text:
Directed by Marc Webb
2.9/5 from 21 ratings (rate this movie on Facebook or Discord with `!rate (500) Days of Summer (2009) X.X/5`)
Joseph Gordon-Levitt as Tom Hansen • Zooey Deschanel as Summer Finn • Chloë Grace Moretz as Rachel Hansen • Geoffrey Arend as McKenzie • Matthew Gray Gubler as Paul • Clark Gregg as Vance • Patricia Belcher as Millie
Tom, greeting-card writer and hopeless romantic, is caught completely off-guard when his girlfriend, Summer, suddenly dumps him. He reflects on their 500 days together to try to figure out where their love affair went sour, and in doing so, Tom redis...
United States of America • Drama • Comedy • Romance
!req (500) Days of Summer 2009 [02:32]
!req (500) Days of Summer 2009 [(500) Days of Summer]
For quotes, now you can request by index (e.g !req (500) Days of Summer (2009) [10-11]; !req (500) Days of Summer (2009) [20] [24]). Keep in mind, though, that index numbers might change at any time.
1. This is a story of boy meets girl.
2. The boy, Tom Hansen of Margate, New Jersey,
3. grew up believing that he'd never truly be happy...
4. until the day he met "the one."
5. This beliefstemmed from early exposure to sad British pop music...
6. and a total misreading of the movie The Graduate.
7. Elaine! Elaine!
8. The girl, Summer Finn ofShinnecock' Michigan'
9. did not share this belief.
10. Since the disintegration of her parents' marriage'
11. she'd only loved two things.
12. The first was her long' dark hair.
13. The second was how easily she could cut it off...
14. and feel nothing.
15. Tom meets Summer onJanuary 8.
16. He knows almost immediately she's who he's been searching for.
17. This is a story of boy meets girl.
18. But you should know up front'
19. this is not a love story.
20. We didn't know who else to call.
21. It's Amanda Heller all over again.
22. You did the right thing.
23. Now' where is he?
24. Thomas.
25. Rachel. What are you doing here?
26. I'm here to help you. Help me how?
27. First' put down the plate.
28. Drink this.
29. - What is that? - Vodka.
30. Um' does Mom know that you're here?
31. 'Cause it's probably past 10:00. Don't worry about it.
32. Just start from the beginning, and tell us what happened.
33. Things were going so well.
34. Then what?
35. I think we should stop seeing each other.
36. Just like that? Just like that.
37. - Did she say why? - I mean' this thing— what are we doing?
38. I mean, is this normal?
39. Norm— I— I don't know. I don't care. I'm happy. Aren't you happy?
40. You're happy? You're not?
41. All we do is argue. That is bullshit.
42. Maybe she was just in a bad mood.
43. Yeah, maybe like a— a hormonal thing.
44. - P.M.S.? - What do you know about P.M.S.?
45. - More than you' Tom. - Then what happened?
46. This can't come as a total surprise to you.
47. I mean, we've been like Sid and Nancy for months now.
48. Summer, Sid stabbed Nancy... seven times with a kitchen knife.
49. I— I mean, we have some disagreements, but I hardly think I'm Sid Vicious.
50. No. I'm Sid.
51. Oh, so I'm Nancy?
52. Let's jus t eat, and we'll talk about it later.
53. Mmm. That is good.
54. I'm really glad we did this.
55. I love thes e pancakes.
56. What?
57. Tom, don't go. You're s till my bes t friend!
58. - Jes us. - You've broken up with girls before.
59. Yes.
60. And girls have broken up with you before.
61. This is different. Why?
62. 'Caus e it's Summer.
63. So you'll—you'll meet somebody new.
64. Point is, you're the bes t guy I know. You'll get over her.
65. I think it's kind of like how they s ay. There's, uh—
66. There's plenty ofother fish in the s ea.
67. No. They- They say that.
68. Well, they're lying.
69. I don't want to get over her.
70. I want to get her back.
71. Maybe playing it s afe is the wrong approach.
72. The nuclear family is dead'
73. and we need a new holiday that recognizes that.
74. May 21 st.
75. Other Mother's Day.
76. Thank you.
77. I'd s ay we've got s ome potential here. What do you think, Hans en?
78. Could you write up s ome prototypes for thes e?
79. Uh' Mr. Vance, there's a telephone call for you on line three.
80. Oh. Thank you. Uh' everyone, this is Summer, my new as s istant.
81. Summer just moved here from—
82. Michigan. Right. Michigan. Right.
83. Uh, Summer, everyone.
84. Everyone, Summer. Excus e me. I have to take this.
85. It's nice to meet you all.
86. There's only two kinds of people in the world.
87. There's women, and there's men.
88. Summer Finn was a woman.
89. Height, average. Weight, average.
90. Shoe s ize, s lightly above average.
91. For all intents and purpos es,
92. Summer Finn, jus t another girl.
93. Except she was n't.
94. To wit, in 1998,
95. Summer quoted a song by the Scottis h band Belle and Sebastian...
96. in her high school yearbook.
97. "Color my life with the chaos oftrouble."
98. This spike in Michigan sales of their album...
99. The Boy with the Arab Strap...
100. continues to puzzle industry analys ts.
101. Summer's employment at the Daily Freeze during her sophomore year...
102. coincided with an inexplicable 212% increase in revenue.
103. Every apartment Summer rented...
104. was offered at an average rate of9.2% below market value.
105. And her round-trip commute to work...
106. averaged 18.4 double takes per day.
107. It was a rare quality, this "Summer effect."
108. Rare, and yet s omething every pos tadoles cent male has encountered...
109. at leas t once in their lives.
110. For Tom Hans en to find it now in a city of 400,000 offices,
111. 91,000 commercial buildings and 3.8 million people-
112. well, that could only be explained by one thing:
113. fate.
114. Dude, I hear she's a bitch.
115. Really?
116. Yeah. Patel tried to talk to her in the copy room. She's totally not having it.
117. Maybe s he was jus t in a hurry.
118. And maybe she's an uppity, "better than everyone" superskank.
119. Damn. I know. She's pretty hot.
120. That sucks. Why is it pretty girls...
121. think they can treat people like crap and get away with it?
122. Centuries of reinforcement.
123. You know what? Screw her. I don't care.
124. If s he wants to be that way, fine.
125. Smiths?
126. Hi.
127. I love the Smiths. Sorry?
128. I s aid I love the Smiths.
129. You have- You have good taste in mus ic.
130. You like the Smiths? Yeah.
131. I love 'em.
132. Holy s hit.
133. There you go. Have another piece.
134. Ah. Drinks?
135. Arthur, did you get a piece? Thanks.
136. Want one? Yeah.
137. Want one? Mmm.
138. Summer, right? Oh. Yeah.
139. Smiths fan. Yeah. Tom.
140. Want s ome, uh, uh—
141. It's not champagne. I don't know what it is. Sure.
142. So, how's it goin'?
143. Pretty good. You just moved here, right?
144. Mm-hmm. When?
145. Saturday. Oh, wow.
146. And, uh, what brought you?
147. Boredom mostly.
148. Wanted to try s omething new and exciting. Mmm.
149. Well, clearlyyou've come to the right place.
150. So, have you worked here long? About three or four years.
151. Wow. You've...
152. always wanted to write greeting cards?
153. No, I don't even want to do it now.
154. Well, you should do s omething els e then.
155. Yeah. I studied to be an architect, actually.
156. You did? That's cool. What happened there?
157. It didn't work out.
158. I needed a job, and here we are.
159. You any good?
160. Well, um, I wrote this one.
161. "Today you're a man.
162. Mazel tov on your bar mitzvah."
163. It's a big seller. I meant as an architect.
165. I doubt it. Well,
166. you're a perfectly adequate greeting card writer.
167. Thank you. That was actually my nickname in college.
168. They called me "Perfectly Adequate" Hansen.
169. They us ed to call me Anal Girl.
170. I was very neat and organized.
171. Well, I should get back, s o— Uh—
172. All right. See you later.
173. I don't know, man. I think it's official.
174. I'm in love with Summer. I love her s mile.
175. I love her hair. I love her knees.
176. I love this heart-shaped birthmark she has on her neck.
177. I love the way she sometimes licks her lips before she talks.
178. I love the s ound of her laugh.
179. I love the way s he looks when s he's s leeping.
180. I love how I hear this s ong every— every time I think of her.
181. I love how she makes me feel.
182. Like—
183. Like anything's possible, or like- I don't know. Like—
184. Like life is worth it.
185. This is not good.
186. She likes Magritte and Hopper.
187. And we talked about Bananafish for like 20 minutes.
188. We're so compatible, it's insane.
189. She's— well, she's not like I thought at all. She's amazing.
190. Oh, boy. What?
191. Just 'cause some cute girl likes the same bizarro crap you do,
192. that doesn't make her your soul mate, Tom.
193. - Red team wins! - What do you mean?
194. - It's off. - what?
195. - Me and Summer. - Was it ever on?
196. No, but it could have been, in a world where good things happen to me.
197. - Yeah, well, that's not really where we live. - No.
198. Lucky.
199. So, what happened?
200. All right. You ready? Yeah.
201. So there we are. Nine more floors to ride, just me and her.
202. Hey, Summer.
204. How was your weekend?
205. It was good.
206. Can you believe that shit?
207. I'm sorry. What shit?
208. - I think I missed something. - She said, "It was good." Emphasis on the "good."
209. She basically said she spent the weekend having sex with some guy she met at the gym.
210. Skank. Whatever. I'm over it.
211. What the hell is wrong with you? She's not interested in me.
212. There's really nothing I can do about that.
213. Just because she said it was good? And some other things.
214. Like, did she say, uh, "hey" instead of'hi"?
215. I mean, 'cause you know that that— that means that she's a lesbian, right?
216. I gave her plenty ofchances.
217. I'm going to the supply room. Do you guys need anything?
218. I think you know what I need.
219. Uh, toner.
220. Okay. Sure. No problem.
221. Whatever, man. It's fine. I don't need this crap really. I just, you know—
222. I'm comfortable. I'm unhassled.
223. People don't realize this, but loneliness-
224. - It's underrated. - You could just ask her out.
225. Don't be stupid.
226. Hey.
227. This Friday, all you can karaoke at the Mill. No.
228. Come on. They're not gonna let you back in there after last time.
229. Ah, I wasn't that bad.
230. Dude, you threw up on the stage, you tried to fight the bartender...
231. and you threatened to burn the place down.
232. But I didn't burn the place down. We're not going back there, man.
233. Look. It's not like that, okay? It's a work thing. The whole office is going.
234. I can't go, even if I wanted— You're not listening to me.
235. What? The whole office is going.
236. Hi. Hi.
237. They said you weren't coming. You asked if I was—
238. Goddamn. That song is brilliant!
239. what's up, Hansen? Summer. Summer—
240. That's me. Come on up.
241. You—
242. Okay. I'm new, so no making fun of me. Whoo!
243. Thanks, chief.
244. Ah, thanks. Yeah, man.
245. Cheers.
246. Like, that's what I was— I guess.
247. Hello. Hi.
248. I didn't, uh— I didn't know you were gonna join us.
249. I would have gotten you, you know, a drink, or-
250. I'm good. You're good?
251. You— You were great— great up, uh, singing. Thank you.
252. I wanted to sing "Born To Run," but they didn't have it.
253. I love "Born To Run." Me too.
254. Tom's from New Jersey. Really?
255. Yeah. I grew up there. Uh, I lived there till I was 12.
256. I named my cat after Springsteen.
257. No kidding. What-what was his name?
258. Bruce.
259. oh. That makes sense.
260. So, do you have a boyfriend?
261. - No. - Why not?
262. - 'Cause I don't want one. - Come on. I don't believe that.
263. You don't believe that a woman could enjoy being free and independent?
264. Are you a lesbian?
265. No, I'm not a lesbian.
266. I just don't feel comfortable being anyone's girlfriend.
267. I don't actually feel comfortable being anyone's anything, you know.
268. - I don't know what you're talking about. - Really?
269. Nope.
270. Okay. Let me break it down for you.
271. - Break it down. - Okay. I like being on my own.
272. Relationships are messy, and people's feelings get hurt.
273. Who needs it? We're young.
274. We live in one of the most beautiful cities in the world.
275. Might as well have fun while we can and...
276. save the serious stufffor later.
277. Holy shit. You're a dude. She's a dude.
278. Okay. But wait, wait. What happens if you fall in love?
280. Well, you don't believe that, do you?
281. It's love. It's not Santa Claus.
282. Well, what does that word even mean?
283. I've been in relationships, and I don't think I've ever seen it.
284. Well, maybe that's- And most marriages end in divorce these days.
285. Like my parents. Okay. Mine too, but—
286. Methinks the lady doth protest too much.
287. The lady dothn't.
288. There's no such thing as love. It's a fantasy.
289. Well, I think you're wrong.
290. Okay. Well,
291. what is it that I'm missing then?
292. I think you know it when you feel it.
293. I guess we can just agree to disagree.
295. Okay. Who's singing next?
296. I nominate Young werther here.
297. I'm not nearly drunk enough to— Bartender.
298. It's not? No, that's not it.
299. what is that then? I don't know. That—
300. That— That's something, but that's not it. I know.
301. Ah, I used to watch it every week. Oh. Yeah!
302. It was the best show on TV. I know.
303. Knight Rider? Come on. And the theme song is really good.
304. So good. This is gonna bother me for a week.
305. Me too.
306. - You were amazing. - I know, buddy.
307. You're amazing.
308. This was so much fun. Yeah.
309. You guys are so much— Wait! wait! Hey.
310. What's up? Not you.
311. You.
312. He likes you. Okay.
313. He likes likes you! Good night, McKenzie.
314. why don't you just tell her, Tom? Yeah.
315. You guys are the best! Sorryyou had to see that. He's—
316. Happens every time we come here. He, uh— I don't know.
317. Something about that guy and singing.
318. Is that true? Yeah, yeah.
319. He drinks, and he sings and just loses his shit.
320. No, uh, not McKenzie.
321. Um, the other thing.
322. What thing?
323. Do you... like me?
325. Yeah, of course I like you.
326. As friends?
327. Right. As friends.
328. Just as friends?
329. Yeah. I mean, I— I don't know. I hadn't really thought about, um—
330. Yes. Why?
331. No reason. I just—
332. I think you're interesting, and I'd like for us to be friends.
333. Is that all right?
334. Yeah. It's, um—
335. Yeah. You and me. We should be friends. Mmm.
336. Okay. Good.
337. Well, I'm that way, so—
338. Okay. Well, good night. Good night.
339. - Hey. - Hi.
340. So, that was fun the other night.
341. You son of a bitch. Shh!
342. The same girl you've been obsessing over for weeks now? I've not been obsessing.
343. The girl you said was out of your league, that you'd never have a chance with.
344. That girl. Paul, seriously.
345. Did you bang her? No.
346. what, hum job? Hand job? Man, no.
347. Nojobs. I'm still unemployed. We- We kissed.
348. Level with me, man. Come on. This is your best friend, huh?
349. Your best friend who tolerated you whining about this girl for weeks on end.
350. Paul— You were essentially stalking her!
351. Paul! Shh!
352. - Hi. - Hey.
353. I'm Summer. Summer.
354. I'm Paul. Hi, Paul. Nice to meet you.
355. Well, I gotta go. I gotta do some, you know.
356. Yeah, man. Um, pretend I was never here.
357. Oh, wait! Tom, Tom, Tom, Tom. Um, ifanyjobs come up—
358. Thanks, Paul! See ya!
359. He's, uh, you know, an old friend.
360. If you heard any of, um—
361. Heard what? Nothing. You wanna go?
362. Yeah. I'm stalking. I mean, I'm starving.
363. Ah, hon?
364. Our sink is broken.
365. Man, all of our sinks are broken.
366. what are we looking for again?
367. Uh, trivets. How 'bout a flygel?
368. No, I don't think so.
369. No? You don't want a flygel?
370. Home sweet home.
371. Our place really is lovely, isn't it?
372. Yes.
373. Ooh! Idol's on.
374. The TV's not working.
376. Well, I'm famished.
377. Let's eat.
378. Mmm. Smells delicious.
379. Oh, honey, that's because it is delicious.
380. I made it myself.
381. Bald eagle. Your favorite.
382. Mm-hmm.
383. The sink's broken.
384. Well, that's okay, because...
385. that's why we bought a home with two kitchens.
386. You're so smart.
387. I'll race you to the bedroom.
388. Darling, I don't know how to tell you this,
389. but... there's a Chinese family in our bathroom.
390. This is fun.
391. Thanks.
392. Hey, um,
393. I just wanna tell you that, um,
394. I'm not really looking...
395. for anything... serious.
396. Is that okay?
398. 'Cause some people kind offreak out when they hear that.
399. No, not me.
400. You sure?
401. Yeah. Like, casual. Right? Take it slow.
403. No pressure.
404. Can you, uh— Can you wait one second?
405. Okay. Settle. She's just a girl.
406. Just a girl.
407. She wants to keep it casual,
408. which is why she's in my bed right now.
409. But that's casual. That's what casual people do.
410. That's fine. That's great.
412. You know, I'm gonna— I'm gonna— I'm gonna get Alfredo's number.
413. okay. And I'll— And I'll bring it to you.
414. okay. Okay?
415. Is this Solitaire?
416. So, did you get her back yet or what?
417. Working on it.
418. Hey, maybe you should write a book. What?
419. Well, you know, Henry Miller said the best way to get over a woman...
420. is to turn her into literature.
421. Well, that guy had a lot more sex than me.
422. Oh, this is it! This is it!
423. So great to hear from you.
424. I can't this week, but maybe next?
425. I hope this means you're ready to be friends.
426. Yeah, that's it. That is it.
427. Your girl is losing it.
428. Can you just be serious, forjust a second?
429. I am being totally serious. No, you'rejoking around.
430. No, I am notjoking around. "Octopus's Garden"?
431. Yes, "octopus's Garden" is the best Beatles song ever recorded.
432. Why don't you just say "Piggies"?
433. Come on. I love Ringo Starr!
434. Nobody loves Ringo Starr. That's what I love about him.
435. No, no.
436. ooh, this looks good.
437. Gets really good reviews.
438. You know what? That looks pretty doable.
439. why are you asking me now? Because this was your idea.
440. Put your hand there. Wait one second.
441. okay. Three, two, one! One.
442. Yeah, the street level isn't so exciting, but-
443. The Fine Arts Building.
444. The guys who designed this, Walker and Eisen, are... two of my favorites.
445. This is my favorite spot. This is?
446. This is your favorite spot?
447. Right here.
448. How come?
449. Uh, I don't know. It's kind of hard to explain, I guess.
450. Well, try.
451. Um— Well, okay.
452. Like, that building— that's, uh—
453. That's been there since 1 91 1.
454. And that— that's the Continental. That's L.A.'s first skyscraper.
455. It was built in 1904.
456. What is that?
457. That?
458. That's a parking lot. Oh!
459. Yeah. That's- That's also a parking lot.
460. That's, um— Yeah.
461. There's a lot of beautiful stuff here too though.
462. I don't know. I just... wish people would notice it more.
463. If it were me, then, uh—
464. If it were you what?
465. I don't know. I think I'd... make 'em notice.
466. How would you make them notice?
467. I don't know. There's a lot ofdifferent stuffyou could do.
468. Show me.
469. Please. I don't know anything about architecture.
470. You want me to drawyou something? Yeah.
471. I don't have any paper. Well, use my arm.
472. Please, I need a tattoo.
473. well, let's see your arm. That's the spirit.
474. Well, the buildings need to be integrated better, so—
475. You could maximize light capacity here.
476. It's kind of messy.
477. That's okay.
478. For Tom Hansen, this was the night where everything changed.
479. That wall Summer so often hid behind—
480. the wall ofdistance, ofspace, ofcasual—
481. that wall was slowly coming down.
482. For here was Tom, in her world,
483. a place few had been invited to see with their own eyes.
484. And here was Summer, wanting him there.
485. Him, no one else.
486. Have you ever been in a tornado? No.
487. It's that and my teeth falling out.
488. I have that too! You do?
489. Yeah! It's so weird. It's like being an old man.
490. What else do you have?
491. Um, earthquakes?
492. Really? No.
493. You know, I dream sometimes about flying.
494. It starts out like I'm running really, really fast.
495. I'm, like, superhuman.
496. And the terrain starts to get really rocky and steep.
497. And then I'm running so fast that my feet aren't even touching the ground.
498. And I'm floating, and it's like this amazing, amazing realness.
499. I'm free. I'm safe.
500. Then I realize,
501. I'm completely alone.
502. And then I wake up.
503. As he listened, Tom began to realize...
504. that these weren't stories routinely told.
505. These were stories one had to earn.
506. He could feel the wall coming down.
507. He wondered ifanyone else had made it this far.
508. which is why the next six words changed everything.
509. I've never told anybody that before.
510. I guess I'm not just anybody.
511. So what are you exactly?
512. I don't know. Are you her boyfriend?
513. It's not that simple. Sure, it is.
514. What, like, are we going steady? Come on, guys.
515. You know, we're— we're adults. We know how we feel.
516. We don't need to put labels on it.
517. I mean, "boyfriend,"girlfriend."
518. All that stuff is— It's reallyjuvenile.
519. You sound gay. You really do.
520. Okay, first of all,
521. your last girlfriend was Amy Sussman in the seventh grade,
522. and you dated for, like, three hours.
523. And you— you've been with Robyn since what— like 1998?
524. '97. '97. See—
525. Shoot.
526. I don't think the two of you are exactly authorities on modern relationships.
527. So, what should I do? You should ask her.
529. Well, why rock the boat, is what I'm thinking.
530. I mean, things are going well.
531. You start putting labels on it, that's like the kiss ofdeath.
532. It's like saying, "I love you." Yeah, I know what you mean.
533. That's what happened between me and Sean.
534. Who the hell's Sean? My boyfriend before Mark.
535. Who the- Never mind.
536. So, what you're saying— I'm saying you do want to ask her.
537. It's obvious. You'rejust afraid you'll get an answeryou don't want,
538. which will shatter all the illusions of how great these past few months have been.
539. Now look, if it were me,
540. I'd find out now before you show up at her place...
541. and, well, she's in bed with Lars from Norway.
542. Who's Lars from Norway?
543. Just some guy she met at the gym...
544. with Brad Pitt's face and Jesus' abs.
545. Wait! No, Coach. We're not done here.
546. Rachel! Look, it's easy, Tom.
547. Just don't be a pussy.
548. You okay?
549. Yeah. You sure?
550. Summer, I gotta ask you something.
551. what? What are we, um—
552. What are we doing? I thought we were going to the movies.
553. Yeah. Nah, I mean, like, what are we, like-
554. What's going on here, with us?
556. Who cares?
557. I'm happy. Aren't you happy? Yeah.
558. Good.
559. London, 1964.
560. Those girls knew how to dress.
561. Nowadays, it's all these giant sunglasses...
562. and tattoos.
563. It's handbags with little dogs in them.
564. who okayed this? Some people like it.
565. I like howyou dress.
566. I was thinking about getting a butterfly tattoo about yea big on my ankle.
567. No.
570. How's it going?
571. Uh, okay.
572. You live around here?
573. Um, yeah, not too far.
574. I've never seen you here before.
575. You're not too observant.
576. That's funny. You're funny.
577. So let me buy you a drink. No, thank you.
578. You with this guy? Hey, I'm Tom.
579. Whatever. So, come on. One drink. What are you drinking?
580. I said no, thanks.
581. You're serious? This guy?
582. Hey, buddy- You know what? Don't be rude.
583. I'm flattered, but I'm not interested.
584. So why don't you go over there and leave us alone? Thanks.
585. It's a free country.
586. I can't believe this is your boyfriend.
587. What are you doing?
588. It was really just a crazy thing.
589. It happened like— It felt like it happened fast, but really,
590. it— it also felt like it was happening really slowly,
591. like everything all was just—
592. I don't know. It doesn't feel like you think it would—
593. Hey, what's the matter?
594. I just— I can't believe you.
595. You can't believe me?
596. You were so completely, completely uncool in there.
597. Wait. Are you mad at me? I just got my ass kicked for you.
598. Oh, really? Was that for me? Was that for my benefit?
599. Yes, it was.
600. Okay, well, next time don't, 'cause I don't need your help.
601. You know what? I'm really tired.
602. Can we talk about this tomorrow?
603. No. You know what?
604. I'm not going anywhere till you tell me what's going on.
605. Nothing's going on.
606. We're just—
607. What? We're just what?
608. We're just friends. No! Don't pull that with me!
609. Don't even try to—
610. This is not how you treat your friend.
611. Kissing in the copy room? Holding hands in IKEA?
612. Shower sex? Come on! Friends, my balls!
613. I like you, Tom. I just don't want a relationship—
614. well, you're not the only one that gets a say in this!
615. I do too! And I say we're a couple, goddamn it!
616. Afteryou, please.
617. I shouldn't have done that.
618. Done what? Gotten mad at you.
620. Look, we don't have to put a label on it.
621. That's fine. I get it.
622. But, you know, I just- I need some consistency.
624. I need to know that you're not gonna wake up in the morning...
625. and... feel differently.
626. And I can't give you that.
627. Nobody can.
628. That hurt? I'm sorry.
629. No, it doesn't hurt.
630. I like you.
632. Shh. Well, what about you? Did you ever even have a boyfriend?
633. Well, of course. Yeah?
634. Yeah. Well, tell me about them.
635. No. Oh? why not?
636. Because it's not important.
637. I'm interested.
638. All right. Fine. You want to go there?
639. Yeah. I can take it. Fine.
640. So—
641. Well, in high school there was Markus.
642. Quarterback-slash-homecoming king?
643. No. He was a rower.
644. He was very hot.
645. For a brieftime in college there was, um— there was Charlie.
646. She was nice, but—
647. And then there was my semester in Sienna.
648. Fernando Belardelli.
649. Also known as "The Puma."
650. - The Puma? - Yeah, The Puma, 'cause, you know.
652. Oh, that's it? The ones that lasted, yeah.
653. What happened? Why- Why didn't they work out?
654. What always happens. Life.
655. That's the dumbest thing I've ever heard.
656. No, it's not. It's awesome. Trust me.
657. I'm serious.
658. I'll go first.
659. Penis.
661. Penis! Penis!
662. Penis! There's kids around.
663. There are no kids around.
665. You having fun? Yeah.
666. This is the kind ofthing you did with The Puma, isn't it?
667. Oh, we rarely left the room.
668. Penis!
669. Sorry. Tourette's. You know how it is. Penis!
670. She has it too. Penis! Penis!
671. Shh. Everyone's looking over here. I'm done. I'm done.
672. Are you done? I'm done.
673. You're done? Yeah.
674. This is too much. Unleash me. I'm done.
675. Promise? I promise.
676. I promise.
678. It's very complex. Mmm.
679. In a way, it sort of, like,
680. says... so much...
681. by...
682. saying so little.
683. Do you want to go to the movies? Yep.
684. Suffering.
685. So much suffering.
686. Suffering. Suffering.
687. T-Tom?
688. Mr. Vance would like to see you in his office.
689. Tom.
690. Have a seat.
691. Has something happened to you recently?
692. What do you mean?
693. A death in the family, someone taken ill— Anything like that.
695. Look, I don't mean to pry, but...
696. does this have something to do with Summer leaving?
697. Who? My assistant.
698. Your, um— Tom, everyone knows.
699. Never mind.
700. The reason I'm asking is, latelyyour work performance...
701. has been... a little off.
702. I'm not following. okay.
703. Um, here's something that you wrote last week.
704. Uh, "Roses are red, violets are blue.
705. Fuck you, whore."
706. Now, most shoppers at Valentine's Day-
707. Mr. Vance, are you firing me? No. No.
708. Relax, Hansen. You're one of the good ones.
709. Okay. Uh, yeah, I'm sorry.
710. Things have been a little difficult.
711. That's okay. I completely understand that.
712. I'm just saying that perhaps you could channel those energies,
713. um, into something like this.
714. Funerals and sympathy.
715. Misery, sadness, loss offaith,
716. no reason to live.
717. This is perfect for you.
718. Uh— Good. Okay.
719. Now back to work you go.
721. Hey. Hey.
722. Don't you have, like, 20 cards to write by Friday? Nope. All done.
723. Really? Can you help me? 'Cause I've run out ofways to say "congrats."
724. Okay. I got "Good job," "Well done" and "Way to go."
725. That's it.
726. How 'bout, "Every day you make me proud,
727. but todayyou get a card."
728. Shit, that's good! I know.
729. Have you tried "Merry"?
730. Wow! That's perfect! Merry! wow!
731. We've been stuck on this for an hour.
732. Hmm. How about...
733. "I love us"?
734. Aw.
735. I hate Summer.
736. I hate her crooked teeth.
737. I hate her 1960s haircut.
738. I hate her knobby knees.
739. And I hate her cockroach-shaped splotch on her neck.
740. I hate the way she smacks her lips before she talks.
741. And I hate the way she sounds when she laughs.
742. I hate this song!
743. Son, you're gonna have to exit the vehicle.
744. I normally don't do blind dates,
745. but Paul and Robyn spoke very highly of you.
746. Ah. They said you write greeting cards.
747. That's so interesting. I wanted to write.
748. I actually majored in English in college,
749. but what are you gonna do with that degree?
750. I went to Brown. where did you go? Alison.
751. Hmm?
752. Listen, it's great to meet you,
753. and... you're a very attractive girl.
754. I just wanted to say up front that this isn't—
755. It's not gonna go anywhere. oh.
756. I liked this girl. I mean, I loved her.
757. What does she do?
758. She took a giant shit on my face.
759. Literally. Literally?
760. Not literally. That's disgusting. Jesus.
761. What's the matter with you?
762. The point is,
763. I'm messed up. I am.
764. You know, on the one hand, I want to forget her.
765. On the other hand,
766. I know that she's the only person in the entire universe that will make me happy.
767. Mm-hmm. You ever do this?
768. You think back on the times you had with someone, replay it in your head over and over again,
769. and you look for those first signs oftrouble.
770. There's two options really.
771. Either... she's an evil,
772. emotionless, miserable human being,
773. or... she's a robot.
774. Small Wonder. You know, Vicki.
775. That would explain a lot actually. Can I ask you a question?
776. Yeah. She never cheated on you?
777. No. Never. She ever take advantage of you in any way?
779. And she told you up front that she didn't want a boyfriend.
781. I got a great idea.
782. Oh, fine! Go! That's fine. See ya.
783. Waste oftime. You don't look anything like Summer.
784. Now departing on Track 2, Pacific Surfliner.
785. Full service to Santa Barbara.
786. All aboard, please.
787. Hey, baby. Hey, you here?
788. Hell no. What do you mean, "Hell no"?
789. I'm not going to that. Yes, you are.
790. No, man. It's gonna be all old people.
791. Yeah, but you said you were going. That's why I'm going.
792. And that's why I called her last night, told her I was sick.
793. Like a ninja. Dude! I'm gonna— I'm not gonna know anybody at this thing.
794. Maybe you'll meet some hot granddaughters or something.
795. I'm hanging up now. Bye, baby.
796. May I have your attention, please?
797. Passengers boarding the train in Los Angeles, please...
798. have your tickets out and ready for collection.
799. Hi, Tom!
800. Hey. Summer.
801. I must have walked right byyou. Yeah.
802. Well, um, what are you doing? Are you going to Millie's?
803. Me too. Cool.
804. - I forgot you knew her. - Yeah, we worked together all that time, so—
805. of course. I love Millie. She's the sweetest.
806. She is.
807. - How are you? - I'm good.
808. Good. I-I wrote to you. I never heard back, but—
809. Yeah. Yeah. Sorry about that. I— I just, you know-
810. It got kind ofcrazy, and the holidays came up, so work was—
811. You still working forVance?
813. Well, I was gonna go get a coffee if you wanna—
814. "The Architecture of Happiness."
815. Yeah. That looks like a good book.
816. Yeah, it's-
817. Well, I don't want to botheryou. No, no. I, um—
818. Yeah, let's get coffee.
819. Afteryou.
820. You look nice. Thanks.
823. I now pronounce you husband and wife.
824. You may kiss the bride.
825. Well, you snore. No, I don't.
826. You do. No, I don't.
827. Yeah. Well, you do too.
828. Oh, I definitely do. And your feet reek.
829. That one time! No, every time.
830. That one time! No.
831. That one time especially, but every time.
832. And when you wake up, your hair, it sticks up like that.
833. It's ridiculous. You're ridiculous.
834. Your favorite Beatle is Ringo.
835. Damn right!
836. Ringo's the best. Ringo is-
837. Goose! Oh! oh! oh!
838. Man! He's fast. Damn! All right.
839. You got me. Duck.
840. Duck.
841. One, two, three.
842. Wanna dance? Yeah.
844. I was gonna maybe have a party on Friday, um,
845. on our rooftop that has, like, a really nice garden,
846. if you want to come.
847. If you're not busy.
848. They're good, huh? They are good.
849. I guess I just got lucky.
850. Um, we met in elementary school.
851. In seventh grade we had the same class schedule,
852. and, uh,
853. we just clicked, you know?
854. Love?
855. Shit, I don't know.
856. As long as she's cute and she's willing, right?
857. I'm flexible on the cute, so—
858. Twenty-one years.
859. She's the light that guides me home.
860. Yes, that is from one of our cards.
861. No. Someone else wrote it.
862. Doesn't make it less true.
863. I think technically the "girl of my dreams"...
864. would probably have, like, a really bodacious rack, you know.
865. Maybe different hair.
866. Probably- You know, she'd probably be a little more into sports.
867. But, um, truthfully,
868. Robyn's— Robyn's better than the girl of my dreams.
869. She's real.
870. Tom walked to her apartment,
871. intoxicated by the promise of the evening.
872. his expectations would align with reality.
873. Hi. Hey.
874. Yeah. Thanks.
875. I like your tie. Wow! Hi.
876. How you doing? Good. How are you?
877. You shouldn't have. That's so nice. It's the-
878. Thank you so much. No problem.
879. I'm excited to read it. Yeah.
880. Come on.
881. - So, Tom, what is it that you do? - Uh, I write greeting cards.
882. Tom could be a really great architect if he wanted to be.
883. That's unusual.
884. I mean, what made you go from one to the other?
885. I guess I just figured,
886. why make something disposable, like a building,
887. when you can make something that lasts forever, like a greeting card?
888. I've been calling you every five minutes. Are you okay?
889. I'm great. What happened to you?
890. I don't wanna talk about it. You always wanna talk about it.
891. Not this. Okay. Well, come on. Let's go.
892. where are we going? It's Thursday!
893. This one says, "Go for it!"
894. And this one says, "You can do it!"
895. we have a whole line of inspirational photographic cards...
896. featuring Pickles, my cat.
897. I think people will really enjoy them.
898. - Thank you. - Good job, Rhoda.
899. That's inspirational stuff.
900. Okay. Who's next?
901. We haven't heard from Sympathy in a while.
902. Hansen? Yeah?
903. The Winter Collection? Do you have anything to contribute?
904. Uh, no.
905. I really don't.
907. We'll come back to you. Uh, McKenzie?
908. Actually, you know what? Yes, Tom?
909. Can I say something about the cat? Well, okay.
910. Yeah, uh, this is—
911. And, Rhoda, no disrespect here,
912. but, um, this is total shit.
913. Tom! "Go for it" and "You can do it"?
914. That's not inspirational. That's suicidal.
915. If Pickles goes for it right there, that's a dead cat.
916. These are lies. We're liars.
917. Think about it. Why do people buy these things?
918. It's not 'cause they want to say how they feel.
919. People buy cards 'cause they can't say how they feel, or they're afraid to.
920. We provide the service that lets them off the hook.
921. You know what? I say, to hell with it! Let's level with America.
922. At least let them speak for themselves! Right?
923. I mean, look! What— what is this? What does it say?
924. "Congratulations on your new baby." Right?
925. How 'bout, "Congratulations on your new baby.
926. - That's it for hanging out. Nice knowing you." - Sit down, Hansen.
927. How 'bout this one, with all the pretty hearts on the front? I know where this is going. Yep!
928. "Happy Valentine's Day, sweetheart. I love you."
929. That sweet? Ain't love grand?
930. This is exactly what I'm talking about.
931. What does that even mean, "love"?
932. Do you know? Do you? Anybody?
934. Ifsomebody gave me this card, Mr. Vance, I would eat it.
935. It's- It's these cards, and the movies, and the pop songs—
936. They're to blame for all the lies...
937. and the heartache, everything.
938. And we're responsible. I'm responsible.
939. I think we do a bad thing here.
940. People should be able to say how they feel— how they really feel—
941. not, you know, some words that some strangers put in their mouths.
942. Words like "love"...
943. that don't mean anything.
944. Sorry. I'm sorry. I, uh—
945. I quit. I'm—
946. There's enough bullshit in the world without my help.
947. All right. Next we do running drills.
948. Hey, you're sketching again.
949. Yeah, well, just doodling.
950. Okay, Tom. We got 20 seconds. Talk to me. You okay?
951. Yeah, I'm good. I'm great.
952. You know, my friends are all in love with you.
953. You know, it's like we said.
954. Plenty ofother fish in the sea. Thanks.
955. But, uh, those are guppies.
957. Hey, Tom? Mmm.
958. Look, I knowyou think that she was the one,
959. but I don't.
960. Now, I think you'rejust remembering the good stuff.
961. Next time you look back, I, uh—
962. I really think you should look again.
963. It's playing at 5:00. Do you wanna see it?
964. Um, I don't know. We could just go back to your place or-
965. No, I really want to see it. Let's go.
966. You okay? Yeah.
967. What— what is it? The movie?
968. It's nothing. I'm just— I'm just being stupid.
969. Yeah? Yeah.
970. It pains me we live in a world...
971. where nobody's heard ofSpearmint.
972. I've never heard of them. I put 'em on that mix I made you.
973. They're track one.
975. So, what do you wanna do?
976. I think I'm just gonna call it a day.
977. You don't wanna get some dinner? Are you hungry?
978. You all right?
979. I'm just tired. okay.
980. I got it. Pancakes!
981. Hey, Tom.
982. I thought I might see you here.
983. I always loved this place, ever since you brought me.
984. So I, uh—
985. I guess I should say congratulations.
986. Only if you mean it.
987. Ah. Well, in that case—
988. So, are you okay?
989. I will be, eventually.
990. You wanna— Hmm.
991. I like your suit. Ah, thanks.
992. You look sharp.
993. So do you. Thanks.
994. I quit the office. You did?
995. I didn't know. That's great!
996. And you, um—
997. you're married.
998. Yeah. It's crazy, huh?
999. You should have told me when we were at the— I know.
1000. You know, at the wedding when we were dancing.
1001. Well, he hadn't asked me yet. But he was in your life.
1002. Yeah. So why'd you dance with me?
1003. 'Cause I wanted to.
1004. You just do what you want, don't you?
1005. You neverwanted to be anybody's girlfriend,
1006. and now you're somebody's wife.
1007. Surprised me too.
1008. I don't think I'll ever understand that.
1009. I mean, it doesn't make sense.
1010. It just happened.
1011. Right, but that's what I don't understand. Whatjust happened?
1012. I just— I just woke up one day, and I knew.
1013. Knew what?
1014. What I was never sure ofwith you.
1015. You know what sucks?
1016. Realizing that everything you believe in is complete and utter bullshit.
1017. It sucks. What do you mean?
1018. Uh, you know, destiny, and soul mates, and true love,
1019. and all that childhood fairy tale nonsense.
1020. You were right. I-I should have listened to you.
1021. No. Yeah. What? What are you smiling at?
1022. Tom. what?
1023. What are you looking at me like that for?
1024. Well, you know,
1025. I guess it's 'cause...
1026. I was sitting in a deli and reading Dorian Gray
1027. and... a guy comes up to me...
1028. and asked me about it,
1029. and... now he's my husband.
1030. Yeah. And... so?
1031. So, what if I'd gone to the movies?
1032. What if I had gone somewhere else for lunch?
1033. What if I'd gotten there 10 minutes later?
1034. It was—
1035. It was meant to be.
1036. And I just kept thinking,
1037. Tom was right. No.
1038. Yeah, I did.
1039. I did.
1040. It just wasn't me that you were right about.
1041. I should go.
1042. But I'm really happy to see that you're doing well.
1043. Summer!
1044. I really do hope that you're happy.
1045. Most days of the year are unremarkable.
1046. They begin and they end...
1047. with no lasting memories made in between.
1048. Most days have no impact...
1049. on the course of a life.
1050. May 23 was a Wednesday.
1051. Are you interviewing? Sorry?
1052. Are you interviewing for the position?
1053. Oh, yeah. Why? Are you? Yeah.
1054. Mm-hmm.
1055. My competition.
1056. It would appear.
1057. Yeah. So, a little awkward.
1059. Well, I hope you, um, don't get the job.
1060. Well, I hope you don't get the job.
1061. Have I seen you before?
1062. Me? I don't think so.
1063. Do you ever go to Angelus Plaza?
1064. Yes. That's, like, my favorite spot in the city.
1065. Yeah. Okay. Except for the parking lots, but—
1066. Yeah. I— I agree. Yeah, yeah.
1067. I think I've seen you there. Really?
1068. Yeah. I haven't seen you.
1069. You must not have been looking.
1070. lfTom had learned anything,
1071. it was that you can't ascribe great cosmic significance...
1072. to a simple earthly event.
1073. Coincidence. That's all anything ever is.
1074. Nothing more than coincidence.
1075. Tom Hansen. Yeah.
1076. Come on back. Thank you.
1077. Tom had finally learned there are no miracles.
1078. There's no such thing as fate.
1079. Nothing is meant to be.
1080. He knew. He was sure of it now.
1081. Tom was— Sorry. Um—
1082. I just left, uh— Can I— one second.
1083. He was pretty sure.
1084. - Hey. - You again.
1085. Yeah. I, uh, was just wondering...
1086. if maybe after this, if, um, you—
1087. you want to get some coffee or something.
1088. Oh, I'm sorry.
1089. I'm sort ofsupposed to meet someone after this.
1090. Okay.
1091. Sure.
1092. What's that? why not?
1093. Okay. Well, then I'll just, uh— I'll wait for you—
1094. we- We'll figure it out. we'll figure it out.
1095. - My name's Tom. - Nice to meet you. I'm Autumn.
1096. English US - PSDH


text:
Ford Foundation
Home / Ford Foundation
The Ford Foundation supports visionary leaders and organisations on the frontlines of social change worldwide. Its goals for more than half a century have been to strengthen democratic values, reduce poverty and injustice, promote international cooperation and advance human achievement. Its headquarters are in the US and it has regional offices in Africa, Asia and Latin America.
With trends in donor funding shifting overwhelmingly towards project support and away from institutional support, APC is particularly appreciative of the programme support that the Ford Foundation provided from 1997 to 2002. The Ford Foundation also supported the APC Council Meeting in South Africa in 1997.
Work supported:
General support and project support for institutional strengthening (2019-2020)
Core support for internet rights and gender justice advocacy at international and regional levels, and core support for institutional strengthening (2017-2018)
Support to research a feminist perspective on internet policy issues and build cross-movement collaboration with women's rights groups in the global South (2016-2017)
Mid-term evaluation of the outcomes resulting from the implementation of APC's 2013-2016 Strategic Plan (2016)
Local Action to Secure Internet Rights (LASIR) (2014-2015)
EROTICS II: Support to strengthen advocacy work on internet governance and access to SRH and Rights (2012-2014)
Strengthening Civil Society Networking and Advocacy on Internet Public Policy in Global Arenas (2009-2011)
EROTICS Sexuality and the Internet - An Exploratory Research Project (2008-2011)
Global ICT Policy Advocacy for Information and Communications for Social Justice and Sustainable Development (2008)
CIPP programme core support (2006-2008)
Global Advocacy on Communication Rights (2003)
Link: https://www.fordfoundation.org/
Global Information Society Watch 30 August 2010
Global Information Society Watch (GISWatch) is an annual report co-produced by the APC network and partners, which looks at the progress being made in creating an inclusive information society worldwide (particularly in implementing WSIS goals), encourages critical debate, and strengthens networking and advocacy for a just, inclusive information society.
EROTICS: An exploratory research project into sexuality and the internet 19 February 2009
Breakthrough study in Brazil, India, Lebanon, South Africa and USA is showing the internet hosts critical info about sex education, health, fighting sex discrimination and defining your own sexuality. Sexuality online is not just about porn.

redpajama_set_name: RedPajamaCommonCrawl


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We have had such good results in our awareness campaign for the Bahrain Coordinating Committee in such a short time, that I just had to share these preliminary results with you, in case you would like to apply any of these approaches in your own marketing and public relations campaigns. Their awareness campaign has been mounted with very little investment of funds, just lots of creativity and effort. Hopefully, we will maintain the momentum we are building!
As you know, only a month ago, we launched the organization's blog and website, using our favorite, affordable platform, WordPress.com. It's basically an $18/year website. In only a month, the website and blog has received more than 2500 views. Even their brand new YouTube site is doing well, getting more than a hundred views for its videos less than 48 hours after the first videos were put online. The cost for that YouTube channel? Zero dollars.
One of our recommendations was that the organization exhibit at the ADC Convention, the largest gathering of Arab Americans in the United States. The Committee joined forces with Americans for Democracy and Human Rights in Bahrain who created a wonderful display that received lots of attention. The organization created folders of information, and distributed 540 of them to convention attendees. Some of the media who dropped by the booth included BBC Arabic and Voice of America.
Giveaways are important at conventions, and we particularly wanted to increase awareness of the organization's Twitter handle (@Connect_Bahrain), since that is such an important medium for communicating a movement like this. We designed and ordered rubber wristbands that had the organization's Twitter handle and the slogan, "Freedom in Bahrain." The exhibit volunteers gave out all 275 wrist bands (we gave out some to the press before the event), which cost the organization less than $150 including shipping, and 75 bags of M&Ms tagged with their new logo and Twitter handle, which cost about $40 to put together.
Well, it worked! Over that weekend, their Twitter followers shot up from 420 to 641! Their Facebook Page fans also increased 20%.
We're very pleased to help this organization with their public relations efforts. We have put out seven press releases in the past six weeks, some on PR Newswire, and all on Free Press Release.com. The paid distribution with PR Newswire ($89 each), of course, gets very good results. We expected that. But what we did not expect is that we would receive so many additional views for our online news releases on Free Press Release.com ($1 per press release) — over 1,800 views thus far.
The feedback we are receiving from the client is that there is increased interest in the organization and its work, and that many conference attendees were curious and supportive. This is all gratifying to hear.
So, I wanted to share with you how these inexpensive approaches can pay off, and perhaps, they might work for your company or nonprofit organization! Please let us know in the comments if there are free or low-cost public relations and marketing tactics you have tried that worked well for you.
Mary Fletcher Jones is a mom, teacher, and blogger. She is also the creator of "Living Well With Autism," an online resource for caregivers of children, teens, and adults with autism and related special needs.
Posted on June 25, 2012, in Marketing Tips, Public Relations Tips, Social Media Tips, Trade Show Tactics and tagged Bahrain, exhibit marketing, Human rights in Bahrain, PR Newswire, social media, Twitter. Bookmark the permalink.	Leave a comment.


text:
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Images of refugees, part 3: refugees at sea
November 1, 2015 February 12, 2016 benjaminthomaswhite
This is the third in a series of posts about images of refugees. For the first post, click here. For the second, click here.
Photographs of refugees on land often work to make both the refugees themselves and the landscapes they're walking on interchangeable—so many huddled figures trudging across so many featureless bits of countryside. My last post explored some of the reasons for this: they're partly to do with the choices that picture editors make, and partly to do with the standard formats of newspapers or news magazines and the cameras, lenses, and film that were typically used to take the photos that appeared in them. (Only rarely do refugees' own views or choices come into it.) And in the post before that I wrote, more briefly, about the typical news photograph of a group of refugees in flight, burdened with their possessions. The aesthetic roots of that very standardized image go back much further than mid twentieth-century: I traced them back to 19th-century narrative painting, and earlier standard subjects in the European Christian tradition of painting.
But what about the other standard image of refugees, which has been just as common on news websites recently as the 'overland trudge'—that is, the image of refugees at sea?
2015, 1991, 1939?
This picture shows the Albanian ship Vlora, in 1991. A cargo vessel that had recently returned to Albania from Cuba laden with sugar, the Vlora found itself heading to the Italian port of Bari with many thousands of Albanians aboard, hoping to escape the chaos of the end of communist rule. You can read about it on Migrants at sea, or watch this two-minute film on YouTube, and there's a longer a documentary about the incident, too. The story doesn't reflect especially well on the Italian authorities.
'These aren't Syrians. They're Europeans trying to get to North Africa during World War II. So next time you think of closing the borders you might want to check with your grandparents.'
It wasn't as an image from 1991, though, that the picture recently went double-viral. (I read about it here.) On the one hand, it did the rounds of Twitter racists amid claims that it showed thousands of 'migrants' in Libya or Syria preparing to invade Europe today. On the other, in black and white, it was circulated by anti-racists on Twitter—and Tumblr—claiming that the people in it were Europeans fleeing to North Africa during the second world war.
Like the Robert Capa photo I discussed in the last post, which appears on the cover of a history book about refugees in France (and on the internet as a picture of refugees in the Spanish civil war) even though it was taken in Israel just after independence, this photo shows us that refugees are interchangeable. You can pretend that a picture of people fleeing the political uncertainty and economic misery of Albania a quarter of a century ago shows Tripoli or Tartus this summer, and some people will believe you (and retweet). Or you can put the same picture in black and white and claim it shows European refugees in the 1940s, and other people will believe you (and repost). One of those claims is intended to provoke hostility toward refugees, and the other is intended to elicit sympathy—but it's striking that both of them reduce the refugees themselves to silence in precisely the same way. The refugees become 'speechless emissaries', to borrow a term from the anthropologist Liisa Malkki.* In one claim, they bear mute witness to the threat of further swarms overrunning Europe; in another, they silently represent the shared human need, and right, to flee from danger. But they never get to speak for themselves. (It's probably fair to guess that in neither case are the people behind the claim refugees.)
One of the reasons why a single image can be used in these different ways is because the 'refugee boat', just like the 'overland trudge', is already so well-established as a visual trope. The Vlora of 1991 can stand in for boats in 2015 or 1939 because we've already seen refugee boats in 2015 or 1939, and every decade in between. Look:
Let me restate something I wrote about images of refugees on land. The limitations of cameras, lenses, and film, the constraints of publication format, and the aesthetic (and moral) choices of photographers and picture editors all work together to mean that when you see a group of refugees in a photograph, you usually can't see many identifying features of the landscape they're walking across. This is even more true for images of refugees at sea: a patch of sea has even fewer identifying features than a patch of desert or hillside–if it is marked by distinctive shapes or colours, they're changing all the time. The photos above were taken in the Andaman Sea in 2015, Hong Kong harbour in the late 1970s, Haifa in 1947, and (I think) Southampton in 1937. A dockside, if you can see one, doesn't help much: a quick switch from colour to black and white was all it took to put the Vlora back in the same period as the Exodus 1947, carrying Holocaust survivors to Palestine, or the SS Habana, bringing Basque refugees to Britain in 1937.
When the boat is small and photographed fairly close up, you can make out some distinguishing features of the refugees, but not many: see what a difference the slightly more distant perspective in the first photo makes, compared with the second. Among the Rohingya refugees from Burma (2015) you can make out individuals, and tell adults from children; among the Vietnamese boat people in Hong Kong (1970s) you can see individual expressions, distinguishing features—but that's rare indeed in photos that follow this trope. (Perhaps less so for paintings, and we'll come back to that in a moment.) When the ship is large, and therefore the photographer has to be further away, even basic details are lost: for example, could you tell without looking closely that almost all the figures in the last of those four photos are children? Details of the vessel itself don't tell you anything about where it is, either, and only very rough information about when the picture was taken. Ships travel a long way, and have long service lives: the Vlora was built in 1960 and only broken up in 1996. So when you see an image of a boatload of refugees at sea or at a dockside, there's very little to tell you when or where the image was taken.
This could be anywhere too
All this means that the image of the 'refugee boat' is, if anything, even more standardized, even more of a trope, than the image of a group of refugees fleeing on foot over land. Every time you look at a photo of a refugee boat, in a way you're looking at every other photo of a refugee boat, too—certainly every other one that you've seen, and every other one that whoever produced the image has seen. And every time a photojournalist frames an image of one, he or she is in a way taking a picture of all those other pictures too.
Needless to say, it's impossible for any of these images to tell us much about the enormous variety of different individual stories, individual lives, on a single refugee boat—let alone the range between an Albanian adult on the Vlora in 1991 and a Basque child on the Habana in 1937. The image above was taken in the Mediterranean in 2014. It won the photographer, Massimo Sestini, a World Press Photo award, and in a way it was ahead of its time, seeming to capture the spirit of this summer: that's why you may have seen it on the Google refugee appeal or, if like me you're based in Scotland, the new Scotland Welcomes Refugees site. But in another way it could have been taken anywhere, at any time since press photography became a thing. And, like the standardized photographic image of refugees on land, the 'refugee boat' picture has roots that go back much deeper than the emergence of photojournalism. Here's one very influential predecessor:
Jonathan Jones wrote about Géricault's Raft of the Medusa (1818-19) earlier this summer, explicitly making the connection with the 'refugee crisis'. The painting was a media sensation in its time, viewed by 40,000 people when it was exhibited at Egyptian Hall in London in 1820. (I learned about it when I read A History of the World in 10½ Chapters by Julian Barnes, twenty-odd years ago; it's parodied in one of the Asterix books too.) A detailed exploration of the genealogy of the 'refugee boat' image would need an art historian, not me, but I'd suggest that this and other paintings of shipwrecks and their survivors, and the long tradition of paintings of Noah's Ark at sea in the Flood, would be the place to start looking. Here, I'll just point out once again that a painting can combine individual detail and panoramic sweep more easily than a press photo: Géricault's painting is a monstrous seven metres by five (!), so the dead and dying figures are pretty much life size, if seen at a short distance.
But they are seen from a short distance, not from the raft itself–which leads to my final point. Even more than images of refugees on land (or of refugee camps), the viewpoint that pictures of refugees at sea adopt is, almost by definition, not that of the refugees. The viewer, like the photographer, is looking at the boat and the refugees from a different and usually safer perspective. The Sestini photograph is a paradigmatic case, taken from an Italian navy helicopter: not so much a bird's-eye as a God's-eye view.
I think it's important to find ways to go beyond this visual trope: it objectifies the 'refugee boat' and it objectifies refugees (and I say that without intending to denigrate the photographers or the worthwhile ends to which such photos are often put). These images shape the meaning of 'refugee' before we even articulate it in words, and if that means that when we talk about refugees we immediately think of an indistinguishable mass of more or less interchangeable people, there's a problem. Massimo Sestini seems to recognize this: in the other pictures that form part of the same reportage–here on the Time website–there are photographs of individuals, taken much closer up. But they're all taken on navy rescue vessels. The refugees have entered the photographer's world: he hasn't entered theirs.
For the photographer, then, the challenge is to change their perspective, and to look at things from the refugee's point of view. (Over a year after he took this award-winning set of photos, Sestini has started trying to locate some of the individuals pictured in the boat, so he may be doing that.) It's a challenge for editors, too: the choice of the representative image, the one that's at the top of the story or on the front page of the website, is the one that matters most, whether it's a news website or a charity appeal.
But the really great challenge to this objectification of the refugee boat will come from refugees themselves. Refugees are more likely now than ever before to have the means of making their own record of their journey, and swiftly making it publicly available. We've heard quite a bit, in recent years, about 'citizen journalists' using smartphones and social media to create their own record of events. Perhaps we'll learn to see refugee boats and their passengers differently when the photos we're looking at are taken from aboard the boat itself, by refugees.
Next post in this series: the image of the refugee camp.
*I'd had this article on my laptop for a while but not got round to reading beyond the first page or two—my friend David Farrier emailed it to me after he'd read my last post, reminding me that I need to go back to it.
Historical perspectives, Images, ResearchExodus boat, Gericault, Image of the refugee, Massimo Sestini, Raft of the Medusa, Refugees at sea, SS Habana, Vlora
Previous Article Images of refugees, part 2: refugees on land
Next Article Wicked women and other dark strangers
3 thoughts on "Images of refugees, part 3: refugees at sea"
benjaminthomaswhite November 2, 2015 / 2:06 pm
One of my very smart students read this post and emailed this response, which I'm posting here by permission. It includes a link to an article on the Tageszeitung website: what looks like a paywall may come up, but it's just suggesting you subscribe: scroll down and click on 'weiter zum Artikel' to get access.
Comment follows:
I just read your blog post about the images of people fleeing on boats, which I enjoyed, similar to the previous posts on that topic. I just wanted to share with you one example from a German news outlet and some thoughts on your general take on the images.
Especially the equipment side of the image production seemed interesting to me. That is also why this came immediately to my mind. The German left-liberal newspaper "Die Tageszeitung" (it was founded as a collective business in the 70s in West Berlin, I think) published what you outline as an idea at the end of today's post, a reportage filmed by the smartphone of a young Syrian man and documents the journey from Damascus to Germany via Greece and the Balkans. The first link leads to the article and the second to the multimedia reportage (it is all in German but especially the actual reportage is quite self-explanatory- or in Arabic in parts at least):
http://www.taz.de/!5015095/
http://taz.pageflow.io/flucht-fb2ba445-5dff-4a58-b36a-d1367535f413#9025
(I hope the link to the films works. If not, try to access it through the article)
As you mention, photographers are also using other perspectives, such as close ups. I had to think of that as well because I paid attention to how the newspapers I am reading are depicting refugees after having read your postings. The German newspaper "Süddeutsche Zeitung" (also a rather liberal newspaper, though not as left as the "Tageszeitung") pays a lot of (critical) attention to German and European government policies on this issue and gives generous space to initiatives to support refugees in Germany and elsewhere, incl. the views of refugees and people without official immigration status. Thus, not surprisingly, they quite regularly "deviate" from the "common" way of visually depicting refugees you analyse. Other German media outlets, of course, adhere to it much more.
That made me wonder whether it would not be even more enlightening to look at the range of different ways to depict fleeing people, even in "mainstream" media. This would then allow to ask in what circumstances what editors (can) choose which images. In my opinion this would highlight a bit more that these are choices made by actual people, i.e. editors, journalists, readers, etc. That is especially important, I feel, when you highlight the historic continuities, as through the Géricault painting. I don't think it is the point you want to make that it is a continuity that is unavoidable, but I can imagine it could also be read like this.
However, I guess that could easily expand into a research project, rather than a blog post at the side. Well, thank you in any case for a thought-inspiring blog post.
That would make a pretty good research project, I think!
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As always I have many readings going at once. I often start and stop books and mags multiple times, although a straight read through is not unheard of. Snippets of the following are currently rolling around in my head.
~ by Phil Nesmith on January 4, 2014.


October 2, 2017 • The Centers for Disease Control has revised recommendations for treating ME/CFS and now says that vigorous exercise can make symptoms worse. Patient advocates say it's a huge victory.
July 31, 2017 • Stanford University scientists have found an array of proteins in the blood whose levels correlate closely with the severity of symptoms of the mysterious illness that's increasingly known as ME/CFS.
May 1, 2017 • Researchers do not know what causes people with the condition now known as ME/CFS to suffer debilitating exhaustion and other symptoms that make many everyday activities all but impossible.
November 4, 2015 • The National Institutes of Health has promised to put more money into research on an illness that many people feel has been dissed by the medical establishment.
February 11, 2015 • "Systemic exertion intolerance disease" might not fall trippingly off the tongue, but an Institute of Medicine panel says it better matches the symptoms. The disease, it says, is real.
Does Chronic Fatigue Syndrome Need A New Name?
January 30, 2014 • The Institute of Medicine is reviewing how chronic fatigue syndrome is diagnosed. But some patients and doctors say the one of the biggest problems is the name itself. The hallmark symptom is not fatigue, they say, but a physical and mental crash after even mild exercise.
December 22, 2011 • The journal Science has withdrawn a study from 2009 that suggested an obscure virus causes chronic fatigue syndrome. The findings raised patients' hopes for effective treatments. But scientists who raced to confirm the viral link failed to do so.
September 22, 2011 • Chronic fatigue syndrome is by all accounts a difficult illness – there's no known cause and consequently no test to detect it. Though a series of recent studies have shown there's no link with the XMRV virus, some advocates insist more research on it is needed.
September 5, 2011 • The cause of the disease is still unknown, but researchers have found some treatments that may help. One psychiatrist says that when patients adopt a more positive attitude about their symptoms, it often translates into greater confidence and more energy.
February 18, 2011 • A study of four different treatments for chronic fatigue syndrome finds that psychotherapy and gradual increases in exercise were clearly better than specialist care or an approach called "adaptive pacing," favored by some patients.
December 20, 2010 • Some DNA from mice may have contaminated samples of human blood and prostate tissue. Traces of the genetic code of the suspected virus, called XMRV, may have been in the mouse DNA.


The next Orange County Atheists meeting will take place Wednesday, January 8th at 7:30PM at the International House of Pancakes at 18542 MacArthur Blvd in Irvine, near John Wayne Airport.
Many group members also meet at the El Torito across from the IHOP at 6:30pm for Happy Hour drinks and appetizers in the cantina area. To find the group, look for a sign depicting the image to the right at either location. Hope to see you there!
The next Orange County Atheists meeting will take place Wednesday, December 11th at 7:30PM at the International House of Pancakes at 18542 MacArthur Blvd in Irvine, near John Wayne Airport.
The next Orange County Atheists meeting will take place Wednesday, November 13th at 7:30PM at the International House of Pancakes at 18542 MacArthur Blvd in Irvine, near John Wayne Airport.


text:
Swiss grounds its A220 fleet after series of engine incidents
byClement Charpentreau
TJDarmstadt
Swiss International Air Lines grounded all of its Airbus A220s after a new engine incident affected one of its aircraft. Two similar occurrences were reported in the last six months. The fleet will undergo a complete inspection, forcing the airline to cancel some of its flights.
The fleet of nine A220-100s and 20 A220-300s (formerly Bombardier C-Series) that Swiss operates has been affected by recurring problems in the past months, prompting the company to take action. Twelve out of fifteen flights between London and Geneva were canceled.
Flight update: technical irregularities on various SWISS short-haul flights. If you are booked on any of the affected flights, please find more information here: https://t.co/tS0qbCIDcc
— Swiss Intl Air Lines (@FlySWISS) October 15, 2019
The latest incident dates back to October 15, 2019. The flight LX359 from London Heathrow Airport (LHR) to Geneva International Airport (GVA) was forced to make an emergency landing in Paris Charles de Gaulle Airport (CDG) after one of the A220 engines failed mid-flight.
On September 27, the left-hand engine (PW1524) of an A220-300, registered HB-JCA, had an uncontained failure during flight LX358 from Geneva to London, forcing the aircraft to be turned back.
On July 25, 2019, the Swiss flight with Airbus A220, registered HB-JCM, was en route from Geneva to London when the left engine suffered a mechanical failure as it was passing over the East of France. The flight crew shut down the engine and landed the diverted flight at Paris Charles de Gaulle airport.
Following the July and September incidents, the Bureau d'Enquêtes et d'Analyses pour la Sécurité de l'Aviation Civile (BEA), the French authority for civil aviation safety, was handed the investigation, with the assistance of the United States National Transportation Safety Board (NTSB).
Another probably unrelated problem involving a Swiss A220 was reported on September 26, 2019, on a flight from Geneva to London. After a technical problem was detected on an A220-100 about to take off, another similar aircraft was chartered. However, a malfunction alert of the flight control system appeared in the replacement plane, prompting it to turn back and land in its departing airport.
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The D minor scale is used in a plethora of music (more notably rock/metal music) due to its slightly dissonant sound. In this lesson, I will be showing you how to play this scale in a couple positions on the fretboard and how to remember how to play it. I hope you enjoy this lesson!
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You can take the library with you wherever you go through the use of Library Anywhere, a mobile application that lets you use the library on your smart phone or other web-capable device. Keep track of your due dates easily with this application, search Rodman Library's catalog, place holds, renew items, and more. Users can also find library hours and locations, including bookmobile stops, send questions to library staff members, and find information about events happening at the library. You can now have access to all of this right from your phone.
Library Anywhere has a special application for iPhones (iPads,etc.) and Androids, and a universal version for Blackberry and all other web-enabled devices. Simply search for Library Anywhere in the app store (or equivalent) on your phone and download the application for free. Those not using iPhones or Android phones can find the app by visiting https://www.libanywhere.com/m/286.
Along with this service, look for several enhancements to Rodman Public Library's catalog. We offer book recommendations and similar titles within our catalog search feature to help you discover other titles that are related to your original search or a favorite author. Tagged browsing is also available, which allows you to search and browse for books by tags (keywords and labels used to describe a book) that have been added by users of LibraryThing, an online home library cataloging service. The third enhancement to Rodman Library's catalog links to related editions and translations of the same work.
Find all of these by searching Rodman Public Library's catalog at roc.rodmanlibrary.com, or with our mobile application, Library Anywhere.


Today I had the great pleasure of taking photos of little Miss Lily. She is such a peanut, just like her mommy. I had so much fun with them today. Next time I'll get her mommy and daddy in a photo with her.


Last weeks' annual Hotel Technology Next Generation (HTNG) North American conference raised the bar again on what makes for a successful gathering. Already one of the more appealing conferences in a crowded season, a couple of format changes this year increased its attraction and drew record attendance.
Paul Margaillan has joined the board of McLaren Technologies as non-executive Chairman, strategic advisor and business change mentor. Currently the founder and CEO of Space Management Services (which he will continue to operate), Mr. Margaillan was previously CEO and co-founder of EasyRMS, which he sold to Infor in 2012.
The 336-room Hotel Ciputra Jakarta, managed by Swiss-Belhotel International, has selected Protel's SPE guest management system from Xn Hotel Systems, as well as Xn's point-of-sale system.
The Edinburgh Collection has switched back to protel from Xn Hotel Systems for its 4 properties after a three-year absence.
Oracle has re-branded Micros, which it acquired last June, under the name Oracle Hospitality. The unit is headed by Mike Webster, senior vice president and general manager, Oracle Retail and Hospitality.
– Integration with third party reward platforms including Alaska Airlines and Aeroplan.
SUNRISE Hotels & Cruises is rolling out TrustYou's reputation management tool across its 11 resorts in Hurghada and Sharm El Sheikh.
TrustYou announced that its Meta-Review API has now been implemented on more than 150 websites.
– Bronze for reinventing the online presence for the Hard Rock Hotels and Resorts.
– access to apps like Netflix, Pandora, TuneIn, Hulu Plus, Facebook, Yelp, TripAdvisor, etc.


Gabriela is a student research assistant for the NJ Bicycle and Pedestrian Resource Center.
Gabriela currently attends the Edward J. Bloustein School of Planning and Public Policy and is pursuing a Masters Degree in transportation and environmental planning. She attended The Pennsylvania State University, majoring in Community, Environment and Development with a concentration in International Development and with a minor in International Studies. Her interests are in environmental sustainability, social justice, transit-oriented development, public transportation and in bicycle and pedestrian research and development. She is concerned with the link between all of these issues and how to make cities greener, more sustainable and great places for the people who live in them.
In addition to city planning and environmental sustainability, her passions include art, traveling, kayaking and hiking.


Honda CB300R accessorised version gets refreshed looks as showcased at the launch.
Honda launched the CB300R at Rs. 2.41 lakhs (ex-showroom). The bike has created such a buzz in the motorcycle community that even before the prices had been revealed, it had been booked out for three months. At the launch, the company revealed the optional extras that will be available for the bike to make it a bit more visually catchy.
Honda is offering a headlight grille for the bike to give it a more rugged look, also adding extra protection to the headlight in the event of a fall or a wayward stone hitting the headlamp and damaging it, without affecting the illumination of the headlamp. A rugged metal bash plate is on offer in place of the plastic cowl to provide an extra bit of underbelly protection for the engine and all the other important bits and pieces in case the bike tackles off-road terrains.
The radiator also has an optional grille on offer for the bike, which protects the radiator fins from various elements. Engine and frame sliders are available to protect the bike from damage in case of an unfortunate fall. To enhance the aesthetic appeal at the rear of the Honda CB300R, the bike gets a tail-tidy with the registration plate and side blinkers moving up, just under the pillion seat, exposing the Michelin tyres.
Another minor cosmetic option extra offered to the Honda CB300R is the silver finished bar-end weights, replacing the standard black weights. Some of the optional extras on offer make the CB300R look sportier, while some help protect the bike if you plan to take it off-road.


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Post Tagged with: "faculty"
Colleagues Mourn Passing of Emeritus Professor Allan Munck, Who Discovered Glucocorticoid Receptors
by Susan Green in Insider
A world-renown researcher in the field of endocrinology, and considered by many to be the father of glucocorticoid receptors, which he discovered in the 1960s, Allan U. Munck, PhD, an active emeritus professor of physiology and neurobiology at Geisel, died unexpectedly on April 29.
Remembering Ron Taylor: Mentor, Teacher, Friend
Charisma—we can't always define it, but we know it when we see it. And by all accounts Ron Taylor was charismatic. A professor of microbiology and immunology at Geisel School of Medicine, Taylor died on March 26 at age 62 of a heart attack. His good-natured personality and intellectual assets, beloved by faculty, students, and staff alike, were well suited to academe.
Inaugural Munck-Pfefferkorn Grants Bring Research Closer to the Marketplace and Helping Patients
by Jennifer Durgin in Research
The Geisel School of Medicine has announced the inaugural recipients of the annual Munck-Pfefferkorn Awards. Named in honor of two luminaries from the medical school, the endowed award funds new biomedical research projects at Geisel that have high potential to benefit patients and to generate future revenue through grants or entrepreneurial endeavors.
Most Popular Stories of 2015
by Derik Hertel in News
As 2015 draws to a close, we'd like to share with you some of the most popular stories on Geisel NewsCenter this year. From the Geisel Communications team, Happy Holidays and have a safe and Happy New Year!
Geisel Professor Named a 2015 National Academy of Inventors Fellow
by Timothy Dean in Research
Aaron V. Kaplan, MD, professor of Medicine and of Community and Family Medicine at Geisel School of Medicine and an interventional cardiologist at the Heart & Vascular Center at Dartmouth-Hitchcock Medical Center, has been named a 2015 Fellow of the National Academy of Inventors (NAI). Election to NAI Fellow status […]
Geisel's John Butterly Elected President of the New Hampshire Medical Society
by Susan Green in News
John R. Butterly, MD, FACP, FACC, a cardiologist and a professor of medicine at Geisel School of Medicine and The Dartmouth Institute for Health Policy and Clinical Practice, has been elected president of the New Hampshire Medical Society.
Geisel Presents Annual Awards to Students and Faculty
On Friday, June 5, faculty and graduating medical students were recognized for extraordinary achievements at the annual Geisel School of Medicine Awards Ceremony. Held in the Hopkins Center's Moore Theater, the event honored excellence in academic achievement, research, community service, teaching, and much more.
The First Black Female Astronaut on Fear, Audacity, and the Importance of Inclusion
by Geisel Communications in In the News
Fast Company – A profile piece on Mae Jemison, adjunct professor of community and family medicine, who was an astronaut on the space shuttle Endeavor and was the first woman of color to go into space. In the article, Jemison states that one of the ways she has become so successful is learning her strengths and working on weaknesses, and that she believes "the key is more an issue of balance than to focus on one in hopes the other will disappear."
Health Care, Globalization Each Get $10 Million Gifts
by Geisel Communications in News
Dartmouth has announced two landmark gifts that will engage faculty and students in tackling some of the world's greatest challenges and ultimately aim to improve the lives of people across the globe.
Geisel School of Medicine Event Honors Students and Master Educators
Thursday evening, May 28, during the annual State of the Medical School address, several faculty and students were cited for their contributions to medical education and community service.


If you have a heirloom knife that you dare not trust to any old sharpener, the new Wicked Edge is the ideal choice for safe, precise sharpening.
I'm getting a little worried. There was a time, not so long ago, when even strangers came to me with dull blades. They needed my skill with a whetstone to make their hunting knives skinning-sharp, and there were few people who possessed the tactile ability to do it. Today, my sharpening skills are being rendered obsolete by some of the cleverest honing devices ever contrived by engineers. No ability is required to use these tools, no experience is needed for many of them. Just follow the directions, and you can't fail to get a shaving edge on nearly any knife.
One of most surefire manual sharpeners I've had the pleasure of using is the new Wicked Edge from Wicked Edge Precision Knife Sharpeners of Santa Fe, New Mexico. To ensure that it could be used by anyone, the task of assembly and setup of this device was charged to a person who had no honing skills. Within 20 minutes of working with the instruction manual open in front of her, and no tools that weren't included with the outfit, she was sharpening kitchen cutlery to paper-slicing keenness.


Where can you get Nepalese momos, Vietnamese pho and Chinese spring rolls all in one place? Since last Wednesday, Dharshan Namaste Asian Deli at 212 Main Street in Winooski has been serving all those dishes and others from across Asia.
Owner Bishnu Gurung opened Namaste Asian Market across the street in 2011. Since then, the Nepal native says, customers have often asked her how to prepare the foods she sells. The solution: Make them herself. Her open kitchen allows visitors to watch her prepare the food, and she'll supply recipes if they ask.
Gurung's momos have been among her hottest sellers so far. Available with vegetable, chicken, pork or beef filling, the dumplings are served with cilantro and a mildly spicy tomato sauce. Gurung is especially proud of her "really awesome" tangy chicken wings and vegetable, beef or turkey banh mi sandwiches on house-baked bread.
But to experience Gurung's full culinary repertoire, diners just have to keep coming back. Her blackboard menu changes daily, showcasing dishes such as Nepalese chicken curry or lentil soup.
Former fans of Burlington's Bangkok Bistro should make plans to repair to Stowe. On Friday, June 28, Bangkok Bistro on the Hill opened in the space formerly occupied by Santos Cocina Latina.
Owner Bobby Chompupong, the son of original Bangkok Bistro owner Champ Chompupong, says the menu resembles the one at the erstwhile Church Street restaurant and Shelburne's more casual Bangkok Minute Thai Café, but with more deluxe ingredients to please Stowe palates.
"We're bringing back large scallops, and our ginger sea bass is incredible," says Bobby Chompupong. His seafood options also include a Thai take on bouillabaisse that includes shrimp, scallops, calamari and salmon in a curry broth. He says he'll serve high-quality steaks, as well.
Chompupong is a dedicated cocktail guy. His Asian-inspired drinks include martinis with muddled shishito peppers or a mix of black raspberry and fresh basil. But most of his drinks are updated versions of what he calls "very classical, urban American" cocktails, such as the Sazerac, Old Fashioned and Manhattan. The Manhattan Haze is composed of muddled cherries, bitters, vermouth and Frangelico.
The original print version of this article was headlined "Asia de Vermont"


Many have Mr. Allary build their tanks, please buy direct from us, and contact me for pricing.
If you're interested in a quote for our tanks, let me know your specifications and we will send you a detailed sketch of your request including the placement of stainless accessories and itemized pricing delivered to your winery.
Inside this Allary Tradition 500L at Roberto and Tommaso Cavali's winery Tentua Degli Dei in Tuscany is a wonderful Petit Verdot. We have an excellent reference here and a strong relationship with consultant wine maker Carlo Ferrini.
Winemaker Luca Biffi of MARCHESI MAZZEI with Gian Maria. Every year Lucca organizes a tasting of all his coopers and Allary 500L & 225L barrels were the best at the tasting.
Tentua Di Bibbiano. A very historic winery in Chianti where they put their best Sangiovese in Allary Tradition 500L puncheons with our Medium House Toast.
A tasting with my friends Alain (Chateau Jander) and Jean (Chateau Grand Maison) at POGGIO SAN POLO winery, the Tuscan arm of the ALLEGRINI GROUP.
A very famous italian brand, POGGIO SAN POLO is set in MONTALCINO estate and they produce only sangiovese for BRUNELLO DI MONTALCINO. They use 500 litre puncheons as well from Tonnellerie ALLARY.
"There is passion in the process & character in the craft."


text:
Coronavirus Live Updates
Zoom Turns Record Profit Thanks To Coronavirus Shutdowns
Sam Wasson, Getty Images
More companies and schools are turning to Zoom's video meetings during the coronavirus pandemic, boosting sales and profit.
Shannon Bond
Zoom reported higher sales and profit in the three months from May through July than it did in all of 2019, as more people work and learn remotely during the coronavirus pandemic.
The videoconferencing company expects that trend to continue: It raised its sales forecast for the rest of the year by a third to $2.37 billion to $2.39 billion.
In the second quarter, sales more than quadrupled from a year ago to $663.5 million, well above the $500 million that Wall Street analysts were expecting. Profit ballooned to $185.7 million from just $5.5 million in the same quarter last year.
By comparison, in Zoom's last fiscal year, which ended in January, sales totaled $622.7 million and net profit was $21.7 million.
Zoom shares surged 25% in after-hours trading on Monday.
Zoom has emerged as one of the biggest corporate success stories of this year, as video meetings have become an essential part of work, school and entertainment for many people during the pandemic. The company has seen a big surge in use of its free service and has been pushing to convert many of those users to paying customers.
CEO Eric Yuan told analysts on Monday that corporate customers are shifting their focus to longer-term changes in how people communicate, describing "a future of working anywhere, learning anywhere and connecting anywhere."
The company said more customers are signing up for its paid video service, including oil company ExxonMobil and video game company Activision Blizzard.
Medium and large companies make up the bulk of Zoom's paying clients. The number of customers with more than 10 employees grew more than fivefold from a year ago to 370,200. The company has been growing in popularity with small businesses, however: 36% of revenue now comes from customers with 10 or fewer employees, up from 30% in the first quarter.
Zoom's rapid growth has come with hurdles, including concerns over privacy and security. It recently completed a 90-day plan to focus on those areas.
Its popularity has also tested its capacity. Just last week, Zoom experienced widespread outages that took several hours to resolve, leaving many students and workers unable to log in to classes and meetings.
Editor's note: Zoom is among NPR's financial supporters.
A Pandemic Winner: How Zoom Beat Tech Giants To Dominate Video Chat
Zoom Agrees To Settle A Privacy Lawsuit For $85 Million
'Welcome To The Party, Zoom': Video App's Rules Lead To Accusations Of Censorship


text:
Q: Passing Pointer to Function Only Changes Value in Function Scope It seems I am doing something wrong in passing these pointers as arguements to my getImages function. Testing my code showed that in the function getImages, my pointers home and start were able to take on appropriate values. But testing them again back in main scope their values were both 0. I have included the relevant code snippets below. Please tell me how I can correctly pass these arguments. Thank you.
void getImages(IplImage *home, IplImage *start);

int main(int argc, char **argv)
{
    IplImage *home = 0;
    IplImage *start = 0;

    getImages(home,start);

A: You must pass the pointers by reference:
void getImages(IplImage *&home, IplImage *&start);

A: Pointers are variables that hold addresses. If you pass in pointers to getImages then you should dereference those pointers to access the actual object. However since you've set your home and start pointers to 0, no memory was allocated to the IplImage object and therefore it doesnt exist. As a result, derefencing non-allocated memory will cause your compiler to complain.
You should pass in by reference:
void getImages(IplImage &home, IplImage &start)
{
    // do something with home
    // do something with start
}

int main(int argc, char **argv)
{
    IplImage home;
    IplImage start;

    getImages(home,start);
}

Note above that IplImage is allocated memory on the stack since references can't be null, unlike pointers, references need memory allocated prior to use.
Hope that helps.

redpajama_set_name: RedPajamaStackExchange