will be a good read!!
Tiffany Duncan
This looks good
This sounds intriguing 🙂 I'd love to check it out 🙂
Chuck Aeschbacher Jr
cool, was making me think of that preacher turned actor Marjoe Gortner but um, they'er different.
Christine Herrera
I would definitely read this straight through on my next day off work.
Missie Freeman
I'm always looking for a good book!
MARGARET GAWLEY
missing person, religion, politics, crime?…yes, I could go for this good read
Diane Mason
This sounds fascinating…..so interesting to read true stories.
Kris Kaminski
yes put me down for this one!
Jon Butters
Looks great, thanks for the contest.
Rosemary Krejsa
The story sounds great. Truth can be stranger than fiction. Case in point.
elizabeth findlay
Have never read this type of mystery, but would love to win the book and give it a chance.
Madelyn Quest
Preaching the Gospel while breaching the Gospel. Fascinating story about the duality of man.
Saundra K. Warren
True Crime! I this this sounds great
Catherine Myers
Carol Gowett
I had never heard of Frank Norris, and since I live in Oklahoma, I find that interesting.
Jeffrey Tretin
Thank you for the giveaway. Sounds great.
Ed Nemmers
I would like to read the work of Jake Hinkson.
Laura DeLaRosa
Norm Brontman
would love to read this book.
Lisa Pecora
Sounds interesting!!
Frank Byrns
The Clancy Brown character in Carnivale had a lot of Frank Norris elements to him, I think….
Brenda Elsner
Sounds like a great read!!!
Sally Winkleblech
What an interesting person. I would love to win and read his story.
Susan Mahaffey
Sounds intriguing!
Linda Peters
now this would be interesting, thanks
Valeen Nielson
Ooh, this sounds like a great read! I hope I win this!
Buddy Garrett
Wow! What an interesting character. Thanks.
Sand Lopez
Wayne Lecoy
I am entering your giveaway.
It would be great to win a paperback copy of
The Big Ugly by Jake Hinkson.
This sounds like an interesting book.
Thank you for having this giveaway!!!!!!!!!!
Lawrence Mercer
Make me a winner!
Daniel Vice
I would like that
Tim H. Moss
Good deal, count me in!
Amy Lilly
Interesting story. I've never heard of this Norris character. Thanks for the history lesson and the chance to win!
I would love to read this.
vicki wurgler
this sounds like an interesting book
Heather Cowley
Intriguing, to say the least! Thanks!
Bad Influence: The Noir Background of The Big Country
By Quinton Peeples
This bit of dialogue started everything: Deputy Wendell: This is turnin' into a hell of a mess, ain't it, Sheriff? Sheriff Ed Tom Bell: If it isn't, it'll do until the mess gets here. It's from the film version of No Country For Old Men by the Cohen brothers. One of my all-time favorite…
The Edgar Awards Revisited: The Bottoms by Joe R. Lansdale (Best Novel, 2001)
By Adam Wagner
I'd like to start this review of Joe R. Lansdale's The Bottoms by admitting that my only exposure to his work prior to this 2001 Edgar Award winner was a love of the film adaptation of Bubba Ho-Tep (which I only recently learned was based on a Lansdale short story) and a general understanding of…
The Edgar Awards Revisited: Cimarron Rose by James Lee Burke (Best Novel, 1998)
By Angie Barry
But my confidence was cosmetic. Neither I nor anyone I knew in Deaf Smith had any influence over Vernon Smothers. He believed intransigence was a virtue, a laconic and mean-spirited demeanor was strength, reason was a tool the rich used to keep the poor satisfied with their lot, and education amounted to reading books full…
I Don't Read Crime Fiction Just for the Crimes
By Sherry Thomas
I don't read crime fiction just for the crimes. Well, sometimes I do. When I pick up an Agatha Christie novel, I'm usually in it solely for the intricacy of the plot—to see how the whodunit was done. But there are other instances when the murder(s), adventures, thrills and suspense of each book—usually in a…


text:
Atleti's drubbing of Granada sends message to La Liga
Rojiblancos showed no mercy against the bottom side in stunning 7-1 win
Posted by Carlo Valladares on October 18th, 2016 in Opinion -
Atleti have been in fine goalscoring form this season
There have been a couple of occasions where LaLiga has truly gone above and beyond in the unpredictable department this campaign. Sometimes these instances are easily noticed, sometimes you have to dig deeper to find it's true meaning.
In September, Alavés' 2-1 win over Barcelona was definitely one of those easily identifiable moments of shock. The defending Primera champions were beaten by Mauricio Pellegrino's men, a newly promoted side.
At the time of this writing, the table's top four reads as follows:
The #LaLiga table top four as of Sunday, October 16th. @LaLigaEN p pic.twitter.com/HK3GjPM1iw
— Carlo Valladares (@C_V_News) October 16, 2016
If you've kept attention to Spain's top-flight over the past decade or so, you know that it is rare to see the Culé behemoths sitting in fourth place, and while the standings above should be a testament to the evenly-level playing field that La Liga offers, it is the team at the top that delivered a performance worth talking about on Saturday.
Atleti being top shouldn't come as a surprise to anyone, the team won the league title in 2014, and ever since have been giving Los Blancos and The Blaugrana a run for their money. But on October 16th, Los Rojiblancos did something that was against their norm.
No, a side that went to the Champions League final last season beating an opponent that is currently in last place shouldn't be surprising, it is the manner in which it happened that is.
? @nicogaitan: "We are very happy. We are growing as a team." pic.twitter.com/g6xBFyRiAb
— Atleti English (@atletienglish) October 15, 2016
Their 7-1 win over Granada at the weekend was different. As I watched the game and Atleti goals were piling in, I could remember the BeIN Sports commentator from Barcelona's 4-0 win over Deportivo La Coruna earlier in the day.
"Goaaaaallllllllll deeeeeeee Baaaaarrrrceeeelonaaaaaaaaa!," he yelled.
It was at that moment that something dawned on me, suddenly, an announcer didn't have to use the words "goal" and "Barcelona" together four or five times a game, now the consistent Barcelona yells were replaced with a loud and exciting, "ATTTTLÉTTTICOOOO DEEEE MADRIDDDDDDDD!"
However, it didn't start like that. When Granada's Isaac Cuenca opened the scoring, it seemed like it was going to be one of those nights at the Vicente Calderon, where the home side was going to struggle to break down an opponent sitting deep with nothing to lose.
Indeed, it felt like it was going to be more like their match against Alaves rather than taking a note from Barca's scoring handbook and obliterating the opposition.
This time, the words "goal" and "Atletico Madrid" were being used by a commentator more than twice in a game and it sounded different, the game felt different, the team feels different.
The very way that Simeone's men came back from a goal down shows this new-look, daring Atleti. A team that instead of having their fans worry the whole match, they went out and sent a loud stylistic cry to the rest of LaLiga – they're tired of waiting for the chances, they're going to take them.
? At the press room, words from @Simeone : "The best thing I see in the group is the response from everyone" #GoAtleti #AtletiGranada pic.twitter.com/cZ32Quk71U
Furthermore, the ones who finish those chances are not going to be the natural starting strikers in the side.
No, Atleti relied on their burgeoning talents in Yannick Carrasco and Ángel Correa, newly acquired Nicolás Gaitán, and veteran Tiago to get the scoring done, and that is something Atleti fans don't see very often.
When none of Atleti's go-to strikers run rampant in the scoring department, you know they're changing….#Atleti #Simeone #LaLiga pic.twitter.com/4Z0cckMmsG
Atlético sent a message to Europe when they beat Bayern Munich 1-0 last month at home, letting them know that the past few UCL seasons is no fluke and that they will compete at the highest level against any team.
In all honesty, those who have watched La Liga each season know that ever since El Cholo took over they have been on the Big Two's heels, but now it's slightly different.
Now a quick glance at the scorelines of the Big Three's wins from the weekend will show exactly what I mean: Barcelona 4-0, Real Madrid 6-1, and Atlético 7-1. There isn't much difference in quality anymore, and the Spanish Primera knows it.
Atlético Madrid is bigger, better and stronger than they've ever been in the Simeone era.


A highly anticipated ferry from the City of Glen Cove to Manhattan has received a 16-month extension for its launch from the Federal Highway Administration.
The city missed it's Jan. 1 deadline to launch, putting it at risk of having to pay back $16 million in federal grants it was awarded.
The extension gives Glen Cove until May 22, 2020, which was partly secured with the help of U.S. Rep. Tom Suozzi (D-Glen Cove) who Glen Cove Mayor Tim Tenke reached out to for help last March.
Lisa Travatello, the public relations officer for the City of Glen Cove, attributed the delay in the launch of the ferry service to "the forward transformation" occurring in Garvey's Point, the area that surrounds the ferry.
With the area under reconstruction, it was not the optimum time to launch a ferry, she said.
The extension allows for the ferry's opening to align with the completion of the Garvey's Point project.
The revitalization of Garvey's Point is a $1 billion project that is being completed by RXR and includes new housing and new parks.
The ferry is expected to make two stops in Manhattan, at 34th St. and Wall St.
During the "summer of hell," the MTA launched a ferry from the Glen Cove ferry terminal to alleviate the stress on the LIRR.
Travatello said the residents loved it.
The city plans to contract an independent ferry operator to run the ferry service.


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Archive for the 'Lester Holt' Category
NBC Universal Chief Jeff Zucker, His PR Folks And His Talent Host Holiday Party For Media At 30 Rock
We just got back to Jersey after attending NBC Universal's party for the press. The soiree Tuesday night, held on the 52nd floor of 30 Rock in Manhattan, was officially off-the-record. But we can certainly tell you who we saw there.
As we were checking our coat, Kathie Lee Gifford was putting on her's and leaving. Her NBC morning-TV partner, Hoda Kotb, was still inside at the shindig.
The event, sponsored by NBCU chief Jeff Zucker and his communications team, came on the heels of news that the nation's largest cable operator, Comcast, was buying the home of the Peacock Network along with its stable of cable channels, which includes USA Network, SyFy, Bravo, Oxygen, CNBC and MSNBC. The seller is General Electric.
A shirt-sleeved Zucker briefly addressed the gathered media, and made some funny jokes about the coming merger (we can't say what, it was off the record, remember?)
There were both NBCU talent and suits at the holiday party. NBC News anchor Brian Williams, a Jersey guy, stopped by, as did Lester Holt, Ann Curry and Amy Robach from "The Today Show." Jimmy Fallon popped by when the party was ending.
As for execs, in addition to Zucker there was NBC Cable Entertainment chief Bonnie Hammer, Bravo honcho Frances Berwick, NBCU's women's and lifestyle chieftain Lauren Zalaznick, CNBC president Mark Hoffman and "Saturday Night Live" creator and producer Lorne Michaels.
We have written about Bravo's "The Real Housewives of New Jersey" for NewJerseyNewsroom.com, and NBC has big home shopping connections and affiliations.
First of all, GE/NBC currently owns about 32.5 percent of ShopNBC on a fully diluted basis of 37.6 million shares. NBC's 6.4 million shares represent 16.8 percent ownership and GE's 6 million common stock purchase warrants represent 15.7 percent.
Secondly, the stars of several of NBCU's cable show have home shopping lines, including: Tori Spelling, who is in Oxygen's "Tori & Dean: Home Sweet Hollywood," on HSN; Rachel Zoe, from Bravo's "The Rachel Zoe Report," on QVC; Isaac Mizrahi, who hosts Bravo's "The Fashion Show," on QVC; Padma Lakshmi, from Bravo's "Top Chef," on HSN; and Ramona Singer from Bravo's "The Real Housewives of New York City." on HSN.
The party gift was a DVD of the third season of NBC's "30 Rock," appropriately.
Tags:"The Fashion Show", "The Real Housewives of New Jersey", "THe Today Show", "Top Chef", Amy Robach, Ann Curry, Bonnie Hammer, Bravo, Brian Williams, CNBC, Comcast, Dick Ebersol, Frances Berwick, General Electric, Hoda Kotb, HSN, Isaac Mizrahi, Jeff Zucker, Jimmy Fallon, Kathie Lee Gifford, Lauren Zalaznick, Lester Holt, Lorne Michaels, Mark Hoffman, MSNBC, NBC, NBC News, NBC Universal, New Jersey, Oxygen, Padma Lakshmi, QVC, Rachel Zoe, Ramona Singer, Syfy, The Real Housewives of New York City, Tori Spelling, USA Network
Posted in Amy Robach, Ann Curry, Bravo, Brian Williams, Chefs, Clothing Designers, CNBC, Comcast, Corporate Information, Dick Ebersol, Frances Berwick, General Electric, Hoda Kotb, Home Shopping, Home Shopping Networks, HSN, Jeff Zucker, Jimmy Fallon, Lauren Zalaznick, Lester Holt, Mark Hoffman, Miss Moss the Homeshoppingista, MSNBC, NBC Universal, NewJerseyNewsroom.com, Padma Lakshmi, QVC, Rachel Zoe, Syfy, Tori Spelling, Uncategorized, USA Network, Wolfgang Puck | Leave a Comment »
You are currently browsing the archives for the Lester Holt category.


Thread by @peterhemminger: "This week is @FemmeWave, a fest that, on top of just booking amazing art & music, is also thoughtful and progressive about every aspect […]"
Related: Artists from around the world, who've studied (or taught) at some of the most renowned art schools, are blown away by @QuickdrawYYC's facilities. They are amazed Calgary has this resource.
We've got easily the best community radio station in Canada, probably in North America. We have some staggeringly good festivals (hi @cuff, @sledisland, @calgaryfolk).
Did you know @sentrybox is the world's biggest hobby gaming store? That people fly in from around the world to see it? That @fallcon has been creating community around board games for 31 years, long before the new board game boom took off?
Find me another event like @Beakerhead anywhere in the world. A celebration of art, engineering and science where people get equally excited about all three? Where they forget about silly artificial boundaries between creativity and science?
Have you seen how @SunaltaYYC has been finding new ways to serve its community, like a toy library for neighborhood kids? Have you seen their ambitious plans for expanding & improving but holding onto their history?
Have you ever seen so many people excited by a library, of all things? But @calgarylibrary built it with care, and it's already being recognized as one of the best in the world.
Comparing Calgary to other cities is a sucker's game, because you'll never be satisfied and because it's too easy to take what you have for granted. But step back and look at what's here--what we've been building. Because it's actually pretty incredible.
(2) People shout, "SOURCE!" as if providing source will resolve argument one way or another. After providing source, next issue: "Is the source 'credible'?" Ah HAH! This is where the effectiveness of brainwashing is tested. We are now misdirected. Focused on source, not argument.
(3) Brainwashing hinges on clever lies. It's true that the credibility of a source matters. However, the importance of credibility is subjective, and that's where the lie comes in. Does your God-given "inner voice" tell you that you cannot reason? You cannot think? WHO says this?
How do ppl not know many of the OG country ⭐s were progressives??
But is there because he's a victim of the times."
That murder was committed down on music row."


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Add the soaked chick peas to a pan of water and simmer for up to 90 minutes until tender and are easy to mash.
Drain well and then in a large bowl, mash the cooked chick peas using a blender or food processor or large fork until nearly all mashed.
Next, mash in the celery, carrot, onion, garlic powder and sriracha sauce. Add the flour (chick pea for gluten free option), and season well with sea salt and black pepper.
Once the ingredients are thoroughly mashed, heat a bit of oil in a frying pan or skillet, or alternatively a lightly-greased grill pan.
Form the mixture into patties and lightly pan-fry for 3 to 4 minutes on each side until golden brown.
Serve with salad in a bun and with hummus on the side.


text:
Por Bancroft pode estar à procura de:

Localidades
Bancroft (Dakota do Sul)
Bancroft (Idaho)
Bancroft (Iowa)
Bancroft (Kentucky)
Bancroft (Maine)
Bancroft (Michigan)
Bancroft (Nebraska)
Bancroft (Virgínia Ocidental)
Bancroft (Ontário)

Pessoas
Anne Bancroft

Desambiguação

redpajama_set_name: RedPajamaWikipedia


text:
Andrea De Censi, M.D.
Director of the Division of Medical Oncology, E.0. Ospedali Galliera Genova, Italy
Cancer Prevention Therapy: Accomplishments and Challenges Watch the Video (NIH Only)
Olufunmilayo F. Olopade M.D., F.A.C.P.
Professor of Medicine and Human Genetics and Director of the Cancer Risk Clinic Department of Medicine, BSD Section of Hematology/Oncology University of Chicago
Clinical Cancer Genetics and Prevention Watch the Video
Patricia Ganz, M.D.
Professor of Health Services in the School of Public Health, Professor of Medicine in the David Geffen School of Medicine at UCLA and Vice Chair of the Department of Health Services, Los Angeles, CA
Cancer Survivors: Charting an Agenda for Research, Treatment, and Quality of Care
Barnett S. Kramer, M.D., M.P.H.
Associate Director for Disease Prevention and Director of the Office of Medical Applications of Research in the Office of Disease Prevention, Office of the Director, National Institutes of Health, Bethesda, MD
Cancer Prevention: Distinguishing Strength of Evidence from Strength of Opinion
Frank L. Meyskens, Jr, M.D.
Professor of Medicine and Biological Chemistry; Director, Chao Family Comprehensive Cancer Center; and Senior Associate Dean of Health Sciences, University of California, Irvine, CA
The Promises and Perils of Clinical Chemoprevention: 1980–2030 Watch the Video


I've been a huge Bradbury fan for year. I'm sure I read a story or two before the name Bradbury registered with me, but the earliest exposure I can remember came through the magnificent tv show Ray Bradbury's Theatre.
Now that I have the Munch painting, who do I talk to about getting this wonderful television show out on DVD?
Seriously though, does anyone know about the availability of this show? Any future plans for it?
Strange that you would ask as I was wondering the same thing. When my wife was managing a video store she bought a couple of VHS videos of the Ray Bradbury Theatre.
With the plethora of books, articles, audio tapes, etc., etc., currently available regarding Ray's work, I think that this would be a natural. Say, I just tried calling Ray and there was no answer so he must be out and it's great that he is getting out and about. I will call him this evening. If anyone should know it would be Ray.
I know that I would buy the whole set of 65 shows that were produced.
Many of these are available at local libraries.
Didn't know there were that many made, though!
I've posted this before, but here in the UK we get a daily dose of two episodes courtesy of the Sci-Fi Channel!
Ah, the Sci-Fi channel -- and me in Ireland without a TV! Hell, we've barely got the internet here!
But being from the US... a few years back I did catch an episode or two on the Sci-Fi channel, but they seemed to be a bit irregular with their scheduling.
As biplane1 said, it's a bit strange, with Ray so popular a writer, that the television show is not readily available. It's doubly strange because that show was excellent television.
Biplane1: If you speak with Ray, please give him my regards!
A major problem that one should keep in mind, is that the Sci-Fi channel unfortunately edits old television programmes to fit in more commercials into each half-hour time slot. I'm certain they did this when airing episodes of the original "Twilight Zone"--those shows were slashed to ribbons, a real shame (and very annoying!) I'm not certain that this was done to the Ray Bradbury Theater episodes, but it seems likely.
I'm sure this is true, but in the one case where I strongly suspected that something had been sliced from an RBT (it was "The Small Assassin"), I was able to compare the original (British) aired episode with the Sci-Fi channel version, and was pleasantly surprised to find that they were identical.
What IS different - for the early episodes - is that Ray's on screen introductions (where he talks to camera from his office and acts out a little scene) are usually removed.
Those on screen intros are almost the best part! I love that room.....I could go nuts in that room he sits in! Okay, so I'm just a big kid at heart; I try to live life by the saying, "I may be getting older, but I refuse to grow up." But, I digress (I do that a lot)....seems that cutting that out somewhat ruins the show, since it is an introduction to the show.
The Sci-Fi Channel is most definitely guilty of slicing and dicing the old Night Gallery episodes. I've only ever seen Night Gallery on Sci-Fi channel and have not been impressed. I think I also read somewhere that many of the episodes were edited so badly that they almost didn't make sense anymore!
Just recently Night Gallery was released on DVD... Whoever's in control of RBT needs to take a hint!
The intro of the show always made an impression on me too! And the Music!!! I've also noticed that the intro are usually edited out. Tis a crime! Although I don't ever recall any where he speaks directly to the camera. Weren't they just voice overs mainly?
I've only seen about three episodes where Ray does an introduction (apart from the generic "Where do I get my ideas..." bit which opens all episodes). In at least one of these he talks directly to us - he pours a cup of coffee and says something about machines. It's probably Marionettes Inc, but I can't swear to it without checking. The voice is ever so slightly out-of-sync and acoustically "wrong", usually the sign that it has been re-dubbed afterwards, probably because of noise at the time of recording.
What I don't know (and would love to know, if anyone can help) is whether Ray only did the intros for the first three episodes, or whether he did more and they've just been cut. I know in one interview he says that they stopped doing the intros because they were too expensive to do, but I don't know how many were shot.
I'm certain he did specific intros for numerous episodes (in addition to the 'Where do you get your ideas' bit). But, like I said, I only remember them as a voice over--not the Serling-esque speaking to the audience! But I hope my memory's faulty, because I'd love to think that those intros exist somewhere!
I was watching Bladerunner last night and know that the end of the film was shot in the Bradbury Building in LA(?).
Would the opening elevator sequence of RBT be shot in the same building by chance? The Bradbury Building looks like it has similar elevators in Bladerunner.
It's also interesting to note that an episode of The Outer Limits was shot in the same building. I think it was 'The Demon with the Glass Hand', though I've never actually seen it.
Bradbury building: absolutely correct in all respects. There is a slight trick involved with RBT, though: although Ray rides the elevator in the Bradbury building, he emerges into his real office, which is in a completely different building somewhere in LA. Whether they chose the Bradbury building because of its name, or whether it was because the lift looks good, I do not know.
It used to be you could walk in the Bradbury Building and take a self-tour freely, looking around, as you passed by all the offices. Now...they charge you ''admission'' to do this, unless you have some genuine business or appointment in one of the companies in the building.


मां के पेट में यूरिन कर सकता है बेबी?
किस तिमाही में बच्चा पेशाब करता है?
Does A Baby Urinate In The Womb? If so, where does it go? Babies generally do not poop in the womb, given that their digestive systems are not used to process much outside of this swallowed urine.


text:
52 Insights
Artist •
1st/Mar/2018 •
The Time Traveller
Traditionally archeology has only worked in one direction, digging through the past, but what if we were able to dig through the future? What if we could take the world we live in right now and accelerate its age? These are the philosophical fantasies that keep one of the most significant artists of our time Daniel Arsham up at night.
Daniel Arsham The Time Traveller • 1st/Mar/2018
With his pristine white lab coat, Arsham takes an almost clinical approach to his work using visual art, film, painting, and sculpture to unpack the culture we live in.
Initially, it was a disaster that changed the way Arsham views the world, a hurricane called Andrew that swept through his childhood when he was 12 leaving an indelible mark on him. It forced him to think about impermanence, the idea that everything is transient, when an organism, idea or product reaches the end of their shelf life they eventually break down and decay. This remains irreversible; essentially we are all fossils or artifacts in waiting.
With a slight hint of irony, he's also not afraid of embracing popular culture either, whether it is with a slew of hyper celebrities such as Pharrell Williams or Hedi Slimane or using his experimental outfit Snarkitecture to work with some of the biggest brands in the world.
The thread that inevitably always ties Arsham's work together is that time in some surreal sense is what binds us together and reality might not always be what it seems. This is where we started our discussion and this is where we end it.
Your pinned tweet says, 'Imagination is the only weapon in the war against reality.' Can you give us an understanding of what that means?
It's funny because I've never been questioned about my Twitter; it's usually my Instagram. I just think that we're in a moment where reality, fact and this whole concept of 'alternative facts' and 'fake news' etc. is such a cultural touch point. There has been a lot of conversation around that in terms of it being a negative aspect of society, which I can certainly understand and agree with to a large degree but I also believe that when people in power create scenarios where reality can be questioned, it also opens up an opportunity for those of us who function and work in that space to capitalise on it. If fake news and alternate reality is something that people are thinking about we can engage them further in that discussion through the creation of our own works.
Isn't that dangerous?
Potentially, but maybe art needs to be a little dangerous. There are certainly a lot of other dangerous things going on in the world right now. I think more than it being dangerous it's that it has stakes. Art can often be thought of as something unnecessary or lacking a specific purpose, and in this case I believe that as creatives we have an obligation now to address some of these questions.
"Art needs to be a little dangerous. There are certainly a lot of other dangerous things going on in the world right now."
The first time I found out about your work was when I was walking in Dallas. This guy just sort of popped out of the wall, which was amazing. I just thought how did he do that? Is that usually the kind of thing people ask you before you talk about the deeper meaning of the work?
I think certainly that's a question. Part of the sentiment of that question is can something solid be altered in a way? Architecture shouldn't be moving, right? I think there's a kind of subtlety to that, which creates an entry point for people to start thinking about their reality in general. It's a manipulation of things that they are already familiar with.
Let's take that one step further: you are aiming to poke and provoke the person interacting with your art about what actually constitutes reality perhaps?
Yes. I don't think the works have any particular meaning or purpose per se; I tend to think of them more as an introduction to an alternate way of thinking. Sometimes people will come up and say to me, 'It's so strange how you are creating this illusion where it looks like the architecture is actually moving.' My response to that is that it doesn't look like it's moving – it is actually moving. Those works are all made with the exact same materials as the architecture, it's a transformation of something that already exists.
I find it bizarre that you say your work doesn't have any meaning or purpose considering the provocative nature of it. Is there no subtle intention or angle of the philosophy behind the art you create? Or does it just come from the present moment for you?
I didn't say that it has no meaning at all I just said that it has no specific meaning. Once I begin to talk about these works as meaning it closes down any other potential meanings. I show my work in many different places in the world so it means something different to everyone depending on where they live and their culture, as well as their age group. Sometime my 4-year-old son will come in and see a piece of my work like a figure wrapped in a wall, which he finds terrifying. For others, there's an almost comical quality to it.
Tell me about your relationship with science and technology and how deep that relationship goes in your work?
It's certainly a point of fascination for me. I've been spending a lot of time recently at JPL [Jet Propulsion Laboratory] in NASA, thinking about time and how that relates to my work.
There's this massive project we've been trying to get off the ground relating to the Voyager Record.
In terms of the production within my work, many of the materials that I use were not originally intended as 'art' materials – things like volcanic ash, crystals, even drywall or the materials of architecture. So there's a bit of alchemy and science in the transformation of those materials and often times through necessity, I'm forced to actually consult with conservationists and people who understand how materials react and function over time.
Looking at the archaeological element of your work I feel like the Earth has stopped, almost frozen in time like Pompeii.
That was certainly an inspiration and something that I looked at, but as the works have developed I've considered other possibilities. When I first began thinking about this project I was actually on a trip to Easter Island. As history progresses, all objects become antiquated and in some way, they all become ruins or relics, disused or buried. In 1000 years everything that we own will inevitably become one of those things. I don't particularly see that as having an apocalyptic quality – it's sort of just the march of time and moving on.
This series of works, which is fictional archaeology for me, is really about either moving forward in time, bringing objects back from the future, things that you could instantaneously decay and age or the viewer has been transported to a future where they can look at the objects with their own experience and perspective of time. In that way, there's a collapse of time or a compression that exists.
"As history progresses, all objects become antiquated and in some way, they all become ruins or relics, disused or buried. In 1000 years everything that we own will inevitably become one of those things."
I guess what I'm trying to get to is that I find some of your work quite disturbing as well, which is a good thing because it's provocative and emotional. For instance I saw an image of Bugs Bunny on your Instagram where he is decaying. That makes me think that some elements of popular culture disturb you?
That's certainly one potential read on it and an interesting one that I haven't really heard before. More than that the selection, going all the way back to the beginning of these fictional archaeological objects, necessitated an object with a wide enough quality of recognition. The objects were almost icons in themselves – it wasn't just a camera, it was a particular Pentax K1000 that a lot of people know. They are things that cross culture so I should show them pretty much anywhere in the world and they would be recognisable and sort of mean the same thing.
%reverse engineered archeology%
A post shared by Daniel Arsham (@danielarsham) on Jan 1, 2018 at 7:05am PST
I do find there to be a sort of violence in their deconstruction though. Do you know what I mean?
Yes, which can go both ways. When I made these pieces that were figures they were actual casts of deconstructed bodies, those were obviously particularly disturbing. The first one was based on this famous Roman statue called The Dying Gaul. In the deconstruction of this stat, there were pieces of it actually missing at a certain moment and they reconstructed it as it was originally. Sometimes if you go to the Met or the Louvre you will see the sculpture and below there will be a rendering where they black out the pieces that were put back in, but when you look at the actual sculpture you don't see that so it feels complete.
You embrace popular culture immensely and popular culture has embraced you. There's a real filmic quality to your work – you've made a couple of short films with James Franco and Juliette Lewis but also the Hourglass film is very interesting. It feels like a riff on Spielberg or Robert Zemeckis and these other hyper-Hollywood dreamers. What kind of films did you love growing up that inspired you?
Both of those directors you mentioned have had an influence on my childhood and particularly thinking about image making through photography and film. Originally the Hourglass film was meant to be a documentary with fiction blended through it so you don't really know where the documentary begins and the fiction ends. I think films that deal with time travel and these questions of how things are altered through time, putting in a kind of riddle in the story. Because of the way the Hourglass film has rolled out it's in 3 different sections, which has allowed me to tease out ideas that are revealed in the following section.
If you could time travel would you go to the future or the past?
I'd go to the future, for sure.
10 years, 100 years from now?
Even more. I think 10 years from now would feel almost exactly like today but further into the future would probably feel considerably different.
How do you think humanity will be seen centuries from now? Do you spend time thinking about those larger concepts of life and where we are heading?
I definitely have a fascination with artificial intelligence and stuff like that. I pay a lot of attention to what Elon Musk is doing and all these notions like singularity play into my worldview.
I go both ways – one part of me thinks that we will figure that element of it out but the other part thinks that whatever entity comes out of it, if it's a sentient being it's sort of the next step of evolution, for better or for worse. It could become a dominant force.
Just on the topic of popular culture – when you are working with hyper-creatives like Hedi Slimane or Pharrell in different disciplines, how have those projects influenced your work? Has it brought new perspective to the parameters of your work or do you always have a very clear definition of what you want to contribute to a project?
I think I've been fortunate; just those collaborations that you've mentioned, usually people come to me because they already know what I do. In the case of Pharrell, the first things were elements that I made related to his practice. The first piece was a relic of the original machine he made music on, this Casio NT500 keyboard. Then I was fortunate enough to bring him into my world to create music for Rules of the Game.
My early career began in theatre and dance with Merce Cunningham and I learned a lot from him in using techniques where you could generate a scenario in which different people would work together but all of them were just implementing the best things that they could do. He took that to the most extreme degree where the three artists – the cinematographer, the musician and the choreographer – didn't even know what the other one was doing. I didn't take it that far but I certainly allowed Pharrell to do whatever he wanted to do, knowing the visual direction I was taking and the movement direction that the choreographer was taking.
It seems like you have really created your own universe. This might be contentious but do you need other creative to collaborate with in order to make your work?
I would say that I do need them because this space can get quite insular. I would say that most of the people I surround myself with are not visual artists; they're musicians or in fashion. The way that these people make meaning or convey ideas is in some ways more useful for me as a way of understanding than it is to hang out with other artists and understand how they are doing things.
So they are helping you to reinterpret your understanding of meaning in creativity and art?
Maybe less so what meaning is but ways of forming meaning or potential meaning.
Let's talk about your latest exhibition Moonstone. You said that it deals with concepts of space, exoplanets and time all integrated into these Japanese gardens. I'd love to hear a bit more about it?
So the sculptures that exist within these gardens are invented planets. I talked about spending all this time at JPL, and one time they invited me into this bizarre creative studio whose mission it is to communicate to the public some of the more complex discoveries they make. That could be ice on Mars or exoplanets with multiple moons. They do this through creative means so I have started to integrate some of the forms I saw there, one of them being these exoplanet moons, which are kind of like invented planets.
I've spent a lot of time in Japan over the last 10 years or so and one of the things that has always fascinated me about these gardens is that they are fixed in time, in that they have generally been unchanged for hundreds of years, but they are actually remade every day. The pattern in the sand is raked clean of leaves and other debris and remade every day. In this garden I am creating the moons like some distant solar system or collection of planets and the sand can actually represent space-time or a ripple in a plane of space.
Very similar to the Buddhist mandala.
Yes, but the mandala is very much about the act of the construction of that as a visible manifestation of impermanence. With a Japanese dry garden that act is not seen – you will rarely see a monk reshaping the garden, it's usually done very early in the morning before anyone else is around. I don't know if it is necessarily a hidden thing but it's just not something that is part of the ethos of the recreation.
I guess you could say that your whole body of work is like a Japanese garden – you wake up every morning and start again. Is that an appropriate metaphor?
That's actually a perfect metaphor. I also started making these works a couple years ago that are large-scale hourglasses. I don't know if you've seen them but they are about 24 inches tall so much larger than a typical hourglass. At either end of the hourglass sits one of these fictional archaeology objects – it could be a camera, a cast or a crystal. As you turn the hourglass you uncover the object on the bottom and the object that was on the top begins this process of burial. It's like a cyclical archaeology that's never-ending. That object forms this kind of perfect encapsulation of so many different ideas that I've been working with.
"Eco-Visionaries" Group Exhibition featuring Daniel Arsham opens at the Museu de Arte, Arquitectura e Tecnologia, Lisbon from April – September 2018
Feature image by Squarespace.
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text:
Saturday's Top 25: Nix rallies Auburn past Oregon; Iowa State survives in 3OT
Arlington, Texas — Bo always knows at Auburn, even a true freshman quarterback by that name.
After barely converting a fourth down with a gutsy run in the final minute, Bo Nix threw a 26-yard touchdown pass to Seth Williams with 9 seconds remaining as the 16th-ranked Tigers rallied for a 27-21 win over No. 11 Oregon on Saturday night.
"He has some savviness to him, there's no doubt," coach Gus Malzahn said of the young quarterback. "When the game is on the line, you've got to make plays, and that's the one thing he showed."
On fourth-and-3, Nix rolled to the right, then tucked and pushed forward. Only the nose of the ball, sitting at midfield, was past the chain when officials measured for a first down.
"Play of the game," Malzahn said.
"When I saw him run and saw him scrambling, I thought he was going to throw the ball to me," running back JaTarvious Whitlow said. "And then I saw him stick those feet in the ground and cut up. I was like, 'You better get it. You better get it man!"
More: Big Ten: OSU has a Fields day; Maryland, Penn State hang up 79 points
And Nix wasn't done. On third-and-10 from the Oregon 39 and no timeouts, he hit Williams for 13 yards. The receiver got out of bounds with 16 seconds left, with Tigers already in field goal range. But the play-calling head coach wanted to give Williams the chance to make another play — and Nix delivered to put Auburn ahead for the first time.
The Tigers, who trailed 21-6 late in the third quarter, delivered another early blow to the Pac-12. They beat the Pac-12's highest-ranked team in a season opener for the second year in a row — No. 6 Washington lost to them, 21-16, in Atlanta last year.
"Tough, really tough one," Oregon coach Mario Cristobal said.
Nix finished 13-of-31 passing, four of those completions on Auburn's final drive, for 177 yards with two touchdowns and two interceptions. He also ran seven times for 42 yards, while Whitlow had 110 yards rushing on 24 carries.
Justin Herbert, who bypassed early entry in the NFL draft to return to Oregon, was 28-of-37 passing for 242 yards with a touchdown. He was under pressure when he threw across the field and hit Spencer Webb on a 20-yard score that made it 14-3 late in the first quarter.
Herbert wasn't on the field for a fourth-and-1 play with 5½ minutes left, after banging his knee with a defender following a pass. After Herbert was tended to and came off the field, the Ducks called two timeouts — though those stoppages didn't allow Herbert to return at that point.
"The wrong personnel was in, and we got personnel straightened out, they weren't quite sure as to who was going to do what," Cristobal said. "As a coaching staff, that's on us. … Trying to make pieces work for a certain play."
But it didn't work when CJ Verdell, who had a 1-yard TD run on the opening drive of the game, was stuffed for a 1-yard loss.
Auburn went three-and-out, but after Oregon got a quick first down, Herbert was sacked and the Ducks punted with just over 2 minutes left.
Nix threw an 11-yard TD pass to Eli Stove late in the third quarter. When the Tigers got to the 1 with just under 10 minutes left, Joey Gatewood — the redshirt freshman Nix beat for the starting job — came in, leaped from the 3 and over the line with the ball extended to make it 21-20 since Auburn kicked the extra point instead of trying for two.
"We brought back a play we used to run in 2010 with Cam (Newton)," said Malzahn, the offensive coordinator of that team that beat Oregon in the BCS championship game. "He looked pretty good going over the top with it."
More Top 25
No. 2 Alabama 42, Duke 3: Tua Tagovailoa threw for 336 yards and four touchdowns as Alabama overcame a sluggish start to blow out Duke in the Chick-fil-A Kickoff Game.
Returning to the stadium where they won the Southeastern Conference title last December and the national championship two seasons ago, the Crimson Tide (1-0) was held scoreless in the first quarter — which happened only one time in 2018.
But the Blue Devils (0-1) merely delayed the inevitable.
Tagovailoa put his tight ends to good use. The left-hander hooked up with Miller Forristall on a 27-yard touchdown pass and then went to Major Tennison for a 1-yard score
Alabama's dynamic receiving corps also got in on the fun. DeVonta Smith hauled in an 8-yard TD pass and Jerry Jeudy broke loose for a 21-yard score.
Jerome Ford and Brian Robinson Jr. ran for the Tide's other TDs.
No. 3 Georgia 30, (at) Vanderbilt 6: Jake Fromm threw for 156 yards and a touchdown, and the Bulldogs won their 20th opener in 23 seasons and stayed perfect to kick off coach Kirby Smart's fourth season. They also easily won their 14th straight against the Southeastern Conference's Eastern Division in their first league game to open a season since 1995.
D'Andre Swift ran 16 times for 149 yards, and Brian Herrien added 65 and a TD run as the Bulldogs rolled up 326 yards rushing. Georgia finished with a 481-225 edge in total offense, and the Bulldogs also had two sacks and recovered a fumble.
Vanderbilt debuted a new starting quarterback in Riley Neal, a graduate transfer from Ball State, along with new offensive coordinator Gerry Gdowski. The Commodores also had Ke'Shawn Vaughn, the SEC's top returning rusher who ran for 1,244 yards last season, and the league's top returning receiver in Kalija Lipscomb.
Neal finished 15 of 25 for 85 yards before being replaced by Deuce Wallace for the final possession. Vaughn was held to 74 yards on 15 carries.
Vanderbilt managed only a pair of field goals by Ryley Guay of 26 and 46 yards.
(At) No. 6 LSU 55, Georgia Southern 3: Joe Burrow tied an LSU single-game record with five touchdown passes before halftime and the Tigers cruised to a win.
The Tigers (1-0) scored 21 points in the first quarter — something they never did in any quarter last season. Their point total was the most in a non-overtime game since scoring 63 against New Mexico State in 2014.
Burrow completed 23 of 27 passes for 278 yards without an interception before being subbed out after LSU's first possession of the second half, which ended with a field goal. That drive marked Burrow's last chance to break the LSU mark of five touchdowns in a game set by Zach Mettenberger in 2013.
LSU threw 39 times and ran 33, with more rushes coming in the second half as the Tigers ran down the clock. Ed Orgeron has said throughout August that he finally has the offense he wanted. Designed largely by new passing-game coordinator Joe Brady and overseen by incumbent offensive coordinator Steve Ensminger, the up-tempo, no-huddle scheme routinely features five receiving targets on a given play, some of whom give Burrow the option to unload the ball quickly if under pressure.
Georgia Southern (0-1), which won 10 games last season, was confronted with an LSU defense well prepared to stop its triple-option.
(At) No. 10 Texas 45, Louisiana Tech 14: Sam Ehlinger threw four touchdown passes and Texas rolled past Louisiana Tech to give coach Tom Herman his first season-opening victory in three years with the Longhorns.
Ehlinger was coolly efficient from the start with scoring passes on three of Texas' first four possessions.
Devin Duvernay caught nine passes and Ehlinger's first touchdown, and Brennan Eagles caught touchdowns of 28 and 25 yards in the second and third quarters.
Texas is one of the favorites to challenge Oklahoma for the Big 12 title as long as Ehlinger can keep delivering touchdowns like he did last season and Saturday night. The junior passed for 25 TDs and ran for 16 more last season, and his four scoring thrown against the Bulldogs tied his career high. Ehlinger left the game at 38-0 and did not play in the fourth quarter.
(At) No. 13 Washington 47, Eastern Washington 14: Jacob Eason threw for 349 yards and four touchdowns in his first game in nearly two years in his Washington debut.
Taking his first snaps since the 2017 season when he lost the starting job at Georgia to Jake Fromm, Eason showed no rust, carving up one of the top FCS programs in the country. Eason completed 27 of 36 passes and led Washington (1-0) on touchdown drives on four of its first five possessions.
Eason's fourth pass in purple was a 50-yard touchdown strike to Andre Baccellia. Eason added a 7-yard TD pass to Aaron Fuller, who made a stunning one-handed catch while getting a foot inbound, and capped his first-half with a 10-yard TD strike to Chico McClatcher late in the first half.
Eastern Washington (0-1) quarterback Eric Barriere was 21 of 35 for 211 yards, but was sacked four times.
(At) No. 21 Iowa State 29, Northern Iowa 26 (3OT): Sheldon Croney Jr. scored from a yard out in triple overtime and Iowa State rallied to beat Northern Iowa.
La'Michael Pettway had a pair of touchdown catches for the Cyclones (1-0), who barely survived the season's first major upset after entering the year ranked for the first time since 1978.
Croney fumbled near the goal line on the second-to-last play of the game. But quarterback Brock Purdy sprinted from the backfield to recover it at the 1 and set up the game-winning plunge.
After the teams traded field goals in the first overtime, Purdy found Pettway — a graduate transfer from Arkansas in his Iowa State debut — in the back of the end zone. But Northern Iowa pulled even at 23-all after freshman Will McElvain scrambled long enough to free up Trevor Allen for a 7-yard TD catch.
Iowa State forced Northern Iowa into a field goal to start triple overtime, and Purdy completed three straight passes before pulling off what might end up being remembered as a season-saving recovery.
Purdy threw for 278 yards, and Deshaunte Jones caught 14 passes for 126 yards for Iowa State.
More:Freeze coaches from hospital bed in loss to No. 22 Orange
No. 22 Syracuse 24, Liberty 0: Abdul Adams, Jarveon Howard and Moe Neal ran for touchdowns and Syracuse spoiled a most unusual debut for Hugh Freeze as Liberty's coach.
Still recovering from back surgery for a herniated disk on Aug. 16 and a staph infection, Freeze coached from a hospital bed in the coaching box. He couldn't have liked much of what he saw.
Stephen Calvert threw two interceptions, as many as Freeze had said the fourth-year starter had thrown in all of fall camp, and was sacked eight times by a defense that returned players responsible for 34 sacks last season, the most in the football subdivision.
With quarterback Tommy DeVito taking over the Syracuse offense, the Orange led just 10-0 at halftime thanks to Andre Szmyt's 45-yard field goal and Adams' 2-yard run. An interception by Andre Cisco in the third quarter set Syracuse up at the Flames' 37 and Howard capped a five-play drive with a 1-yard run. Neal's 42-yard burst capped the scoring in the final quarter.
(At) No. 23 Washington State 58, New Mexico State 7: Anthony Gordon completed his first 15 passes, threw for 330 yards and four touchdowns in the first half, and Washington State rolled past New Mexico State.
Gordon made his first college start memorable throwing touchdowns of 41, 48, 19 and 54 yards in the first half as the Cougars (1-0) built a 35-7 lead and coasted to an easy opening victory. Gordon finished 29 of 35 for 420 yards and five TD passes before checking out late in the third quarter.
Max Borghi added 128 yards rushing on 10 carries, including a 12-yard touchdown. Borghi became the first Washington State running back to rush for 100 yards since Gerard Wicks against California in 2016.
The Aggies (0-1) were limited to 317 total yards, a big chunk coming in the fourth quarter.
New Mexico State quarterback Josh Adkins was 28 of 42 for 221 yards and two interceptions, and scored on a 3-yard run in the first quarter when he recovered a fumble and took the loose ball into the end zone to tie the score at 7.


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