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Opinion Battles Round Four – Least Favourite Oscar Winning Best Picture
In honor of the Oscars, be sure to vote for your least favorite Best Picture winner! I went with one that shouldn't have stood up to the competition, 1998's Shakespeare in Love. There are some unexpected choices this round, so pick the one you found least deserving!
Round Four Least Favourite Oscar Winning Best Picture
We are about to hit Oscar season and what better than to pick our Least favourite Oscar Winning Best Picture because let's face it we do love some more than others, this time it is the ones we have less love for.
If you want to take part in the next round which is Favourite Action Hero (non-Superhero/comic book) to celebrate the release of London is Fallen. if you want to take part end your pick to moviereviews101@yahoo.co.uk by Sunday the 6h March 2016.
Darren – Movie Reviews 101
I have decided to pick a film from the modern era because I really do struggle to enjoy or give the real credit to a lot of older work deserves. I am going to go with a pick that many people will…
Action, Sci-fi
Grab the wheel and rev the motor;
Shift the gear for overload;
Brace yourself and lock and load her;
Hit the gas and hit the road!
Don't look back at what has been;
Drive for lives and don't delay.
High on pure adrenaline,
Floor it through a lovely day!
After reading almost nothing but great things about this movie, I finally decided to check out Mad Max: Fury Road, and I can't say that I was disappointed. I haven't seen any of the original Mad Max trilogy, but since each one seems to be its own adventure with one constant character, what's there to know? The world has been reduced by war to a barren wasteland, with mankind relying on jacked-up vehicles to survive amid ruthless gangs and dangers. While I consider this automotive dystopia entirely unbelievable, Fury Road is a movie meant to be experienced, not watched or analyzed or taken overly seriously, though you're welcome to do that too once the adrenaline dies down. Directed by George Miller, the 70-year-old director who surprisingly also gave us Babe and Happy Feet, it's an assault on the senses, and you're just along for the ride.
I tried watching this with my very hesitant VC, who has seen some of the first three movies and considers them weird. "Weird" still applies. The costumes, makeup, characters, vehicles, and overall package are bizarre, superfluous, and often grotesque but certainly imaginative and oddly cool (seriously, a whole rig dedicated to a background guitar solo?). The central baddies are a fanatical cult led by Immortan Joe (Hugh Keays-Byrne, the first Mad Max's villain), who rules the mountainous Citadel by controlling his War Boys' religious fervor and the people's access to the life-giving fluids of water, milk, gasoline, and blood. When one of his right hands, Imperator Furiosa (Charlize Theron), escapes for freedom with Joe's scantily clad harem, his entire army takes off in hot pursuit. Oh, yeah, and there's a guy named Max (Tom Hardy) along for the ride.
I was dubious about many critics considering Fury Road one of the greatest action movies ever, but it kind of is, if only because the entire story relies on action. Details like the War Boys' method of suicide or Furiosa's robotic forearm are never explained. They're just presented while the thin plot and explosions roll along, letting action take the place of any in-depth characterization.
We don't even get much in the way of character bonding or motivation until about two-thirds of the way through, but somehow it's forgiven because we've already seen everyone in action, from Joe's five wives with names like Toast and Capable to the dedicated War Boy Nux (Nicholas Hoult). My VC was a bit turned off by the frantic, sometimes sped-up editing, but it did make it hard to look away. The explosions are amazing, and all the more amazing for relying on practical effects and stunts, though one obviously CGI scene at the climax almost spoiled the effect. I also liked how it managed a happy ending that served as an inverse of the beginning, even if the final scene seemed needlessly set up for a sequel.
One aspect that I've seen mentioned over and over is how violent the film is, and while it's certainly R-rated action, I wasn't that bothered by it. I was fearing something really graphic, but the truth is that Fury Road is nowhere near as gory as things like The Walking Dead or the Deadpool trailer (both of which I've seen once and won't again). There are shootings and stabbings and people being thrown off of fast-moving vehicles, but save for a couple of scenes, the R is really owed to the film's overall intensity, and even the violent scenes are so brief in the kinetic editing that they didn't detract for me. The bloodiest scene actually serves a latent purpose in punishing the very weird excesses I mentioned earlier, sort of like the cape critique in The Incredibles. You want to wear over-the-top costumes? Well, you may regret it. In addition, I was pleased that, for once, a gritty actioner was almost entirely free of foul language. Granted, there's not a lot of dialogue in the first place, but think about it. Was it really missed?
Whether you watch for Hardy's and Theron's strong laconic leads or for the girl power thrill of women with guns or for the nonstop epic action, this is one nitro-fueled bandwagon I can't help but jump aboard, despite its innate strangeness. While I agree on its awesome status among action films, when was the last pure action movie to be nominated for Best Picture? I rather wish Inside Out had been nominated instead. But that's me. Brilliant at best and entertaining at worst, Mad Max: Fury Road is an unexpectedly great sequel that viewers didn't know they wanted.
Best line: (Nux, in a line that could be even more iconic if it had been repeated; after all, it's a lot better than "Witness me") "Oh, what a day! What a lovely day!"
Animation, Anime, Drama, Family, Mystery
Out in the marsh where the sandpipers wade
And the reeds allow breezes to bend every blade,
Visions appear in the moonlight and fade
And leave witnesses with a curious scare.
Some think they're nothing but eyes playing tricks,
And others fear ghosts have escaped from the Styx,
But some explore further with sorrows to fix
And find answers they didn't know would be there.
Studio Ghibli has been crafting outstanding animations for the last three decades, and now that co-founder Hayao Miyazaki is officially retired (again), it looks as if its present hiatus may be permanent. Before the hiatus, though, the studio gave us one more Ghibli gift in When Marnie Was There. Is it among the best Ghibli has to offer? No, but it still has a magical and earnest quality that can hold fast with the likes of Porco Rosso and The Secret World of Arrietty (also directed by Hiromasa Yonebayashi).
Based on Joan G. Robinson's 1965 YA novel, which is one of Miyazaki's favorites, When Marnie Was There is also one of Ghibli's more mature works, not in a graphic sense like Princess Mononoke, but in an emotional sense. Anna (voiced by Hailee Steinfeld in the English dub) is a deeply troubled girl who keeps all of her griefs inside. As she says, she hates herself, for having asthma, for not fitting in at school, for not feeling at home with her foster parents. When she is sent to the countryside to live with friendly relatives, she remains uncomfortably stoic until she encounters a rundown mansion and the mysterious blonde girl Marnie (Kiernan Shipka) who only appears to her. When Anna crosses the tidal marsh to the mansion, she seems to step back in time, and their friendship grows, allowing Anna to regain her emotions and her self-confidence.
Many Ghibli films are leisurely paced, and this is no exception. The beginning takes time in establishing the characters: the nosy but nice would-be friend, the laconic neighborhood fisherman, the habitual painter fond of Marnie's mansion. This community is merely a quaint backdrop for the central friendship and mystery between Anna and Marnie. The slowness of the mystery taxes the patience more than the film overall, but luckily there is a payoff, even if the line between dreams and reality becomes more ambiguous over time.
Some comments on the film have considered the girls' bond in a romantic context with words like "infatuation," and there were times that I was wondering where exactly their relationship was going. By today's standards, when two twelve-year-olds meet secretly and dance in the moonlight and express their love, romance is assumed over friendship, while the opposite probably would have been true in the past. Perhaps modern sensibilities have colored people's perceptions, like the humorous assumptions on Sherlock or the way some people mistake Sam and Frodo's brotherly camaraderie in The Lord of the Rings for longing. Ultimately, the girls are meant to be only friends, yet the solving of the mystery reveals that their connection is indeed deeper than first thought. Actually, the revelation casts certain scenes in a much more tender and meaningful light, with subtle psychological details unseen in most Ghiblis. (Note the doll that Anna holds during a painful flashback.)
Though it's not obvious at first, Anna's greatest misery is being ignored or not wanted. Even the nicest people who seem to pay her attention are easily distracted, leaving her with nothing but personal distaste. Is Marnie merely the subconscious product of her desire for attention or a supernatural answer to it? By the end, it doesn't really matter. Wishing to belong is nothing new in family films, but When Marnie Is There supplies a satisfying reply with more realistic resonances than most. With so much emotional depth, it's unfortunate that the film's visual style can't quite match it. It has its fair share of memorable Ghibli-style scenes (a moonlit rowboat, wading through a rising tide), but its beauty just doesn't compare with their best. Though Marnie has earned a nomination for Best Animated Feature, Inside Out is still a shoo-in. Despite this, When Marnie Is There is a bittersweet swan song for one of the great animation studios.
Best line: (Anna, watching her classmates) "In this world, there's an invisible magic circle. There's an inside, and an outside. Those people are inside the circle, and I'm outside."
VC Pick: Mamma Mia! (2008)
Posted by sgliput in Movies, Music, Poetry, Reviews, Writing
Comedy, Musical
(Best sung to ABBA's "SOS"; there be spoilers)
When Sophie plans to wed, she wants to meet her dad,
But from what she has read, her mom loved a triad.
So she invites the trio there,
To their hotel in Greece.
Sam, Bill, and Harry show; will wonders never cease?
When Donna meets her lovers there, it eats her.
What a mess!
Though they intrigue her, Sophie isn't eager
To confess.
Donna's stressed,
And the beaus play it close to the vest.
Sophie tries
To sightsee with all three of the guys.
The wedding closer draws, and she is still unsure
Which of the three it was that really fathered her.
As all three come to know the truth
And Sophie's plans collapse,
Old griefs and tensions rise that once were under wraps.
With Sophie's wedding, things come to a heading.
No more stress!
With all the bother, why choose just one father?
Take a guess!
And instead,
It is not who we thought would be wed.
And the throng
Celebrates and hydrates with a song!
MPAA rating: PG-13 (for sexual dialogue)
It's been a while since I let my VC pick a movie (although Flash Gordon was sort of hers) so I finally let her talk me into seeing Mamma Mia! again. There are so many fantastic musicals out there, and then there are those in which the plot is so flimsy that it only serves as a framework for musical numbers. Mamma Mia! definitely fits into the latter category, stringing together a number of 1970s hits amid a convoluted and loose-moralled story of uncertain identity. The catch is that this is all it tries to be, and it does it very well.
Let's start with the plot. After reading her mother Donna's youthful diary, Sophie (Amanda Seyfried) discovers that her father is one of three men who hooked up with Donna (Meryl Streep) about twenty years ago, all around the same time. Since Sophie is soon to be married, she wants her real father to walk her down the aisle and so invites all three to the Greek island where she lives. What could possibly go wrong? This setup is implausible and more than a little silly, and it goes nowhere fast as Sophie and Donna are both frazzled, while little side-plots with their friends chip away at ABBA's discography.
But, as I said, the plot is secondary to the music, and there's no shortage of great ABBA songs. While I was aware of the Swedish pop quartet before this movie, the only songs I associated with them were "Dancing Queen" and "Super Trouper," but there are far more memorable tunes than I had given them credit for. Some I'd heard but didn't really know ("Honey, Honey," "Our Last Summer"), and others I had never even encountered before ("Lay All Your Love on Me" and the title song "Mamma Mia"). The way that all these disparate pop songs are combined into a barely cohesive whole is rather impressive, and if anything, it introduces whippersnappers like me to an uber-band from the '70s that deserves to be remembered.
The other reason to see Mamma Mia! is the privilege(?) of seeing famous actors play against type. It's no secret that Amanda Seyfried sings beautifully (Les Miserables), but who would expect Meryl Streep to belt out surprisingly good vocals while wearing overalls or in a duet with James Bond? Plus, Julie Walters and Stellan Skarsgard are entirely different in "wild-and-crazy-old-people" roles, Dominic Cooper sounds nothing like the MCU's Howard Stark, and Colin Firth is a far cry from Mr. Darcy. These uncharacteristic castings are also a problem, though. As much as he tries, Pierce Brosnan is simply not a singer, and every song with Julie Walters is uncomfortably grating. In fact, Walters and Christine Baranski as Donna's friends are consistently grating as two overly frisky cougars whose attempts at not being old aren't exactly flattering.
As if that didn't sound negative enough, I also take issue with the ending. Not to give away specifics, but the overall message that the finale pushes is that love is for everybody but marriage is just for old people. I may be old-fashioned (in fact, I know I am), but why does marriage always seem to come after the honeymoon in movies, if it comes at all? Sophie's choice at the end implies that she didn't learn very much from her mother's mistakes.
With the last two negative paragraphs, I was planning on ranking Mamma Mia! as a dishonorable mention, but my VC's fondness for it tipped the scales. She says that "yes, it's immoral and silly and all, but I like it." The music, the exotic Greek scenery, the choreography, the appeal of good actors having fun with roles that might have gone to has-beens – these are what she enjoys, and I can't really say I disagree. The truth is that I do love the music, which should understandably be the star of a musical. ABBA's songs make up for the film's abundant flaws so that its groovy appeal still shines through.
Best line: (Sophie) "I want the perfect wedding, and I want my father to give me away." (Ali, her friend) "Better be a wide aisle!"
Rank: Honorable Mention
Opinion Battles Round 3 – Favourite Ryan Reynolds Role
Don't forget to vote for Round 3 of this year's Opinion Battles, this time for Favorite Ryan Reynolds Role. He's had plenty of "meh" movies over the years, but there are surely some great diamonds in the rough to choose from!
Favourite Ryan Reynolds Role
Deadpool has hits the cinema this week and it is now time to look at the leading actor Ryan Reynolds, he has been in some of the biggest box office bombs most critically slammed films but has also been in a large number low budget films. Deadpool has had everyone talking about it finally being his time for big box office film and only time will tell on that. We have just under 60 performances to pick from so what will be the winner?
If you would like to join in next round of Opinion Battles we are going to be picking our Least Favourite Oscar Winner Best Picture. Email your choice to moviereviews101@yahoo.co.uk by 21st February 2016.
Jerry and Voices of Mr Whiskers and Bosco – The Voices
Jerry is one of my favourite characters in comedy of recent years, he…
Dominick and Eugene (1988)
Drama, Triple A
Bless all brothers near and far,
The sensitive and callous ones,
The playmates prone to jealousy
Yet somehow fond of family,
The boys who tease and rib and spar
Yet love their parents' other sons.
Maybe brothers don't realize
The privilege that I never had,
A friend you maybe did not want,
A buddy quicker to confront,
Yet one whose love your name implies,
Who shares more than a mom and dad.
I recently found a local movie channel that shows more obscure films, and checking out one such sleeper just for the heck of it, I discovered this underrated drama. Dominick and Eugene seems like a prime award magnet. It features a nuanced fraternal relationship, a superb performance from an Oscar nominee (Tom Hulce), strong supporting roles for Ray Liotta and Jamie Lee Curtis, and a 100% rating on Rotten Tomatoes. Yet I'd never heard of it, and the most it received in 1988 was a Golden Globe nom for Hulce before fading away into the sea of forgotten '80s movies. Maybe its title was too generic, but this is a shame.
The titular duo are twins living together in Pittsburgh. Liotta is Eugene, a doctor-to-be who tries to start a relationship with a colleague (Curtis) and further his career while dealing with his mentally challenged brother. Hulce as Dominick is the star here. He is child-like, earnest, and hopelessly gullible, often falling for the tricks or suggestions of his coworker Larry and the local hoodlums, and when an idea gets in his head, he doesn't let it go easily. Despite his disability, though, Nicky is the breadwinner, and his job as a garbage man serves to fund his brother's education. Eugene is both protective of and frustrated by his brother, for reasons not clear at first, and life, love, and tragedy get in the way of their close relationship.
Dominick and Eugene could have drawn comparisons to the other drama about brotherly bonds and mental illness from that same year Rain Man, which did earn Best Picture and Best Actor Oscars and had far more advertising and better known stars. Hulce can't quite compare with Dustin Hoffman's role there (few can), but his fragile and earnest performance surely deserved more attention. One scene in particular stood out to me, as the camera centers on Hulce's first-person view and reaction to a shocking act and a personal realization. The relationship between the two brothers is both strained yet unbreakable and more believable than in Rain Man, helping Dominick and Eugene to succeed as a subtle and touching affirmation of family ties.
Best line: (Dominick, who is a Christian but discouraged, looking at a crucifix) "If I was God, I wouldn't let that happen to my boy."
Rank: List-Worthy (tied with Rain Man)
Cancer—I have seen your pitiless work,
The way you so silently grow from within.
The experts have learned how you burgeon and lurk,
A game meant to study but never to win.
So many have felt your pale fingers intrude;
So many have borne the despair in your wake;
So many have prayed that you might be subdued;
So many have suffered and cursed for your sake.
Physicians give odds with no true guarantee,
Less interest in me than my cunning disease.
They can't cure themselves, and they cannot cure me;
They fight off the chorus, then wait for reprise.
Oh, cancer, your name is a tyrant for now,
But after your reign, we will nevermore bow.
MPAA rating: PG-13 (for themes and brief nudity and language)
I've seen a lot of great movies lately, yet none have touched me as profoundly as Wit, such a simple title for such a powerful film. In fact, I think everyone ought to see this underrated HBO film, especially those fond of poetry or having any experience with medicine and hospitals. Directed by Mike Nichols, Wit is based on the play by Margaret Edson, which very deservedly won the 1999 Pulitzer Prize for Drama.
The always wonderful Emma Thompson gives one of her finest performances as Professor Vivian Bearing, a renowned scholar of metaphysical poetry. When diagnosed with advanced metastatic ovarian cancer, she has little choice but to submit to a rigorous experimental treatment prescribed by her Dr. Kelekian (a surprisingly straight-laced Christopher Lloyd). What she at first approached with cool confidence quickly becomes a constant hardship, and the treatment becomes more traumatic than the disease. While Bearing interacts with doctors and her sympathetic nurse (Audra McDonald), much of the film is her speaking directly to the camera, describing her passion for poetry, the trials of her chemotherapy, and her internal musings and doubts. When scenes of hospital room waiting start to drag, she makes note of the tedium and points out that as boring as these few scenes are for us, just consider how they feel for her. Thompson shaved her head for this role, and while Judy Davis stole Emmy and Golden Globe wins for the biopic Life with Judy Garland: Me and My Shadows and was indeed excellent, I think Thompson should have won something for her phenomenal performance here.
Bearing has spent her life dedicated to the work of John Donne, the master of 17th-century metaphysical poetry, full of conceits and metaphors so deep that lifetimes are spent unraveling their full meaning. I remember reading his poem "The Compass" (which is quoted in the film) in my literature class and being at first confused and then blown away by the depth of meaning, the kind of depth that appeals to English professors like Bearing and made Helene Hanff "dizzy for Donne" in 84 Charing Cross Road. One of the amazing things about Wit is that it is almost a cinematic version of a Donne poem, much more understandable on the surface but boasting ever more profound layers of wisdom the further one goes.
So many concepts are touched on with earnest emotion: her doctors' cold scrutiny of her as "research" rather than a human being; the disconnect between studying the concept of death and confronting it in reality; the inconveniences and ineptitude of health care, which anyone who has endured a hospital stay has experienced to some extent; and the universal desire for pity, even when one has denied it to others. Of all the ideas discussed, empathy is perhaps the most prominent. McDonald plays the best kind of nurse, possessing a firm hand while demonstrating genuine concern for her patients, even in the details, in marked contrast to the ambitious but indifferent young doctor Jason (Jonathan M. Woodward, from the Firefly episode "The Message"). While the doctors are able to view Bearing's degenerating condition with clinical dispassion, she admits that her life has reached the point of corny sentiment, when the most desired by someone in pain is the touch of human kindness.
Despite a sweet flashback with her father, Bearing is sadly bereft of friends and loved ones. Throughout her ordeal, she gets only one visitor, whose tenderness offers one of the most tear-jerking scenes in recent memory and places Bearing's life and life in general within a subtle religious context. It's also a reminder that, after a life dedicated to mature wisdom and the quest for knowledge and meaning, even the simplest of acts and themes can mean more. Wit is a masterpiece of insight and emotion, which as Bearing's own professor states about Donne's poetry, is not merely concerned with wit but truth.
Best line: (Vivian Bearing, near the end) "It came so quickly after taking so long."
VC's best line: (Dr. Jason) "What do you do for exercise?" (Bearing) "Pace."
Rank: Top 100-Worthy
Genre Grandeur – Flash Gordon (1980) – Rhyme and Reason
Here's my second review for MovieRob's January Genre Grandeur of Sci-Fi films – the cheesily entertaining Flash Gordon!
For this month's next review for Genre Grandeur – Sci-Fi, here's a review of Flash Gordon (1980) by SG of Rhyme and Reason
Thanks again to Natasha of Life of This City Girl for choosing this month's genre.
Next month's Genre has been chosen by Dan of Slipthrough Movies We will be reviewing our favorite Crime Movies.
Please get me your submissions by the 25th of February by sending them to criminaldan@movierob.net Try to think out of the box! Great choice Dan!
Let's see what SG thought of this movie:
When our planet is bombarded,
Earth deserves to be safeguarded.
Who will save us from our doom
And stop a villain in costume?
Who will stop the evil Ming
And be unfazed by everything?
Who'll fly to distant worlds to fight
The evil of a tyrant's might
With courage and romantic flair
And somehow always…
My Top Twelve Coldplay Songs
Posted by sgliput in Music, Reviews, Writing
While I like quite a few bands, from recent groups like The Band Perry and Walk the Moon to classic acts like the Beatles, Genesis, and U2, I'd have to say that my favorite is Coldplay, made up of lead singer Chris Martin, guitarist Jonny Buckland, bassist Guy Berryman, and drummer Will Champion. This quartet has produced some of the most memorable alternative rock of the last two decades, and while I'd heard some of their songs before, I was truly introduced to their music ironically by a top ten list I found online.
Since they'll be headlining Super Bowl 50 this Sunday, February 7, I thought it appropriate that things come full circle and I count down my own list of favorites. I normally just watch the Super Bowl for the commercials (or if there's a favored team playing), but this is one of the few halftime shows I'm actually looking forward to. Here, therefore, are my all-time favorite songs by Coldplay.
"Atlas" from The Hunger Games: Catching Fire – Original Motion Picture Soundtrack (2013)
I like to make some movie connection even on my non-movie lists, and the end credits song for Catching Fire earned Grammy and Golden Globe nominations for Coldplay. Right on the heels of bad news for District 12 and that smoldering look from Katniss, this atmospheric number slowly builds with beauty and depth.
"Speed of Sound" from X&Y (2005)
This is one song that I keep noticing as background music in restaurants and such, and when I recognized it on that other top ten list, I said, "Oh, that's who does that song!" It's a good representation of Coldplay's style, with some high notes and airy blend of piano, guitar, and drums; it just doesn't quite stand out as much as their best songs.
"Life in Technicolor ii" from Prospekt's March (2008)
Starting off with a tinny dulcimer called a yangqin (yes, I looked that up), the Grammy-nominated "Life in Technicolor ii" gradually adds layers of rock instrumentation to this base, which sort of parallels the music video. It's just one of Coldplay's many unique videos, with a small puppet show that jumps from Punch and Judy to pyrotechnics and helicopters. I should point out that the yangqin part was used at the end of Night at the Museum 2.
"A Sky Full of Stars" from Ghost Stories (2014)
A dreamy beginning yields to club-style headbanging in this hit, again nominated for a Grammy. It's one of the few Coldplay songs still common on my local pop station, though it is more clubby than their usual style.
"The Scientist" from A Rush of Blood to the Head (2002)
Boasting probably their most fascinating music video, "The Scientist" is a simple but beautiful song from beginning to end. Repetitive but heartfelt, this song was also featured in the end credits of The Judge, performed by Willie Nelson of all people. Coldplay's version is much better.
"Talk" from X&Y (2005)
Plagiarism is always a danger for artists, but isn't it nice when a band actually gets permission to incorporate someone else's work and expand on it? Kraftwerk's "Computer Love" is an okay '80s techno song, but Coldplay's "Talk" blows it away with its own melody. "Talk" also builds to an awesome rock crescendo that could get a giant robot's attention.
"Violet Hill" from Viva la Vida or Death and All His Friends (2008)
With a bitter anti-war theme clearly felt in the lyrics, double-Grammy nominee "Violet Hill" rages as a brilliant rock ballad yet ends in sullen peace.
"Paradise" from Mylo Xyloto (2011)
How could anyone not love this song? While the music video seems to be trying to make a meme out of elephant costumes, "Paradise" is about a girl with dreams of an elusive home, and the wistful lyrics are among the band's best. I'm always touched by the metaphor of "Life goes on; it gets so heavy. The wheel breaks the butterfly."
"Every Teardrop Is a Waterfall" from Mylo Xyloto (2011)
Coldplay's U2 influences are most felt in this phenomenal single with a breakneck Irish flavor that builds to a headbanging finale. Unfortunately, that drum solo at the end wraps up too soon. The video is also one of my favorites, with blended time-lapse images keeping time with the beat.
"Viva La Vida" from Viva la Vida or Death and All His Friends (2008)
This was the #1 song on that first list I discovered and with good reason. With an orchestral focus on strings and a medley of Biblical allusions, double-Grammy winner "Viva La Vida" is unlike anything else in Coldplay's discography or in mainstream pop music. They played it during the closing ceremonies of the London Olympics, and Chris Martin once referred to it as "our best song." It's beautiful and bittersweet and utterly catchy.
"Clocks" from A Rush of Blood to the Head (2002)
One of the quintessential Coldplay tracks, Grammy winner "Clocks" is easily my VC's favorite, and I've gotten into the habit of playing it for her whenever she's stressed – I won't say just how often that is. It's a refreshing breeze of a song with an iconic piano melody. We both love everything about it, from the nonsensical yet deep and passionate lyrics to the way it builds and balances between relaxing and headbanging. It's mesmerizing, layered, and perfect. "Home, home, where I wanted to go."
"Charlie Brown" from Mylo Xyloto (2011)
It may be the unconventional choice, but "Charlie Brown" is my favorite Coldplay song. It begins with a celestial meowing that I've always thought of as the sound of midichlorians and then segues into a rocking riff just as iconic as that of "Clocks." Even if the song itself has hardly any connection to its title, the upbeat buoyancy of this track is just infectious, the kind meant to get stuck in your head in the best way.
Runners-Up (in alphabetical order with links):
"Adventure of a Lifetime" – From their most recent album A Head Full of Dreams, this jammer has a great beat and a unique music video – Planet of the Apes: The Musical!
"Birds" (A Head Full of Dreams) – This '80s-ish track is brisk and immersive.
"Everglow" (A Head Full of Dreams) – A beautiful song sadly overshadowed by their catchier tunes.
"Fix You" (X&Y) – Slower than my favorites, but a beautiful crowd pleaser.
"God Put a Smile upon Your Face" (A Rush of Blood to the Head) – Combines ambiguous lyrics and an outstanding rhythm.
"Gravity" (B-side of "Talk") – This more obscure song written for the band Embrace is slow but lovely and has a poignant unofficial video with animated ballet.
"The Hardest Part" (X&Y) – Like "Speed of Sound," this is a solid track that just doesn't stand out as much as it could.
"In My Place" (A Rush of Blood to the Head) – An excellent middle-of-the-road song that won a Grammy.
"Lost!" (Viva la Vida or Death and All His Friends) – Another great beat from the masters.
"Lovers in Japan" (Viva la Vida or Death and All His Friends) – This one starts out with a fantastic tempo that the rest of the song doesn't quite live up to.
"Magic" (Ghost Stories) – Another good example of a strong central beat wonderfully and slowly building.
"Major Minus" (Mylo Xyloto) – Energetic and hard-edged, this song doesn't get enough attention.
"Midnight" (Ghost Stories) – Atmospheric and haunting in a different way than Coldplay's usual.
"Miracles" (Unbroken soundtrack) – Written for the end credits of 2014's Unbroken, this song may be more inspiring than the movie itself.
"Strawberry Swing" (Viva la Vida or Death and All His Friends) – A light and breezy song with one of the most incredibly animated videos I've ever seen.
Genre Grandeur – Cowboy Bebop: The Movie (2001) – Rhyme and Reason
Here's my first review for last month's Genre Grandeur of Science Fiction – Cowboy Bebop: The Movie, an extra installment in the famous anime series.
For this month's next review for Genre Grandeur – Sci-Fi, here's a review of Cowboy Bebop: The Movie (2001) -by SG of Rhyme and Reason
Out in space, the cowboys wait,
The bounty hunters lying low
For news of money as the bait
To catch a crook or fight a foe
And then collect on what they owe.
But both the hunters and their prey
Have pasts they do not wish to face,
Lovers lost and…


text:
Q: Add text (from another html page) to a current html page using javascript I have the following code

<!DOCTYPE html>

The select Element

The select element defines a drop-down list:

<form action="/action_page.php">
  <select name="cars">
    <option value="Volvo/text.html">Volvo</option>
    <option value="Saab/text.html">Saab</option>
    <option value="Fiat/text.html">Fiat</option>
    <option value="Audi/text.html">Audi</option>
  </select>

  <input type="submit">
</form>

What I would like to do is based on my selection, get the html text of say Audi/text.html and insert it between the table tags. So it would look like...

   Some Audi text
   Some more text

Obviously, when the selection is changed, the content would change. If someone knows a better way to do this w/o javascript, that would be even better.
Thank you!

A: It will not be possible to do this without a bit of JS because it requires listening for an event and changing the text accordingly. From my understanding of the question you want the selection to replace the first td element within the table every time a new option is selected. With that in mind something like this should work.
I'll begin by adding an id to your select box and first td element so we can easily target them both. Then I will add an event listener so every time the selection changes the text will change accordingly.
<!DOCTYPE html>

The select Element

The select element defines a drop-down list:

        <form action="/action_page.php">
            <select id="cars" name="cars">
                <option value="Volvo/text.html">Volvo</option>
                <option value="Saab/text.html">Saab</option>
                <option value="Fiat/text.html">Fiat</option>
                <option value="Audi/text.html">Audi</option>
            </select>

            <input type="submit">
        </form>

Let me know if this meets your requirements.. now that I'm rereading your question it might not quite be exactly what you're looking for but hopefully it's pretty close and will see you towards the proper solution

A: I would rather suggest you to use jQuery with some ajax calls

$(document).ready(function(){
  // On Page Load this is going to be executed
  $.ajax({
    url: "Volbo/text.html" ,
  }).always(function(data) {
    $("#myTable").html(data);
  });
  // on Select change this is going to be executed
  $("#drop").change(function () {
    $.ajax({
      url: this.value,
    }).always(function(data) {
      $("#myTable").html(data);
    });
  });
});

<select id="drop" name="cars">
        <option value="Volvo/text.html">Volvo</option>
        <option value="Saab/text.html">Saab</option>
        <option value="Fiat/text.html">Fiat</option>
        <option value="Audi/text.html">Audi</option>
      </select>

redpajama_set_name: RedPajamaStackExchange


The autokey cipher was invented nearly five hundred years ago by Blaise the Vigenère, pictured at left, but was almost immediately forgotten in favor of a much weaker repeating-key cipher invented by Bellaso, once upon a time known as "the undecipherable cipher," which Vigenère somehow got credit for. Given how many important secrets were revealed when that cipher was broken, the history of the world might have been quite different if Vigenére's true creation had been the one people actually used. And this is the Visionnaire cipher: a simple combination of Vigenére's autokey cipher with a substitution, made quite seamless to the user by means of a Tabula Recta. It turns out to be almost as strong as Worm, and much simpler to do. We can only speculate what might have been if this variation had been used back then. Nothing really prevented it.
Next we process the plaintext so that only letters are left. This involves removing spaces, punctuation, and accents of several kinds, and converting digits to letters according to a prearranged code (such as 1 = A, 2 = B, and so on, it doesn't matter what). Optionally, we can further strengthen the cipher by prepending a number of gibberish characters equal to the seed length. Since the seed "marvelous" has 9 letters, we'll put 9 random letters at the start (it doesn't matter what). Result: "QXFVXGOIV WEAREDISCOVEREDFLEEATONCE".
The bottom row is the ciphertext, which you can send out through insecure channels: "FQXZJQVCLPJLPJNIIDHKGWCCUYDYGMPULO".
Since we know that the first nine letters are nulls (because the seed has nine letters), we strip them now from the beginning of the bottom row, to read the original processed plaintext: "WEAREDISCOVEREDFLEEATONCE".
Some explanation on why we are following these patterns. In each encryption operation, we are applying the first mixed alphabet to substitute the first plaintext letter of each operation, and the second to obtain the ciphertext letter. This means that we need to reverse the substitutions in the opposite order when we are decrypting, and this is why we enter the Tabula Recta on the left rather than the top; the first substitution to be reversed is the one involving the second alphabet, and the last to be reversed is that involving the first alphabet. Of course, if the same key is used for both alphabets, it doesn't matter whether you start at the top or on the side.
And now the important question, how secure is this? Let's start with the obvious: brute force. Each key is equivalent to a complete mixed alphabet, which maxes out at 26! = 4E26 possibilities. Then the seed can be as long as we want to make it, with no limit. If we take the same number of variations for the seed, we come up with a key space with (26!)^3 = 6.56E79 possibilities, which in terms of binary bits is log10(6.56E79)/log10(2) = 265 bits, quite competitive with today's best computer ciphers (256 bits). In other words, forget about trying every key until one works.
Ah, but computer ciphers are designed so that just changing one bit in the key changes the result completely (actually, 50% of the bits, on the average), so that there is no way for someone trying keys to tell whether he/she/it (most likely "it") is getting closer to the good one. Otherwise, a computer program could converge step by step to the correct set of keys, as this paper shows for the so-called Vigenère cipher (with a repeating keystream) with a substitution applied after the keystream is added. Does Visionnaire have a similar property? Well, it does. Let's say we are decrypting the ciphertext in the example and have already gotten right the first key and the seed, but for the second key we try "counseloP" (only one letter at the end is different, involving just one substitution). This is the "plaintext" we obtain, after removing nulls: "LRATEEISCPAEUEEFLERETVNBE", which contains some of the correct plaintext, but not much, just 11 letters or about half. Most likely the cryptanalyst is using some statistical measure applied to the resulting plaintext, such as Friedman's Index of Coincidence, to detect whether or not it is a human language and not random letters. The Index of Coincidence of this plaintext (with the nulls still on) is 0.0659, which would detect as normal English. If we make the key "counselo" (one letter missing), the IC goes down to 0.0338, completely in the random range. Now, this is somewhat to be expected with our example plaintext because it is very short, but the result is the same with plaintexts tens of thousands of letters long, as well as for any other error introduced in keys or seed. A computer trying to "get closer" to the correct keys and seed by looking at statistical measures is going to get very frustrated.
The most sensitive measure I've found so far is the chi-squared test for independence of two letters separated by a certain distance. In human languages, consecutive letters fail this test quite readily, and less so as the distance grows. Letters separated by ten spaces and beyond are essentially independent (chi-square value below 671). When we apply this measure to Visionnaire-generated ciphertext, it usually goes up to a little over 900 for texts containing around 20,000 letters (higher for longer texts) for consecutive letters, and again for separated a number of letters equal to the seed length. Not a lot, but distinguishable from random. This means that an attacker could run this test and thus determine right away: 1, that the message was likely encrypted with Visionnaire; 2, the length of the seed. This is no good because, even though the actual letters making up the seed only affect a few letters near the beginning of the ciphertext (most letters are combined with letters from the plaintext itself), this gives away the distance between plaintext letters that are combined to make the ciphertext. It then becomes a matter of finding the correct substitution keys (which should be different, or at lest of different length, from the seed).
However, if we apply this measure to "plaintexts" generated by trying to decrypt a ciphertext using keys that are off by a single letter, the measure falls below the random threshold (671), no matter what separation between letters we test. We can be just one letter away from the solution and the statistical tests won't give a hint that we are so close. This is like trying to putt blind on a perfectly flat green as big as the universe.
Known plaintext attack? Unfortunately, Visionnaire would succumb to this attack right away, as I discuss in this article. The attacker only needs to set up a system of at most 52 linear equations in order to obtain the substitution keys, and then doing the same for the letters in the initial portion of the ciphertext would give the seed. So be very wary of stereotyped beginnings and endings and boilerplate text. Don't do it. Adding some nulls at the beginning as recommended protects against an attack obtaining the seed. Since the text combined with the seed in the initial phase is random, or at least not guessable, there is no way the attacker can tell a good guess from a bad guess by just looking at that piece of ciphertext. Then sprinkle a lot of nulls throughout the plaintext, and cut it into two places which are arranged in reverse order before encrypting.


text:
Home Our programmes Scientific prizes The COPERNICUS Award
Archived Programmes
GUIDE FOR APPLICANTS: THE INTERNATIONAL RESEARCH AGENDAS PROGRAMME
The schedule of calls for applications in the Smart Growth Operational Programme
The COPERNICUS Award
CALL CLOSING DATE: 09.07.2019
Nicolaus Copernicus Polish-German Research Award
The Copernicus Award is donated by the German Research Foundation (DFG) and the Foundation for Polish Science (FNP). It awards outstanding achievements in German-Polish cooperation.
Competition launched for COPERNICUS Polish-German Research Award 2020
The purpose of the award is to give a distinction to the individuals most active in Polish-German scientific cooperation who have made exceptional research achievements as a result of that cooperation.
Addressees
Candidates are academics who have at least a doctoral degree, work at a Polish or German academic institutions.
Candidates shall be leaders of research teams, engaged in ongoing research projects. Moreover, candidates should not hold management positions that conflict with their research activities.
Candidates are expected to have rendered outstanding services to German-Polish cooperation, bringing together complementary skills, expertise, and resources in order to jointly address research problems. Results of such joint cooperation shall have a potential to open new perspectives in their respective research fields or other domains and provide an exceptional contribution towards the advancement of both nations.
The award is granted biannually to academics on the basis of a competition, irrespective of their field of science.
The value of the award is 200 000 euro (100 000 euro for each of two recipients). An award-winner from Poland receives:
20 000 euro as an individual prize,
80 000 euro as a subsidy part of the award.
Candidates may be nominated by researchers holding a doctoral degree who are employed at a Polish or German academic institution. Self-nominations shall be considered.
Nominations shall be submitted in English according to instructions published on the DFG's or FNP's websites..
Award winners are selected by a Jury appointed jointly by DFG and FNP. The Jury consists of permanent jury members and associate jury members.
Among permanent members of the Jury of the Copernicus Award are:
Dr hab. Grażyna Jurkowlaniec [Institute of Art History, University of Warsaw] – chair of the Jury
Prof. Immo Fritsche [Institute of Psychology, Leipzig University] – deputy chair of the Jury
Prof. Bernd Büchner [Institute for Solid State Research, IFW Dresden]
Prof. Paweł Idziak [Theoretical Computer Science, Jagiellonian University]
Prof. Maria Mittag [Institute of General Botany and Plant Physiology, Friedrich-Schiller-University Jena]
Prof. Marek Samoć [Faculty of Chemistry, Wrocław University of Science and Technology]
In order to cover all fields of science represented by the candidates in the given contest, up to four associate jury members may be appointed jointly by DFG and FNP.
CALL CLOSING DATE
The deadline elapsed on 9 July 2019.
Upcoming calls for proposals
The award is granted once every two years. Next call will be announced in the second half of 2021.
Katarzyna Pronobis
+48 22 845 95 09; 728 344 249 katarzyna.pronobis@fnp.org.pl
The award is a joint venture of the Foundation for Polish Science and Deutsche Forschungsgemeinschaft.
The first competition took place in 2006, and the COPERNICUS award ceremony was held on 2 May 2006 in Max Liebermann Haus in Berlin.
The second edition of the competition took place in 2008. The award ceremony was held on 14 May 2008 in the Old Orangerie (Łazienki Park in Warsaw).
The third edition of the competition was adjudicated in 2010. The award was conferred on 10 May 2010 in Berlin, in the Leibniz Hall of Berlin-Brandenburg Academy of Sciences and Humanities
The fourth edition of the competition was adjudicated in 2012. The award was conferred on 17 September 2012 in Warsaw, in the Palace on the Isle in Royal Lazienki.
The fifth edition of the competition was adjudicated in 2014. The award was conferred on 10 September 2014 in Berlin, in the Leibniz Hall of Berlin-Brandenburg Academy of Sciences and Humanities.
The sixth edition of the competition was adjudicated in 2016. The award was conferred on 7 June 2016 in Warsaw, in the Palace on the Isle in Royal Lazienki.
The seventh edition of the competition was adjudicated in 2018. The award was conferred on 25 November 2018 at the Charité Museum of Medical History in Berlin.
[ Copernicus Award Laureates 2006 ]
Copernicus_REGULATIONS

redpajama_set_name: RedPajamaCommonCrawl


Turnrow Appalachian Farm Collective Is an online market that "gives customers access to locally grown food from producers across Southern West Virginia… You can purchase a variety of products from many different producers, while we organize your order and deliver it to one of our convenient pick-up locations in Charleston, Lewisburg, Talcott, and Union." If you are interested in this service, you can sign up here or check out the Vernal Vibe Rise Producer Page for more information.
Although Vernal Vibe Rise is not selling product at on-site farmers' markets, the below markets are those with which VVR has been affiliated in the past.
If you are accustomed to buying VVR products at your local market, please CONTACT me for information about home delivery options instead. Thanks!
Wild and Wonderful Indoor Winter Farmers' Market offers Greenbrier Valley consumers a great option for on-site farm-to-table shopping during the winter months. The Market is located in the Gus Douglas Building at the West Virginia State Fairgrounds in Fairlea, and is open from 8:30 am until 1:00 pm every Saturday.


text:
BAE Taranis – brytyjski samolot bezzałogowy, rozwijany obecnie przez BAE Systems w ramach programu Unmanned Combat Air Vehicle (UCAV). Nazwa pochodzi od celtyckiego boga Taranisa.

Historia
Początki programu budowy bezzałogowego samolotu uderzeniowego sięgają 2005 roku kiedy to brytyjskie Ministerstwo Obrony ogłosiło Strategię Przemysłu Obronnego (Defence Industrial Strategy). W dokumencie wytyczono główne obszary rozwoju brytyjskiego przemysłu zbrojeniowego, jednym z nich było zapewnienie przez lokalne firmy zdolności do projektowania, budowy i modernizacji bojowych, bezzałogowych aparatów latających. W 2006 roku BAE Systems otrzymał środki finansowe na zaprojektowanie i budowę demonstratora technologii uderzeniowego samolotu. BAE Systems stanął na czele konsorcjum powołanego do życia w celu realizacji projektu. W jego skład weszły firmy Rolls-Royce, QinetiQ oraz Smiths Aviation.
Po raz pierwszy model samolotu został zaprezentowany na Airshow w Farnborough w 2008 roku. 12 lipca 2010 roku (niektóre źródła podają, iż miało to miejsce 14 lipca) po raz pierwszy zaprezentowano szerszej publiczności prototyp samolotu na lotnisku w Warton, bez możliwości przyjrzenia się maszynie z bliska. W tym samym roku maszyna rozpoczęła próby naziemne zakończone w lipcu 2012 roku. W kwietniu 2013 roku Taranis wykonał pierwsze kołowanie po pasie startowym. Pod koniec tego samego roku, brytyjskie Ministerstwo Obrony ujawniło, iż pierwszy lot maszyny odbył się w 2013 roku, nie podając dalszych szczegółów. Więcej szczegółów ujawniono na wspólnej konferencji przedstawicieli Ministerstwa Obrony i BAE Systems jaka odbyła się 5 lutego 2014 roku w Londynie. Poinformowano, że pierwszy lot aparatu o znakach rejestracyjnych ZZ250 odbył się 10 sierpnia 2013 roku i trwał 15 minut, pilotem maszyny, kontrolującym jej lot z naziemnej stacji był Bob Fraser. Kilka dni później, 17 sierpnia, Taranis ponownie wzbił się w powietrze. Wcześniej maszyna przeszła próby naziemne w lipcu 2013 roku, które odbyły się w bazie RAF niedaleko Warton, skąd na pokładzie C-17A przewieziono ją do nieujawnionego wcześniej miejsca w celu przeprowadzenia badań w locie. Najbardziej prawdopodobnym miejscem lotów był australijski poligon Woomera Test Range co potwierdziły późniejsze doniesienia.

Konstrukcja
W celu obniżenia skutecznej powierzchni odbicia radiolokacyjnego Taranis został zaprojektowany w układzie latającego skrzydła. Wlot powietrza do silnika znajduje się nad krawędzią natarcia płata. Tunel dolotowy do silnika opływa kadłub od góry, zaginając się w celu osłonięcia łopatek pierwszego stopnia sprężarki silnika. Napęd stanowi silnik RR Turbomeca Adour Mk. 951. Samolot może być sterowany ze stanowiska naziemnego jak również wykonywać w pełni autonomiczne misje włącznie z przeprowadzeniem samodzielnie ataku na rozpoznany cel.

Przypisy

Bibliografia

Linki zewnętrzne

Brytyjskie bezzałogowe statki powietrzne
Samoloty stealth
BAE Systems

redpajama_set_name: RedPajamaWikipedia


text:
Naming Phasmids – A Beginner's Guide
by Phil Bragg
Carl Linnaeus (1707-1778) founded the systems of scientific names that are used for naming plants and animals. The rules are similar, although the two systems are separate.
The system for naming animals dates from 1758. This is the publication date of Linnaeus' tenth edition of 'Systema Naturae' (the botanical system uses 1753 as the starting date).
'Systema Naturae' (1758) included three Phasmids. All were placed in the genus Gryllus. Gryllus is now only used for crickets. The Phasmids are now called: Phasma gigas, Pseudophasma phthisicum, and Phyllium siccifolium.
For more details about Linnaeus see Phasmid Studies, 16(2): 19-24.
How the names work
The system is binomial. In other words, there are two names.
Think of it in terms of a phone book entry. Surname first, then personal name.
The generic name comes first, then the specific name.
You need to use both together. There are lots of people called Phil. There are quite a few called Bragg. There is only one Phil Bragg (or if there is another, I've never met him).
The basic rules
The binomial name is also called the scientific name.
The name should be in italics.
The first letter of the generic name is a capital.
The specific name is all lower case letters, e.g. Dajaca filiformis.
More quick rules
The person who first describes and names a species is the author of that name.
The author's name is put after the scientific name but not in italics.
The year it was first described goes after the author's name with a comma in between, e.g. Dajaca filiformis Bragg, 1992.
Use brackets around the author and date if the species is moved to another genus, e.g. Heteropteryx dilatata (Parkinson, 1798) was originally Phasma dilatatum.
After the first use, a genus is often abbreviated to the first letter and a full stop, e.g. once I have mentioned Lonchodes I can just write L. amaurops and L. harmani.
Use sp. if the species is unknown, e.g. Haaniella sp.
Use spp. if you mean more than one species, e.g. Haaniella spp.
Use ssp. for an unknown subspecies, e.g. Pylaemenes borneensis ssp. (There are three subspecies P. borneensis borneensis, P. borneensis sepilokensis and P. borneensis waterstradti).
The Nuisance of Name Changes by Judith Marshall
International Commission on Zoological Nomenclature


text:
Q: ETS function not working properly in Erlang New function of ets gives back a integer instead of atom
    1> A=ets:new(hello,[set]).
       126999

A: ets:new/2 is supposed to return a table identifier of typ tid(). That identifier should be sent to other ets functions to tell what table you are working on.
The identifier now happens to be an integer, but you should not count on that (you cannot add two identifiers together, for example). Only ever use it as an ETS table identifier.

A: It returns an identifier whose type is not defined, currently an integer. If you create a named table then the identifier will be an atom which is its name. So for example:
1> A = ets:new(hello, [set,named_table]).
hello.
2> A.
hello

The table name can now be used as its identifier. This is similar to "naming" processes by registering them.


Last night, I took pre-workout before going to the bars.
You might have heard of pre-workout before. It's a bodybuilding supplement intended to produce a sudden explosion of energy up in down your nervous system. The first pre-workout, called Ultimate Orange, was released in 1982 out of Venice, California. Ultimate Orange started the pre workout craze and lasted into the 2000s before a series of lawsuits curtailed the product. An ingredient called Ephedra was blamed for causing heart attacks in otherwise healthy adults. A new product called Jack3d emerged to replace Ultimate Orange as the go-to pre workout. It's signature ingredient, a synthetic compound called DMAA, would be banned for causing cardiovascular problems like, again, heart attacks. So it would be safe to say then that taking pre-workout is--unsafe! At the very least, there's a shadow over the whole industry.
So anyway, yesterday evening I found myself on a couch in my friend's basement, a cup of diet coke in hand, and empty Budweiser bottles cluttering the table in front of us. I was tired and on the verge of staying in that night. The lure of wrapping myself in a blanket and watching a football game in the comfort of my own family room was strong. But I had agreed earlier to go out with my friends. I was honor bound to my word. So here I was, sipping diet Coke for the 47mg of caffeine per serving. I was tired, a little groggy, and in need of a strong cup of coffee-- which eluded me.
My host had an idea. Why not skip the diet coke and take some of his pre-workout. Pre-workout? The elusive and mysterious powder that fuels the hard gains of so many testerone junkies? Having never taken it before, I began to mumble: Hmmm. It was an intriguing proposition. Although I craved a bit of a kick, I didn't want to be so juiced that I spent the night slamming a barstool into my forehead. I also didn't want a heart attack. So I put my glasses on and looked over the nutritional information label like I had a medical degree. My first discover: pre-workout has a lot of vitamins. Vitamins are good, I mumble. Some of the compounds were unfamiliar to me, like: Niacin, tyrosine, theacrine, mr bean, beta-alanine, ala-betanine... sounds potent…and, oh, look at that, caffeine! That's the stuff we want. Having not been convinced this was a bad idea, I plopped a fat scoop in my cup of diet coke.
There was no immediate effect. My friend called the Uber. I'm standing on my two feet and starting to feel more awake. My body feels about a degree warmer. Within five minutes, I'm marching around the basement and loudly declaring to my buddies: I could do an hour of jumping jacks right now. "Don't jump around in my basement," my host replied coolly. "Fair enough," I said.
We're in the Uber. My skin is becoming a little itchy. I feel like my eyes are about two inches wider than normal. And I'm bobbing my head at a rate of 135 beats per minute--funny because I can't recall any music playing. I think it's starting to work. One of my friends looks over at me in the backseat. He issues the universal sign of reassurance to a buddy who has taken a dangerous substance: the thumbs up. I nod.
We're in the bar. I'm sweating a lot. For some reason, my mind is occupied by sizing up the bouncer, who's about three times bigger than me... but if I form tackled him just right, about fifteen degrees off center, I'd bring him to the ground. The pre-workout was beginning to mess with my brain. The next thing I know, I'm holding two beers, while a man in what can only be called an official Dallas Cowboys trench coat is screaming at the television. Woah. Maybe he's a pre-workout induced hallucination? Or someone else took pre-workout before coming here.
A little over an hour after my scoopful and I could feel a decline. The come down was brutal and unpleasant. Who am I kidding-- I didn't notice a thing. Anticlimactic, right? Pre-workout came into my life, scrambled it briefly, and then disappeared into the night. I'm not sure if that's a one-night stand metaphor or not. Anyhow, I will most likely never take it again. It's not that it didn't work. It's that, well, it makes your burps smell like a cherry colored Tesla. I don't need that in my life.
Supplement review: 2.3 out of 4 trapeziuses.
Football was meant to be played in leather helmets and sweaters. Currently taking suggestions for which NHL team I should support.
Tell Me About Your Morning Workout!


text:
The most significant piece of advice my father gave me early on about acting was, don't get caught acting. Really believe in what you're doing and then commit to it. Even if it feels uncomfortable, even if you feel that you're gonna look like an ass. It's all acting, but find the truth in a moment as opposed to just pretending you have and rather than trying to act your way out of it.
Kiefer Sutherland's quotes
There are a lot of movies I'd like to throw away. That's not to say that I went in with that attitude. Any film I ever started, I went in with all the hope and best intentions in the world, but some films just don't work.
My mother's five-foot-two, and I'll be honest with you - she's the only person I'm scared of.
One of the big draws of the show is here's a guy who is ordinary in a lot of ways but, due to his profession, he's placed in extraordinary situations that he has to make right with action and with thought. That's what is appealing about Jack - he takes charge.
Youth is an amazing thing: I think back on when we did The Lost Boys, and I didn't think I could do anything wrong.
There are three things we need to do for a band. We need to make a great record; we need to get the record played; and we need to find an audience for the live shows.
I think that the day you've figured out the differences between women and men is the day that you're no longer attracted to women. It's the difference that is so fantastic and frustrating and angering, and really sexy.
I couldn't see my father's films because they were restricted and we didn't have videos or DVDs back then.
I like chatting with people. If people ask me a direct question, I give them a direct answer and I feel I've always done that with the press.
There's a confidence that comes from youth and not knowing better. But there comes a point, as an actor, when you do know better, and that is when the fear starts.
When I was younger, my whole sense of self-worth was based on whether or not I was working, which was awful. And I had a baby at 20 years old, so it wasn't just about me. At around the age of 30 there was a stretch where I wasn't working - certainly not on anything I liked, anyway - and I started to do other things.
I've always traveled with a picture of my daughter from 1989, her kindergarten school picture, that has 'I love you, Daddy' written on it. She's always made fun of me because I never changed that picture out. It's like my resistance to her getting older. It was the first thing she'd ever written to me and it means the world to me.
The writers keep managing to turn the show in on itself, coming up with something that's well thought-out and miraculous.
I didn't realize that television has gone through immense changes and has become very progressive.
I've made films that I've given all I had to, that no one has seen. The bottom line is I want to work and I want someone to enjoy it.
My parents not only did it for a living, but they were really good at it.
I'm a huge fan of Canadian rock-and-roll. When I was growing up, Rush came out with a record called Hemispheres, and I must have listened to that record for two years straight. Even when I was asleep I had it on. So, yeah, whenever I hear a Rush tune, the first thing I think of is Toronto.
When I wasn't the flavor of the week or month or day, those were hard times.
When I saw Virginia Woolf, somewhere between the first and second acts, someone I had known as my mother became somebody else.
When Julia and I broke up and I was really scared to go into a market or anywhere because I thought, 'Oh God, everyone must hate me. And that wasn't the case. People said, 'I'm sorry this happened, man. Are you alright?'
I think the most attractive thing is a sense of humour. If someone can make you laugh, you've gotten a lot out of the way.
I'm not that complicated as an actor. I have a formula in which I work, yeah. But not like Sean Penn does. Sean is one of the few actors I know who can work like that, actually becoming the character he is playing, and get consistent results. I don't believe you can ever be someone else. You manifest different levels of your own personality to come up with a character.
There are two things that Jack Bauer never does. Show mercy, and go to the bathroom.
When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted.
I've had some amazing people in my life. Look at my father - he came from a small fishing village of five hundred people and at six foot four with giant ears and a kind of very odd expression, thought he could be a movie star. So go figure, you know?
My whole mood or sense can change by virtue of the music that I'm listening to. It really does affect me on a visceral and emotional level.
I did a play called Throne of Straw when I was 11, at the Odyssey Theatre in Los Angeles. It became really clear to me at that point that I enjoyed acting more than any other experience I was having.
When you're a young actor you like to go for characters with a bit of flair, so in many films I ended up playing the weirdos. I can assure you I'm not a psycho or a criminal or a bully.
When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
'24' and 20th Century Fox and Sky TV are not responsible for training the U.S. military. It is not our job to do. To me, this is almost as absurd as saying, 'The Sopranos' supports the mafia, and by virtue of that, HBO supports the mafia.'
I am a bit obsessive about tidiness. I need to make my bed in the morning and leave it perfectly made up.
I do believe very strongly that all of us and all of the other things in the context of our planet with Mother Nature, all of these things absolutely have a profound effect.
I feel extraordinarily peaceful when I'm watching the sun set.
I had an unbelievable experience on '24'. We shot 198 episodes, and I was as excited about shooting the 198th as I was the first.
I have a very strong political outlook, and that is something I'd like to take more responsibility for in my life. I don't believe in utilising certain aspects of the power I have with celebrity to push that forward, but I would like to make some films that address some of those political issues.
I love collecting guitars, even though I can't play well. My favourite guitarists are Richie Blackmore, Jimmy Paige, and John Mayer.
I was 20 when my daughter was born, and making all these plans during my wife's pregnancy. I was going to be the perfect father. Once she was born, it was suddenly, 'Oh, my God! I'm a parent!'
If your ethics in the military, in your training, is going to be counterminded by a one-hour weekly television show, we've got a really big problem.
Yes, I do believe that there is a cause and effect and a ripple effect upon everything everybody does, and they have positive consequences and negative consequences. If you start to focus on the kind of minutia of that, it's really quite extraordinary.
By Rice's own standards, the war was well underway by the time he took office. He was a war president the moment he took the oath. But did he act like one?
Howard Fineman
Under current law volunteers who are not working with an official nonprofit organization are not covered by the Volunteer Protection Act. Therefore, there are absolutely no legal protections for the average American who wishes to volunteer.
Jon Porter
Commas in The New Yorker fall with the precision of knives in a circus act, outlining the victim.
I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.
I knew I wanted to act, and I was really driven, so I kept going for it. We moved to L.A. full-time when I was 8 or 9.
Maybe I can't act, but I know the gimmicks. I studied acting all my life and know what's good for me.
I've done a lot of acting. I'm not saying I'm the greatest, but I'd love to act, I'd love to sing.
Jessica Hahn
P.C. is just too Big Brother - telling me how I should act and feel.
Johnny Kelly
Act well your part, there all the honour lies.


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UTF-32 () или UCS-4 (универсальный набор символов, ) в информатике — один из способов кодирования символов Юникода, использующий для кодирования любого символа ровно 32 бита. Остальные кодировки, UTF-8 и UTF-16, используют для представления символов переменное число байтов. Символ UTF-32 является прямым представлением его кодовой позиции ().

Главное преимущество UTF-32 перед кодировками переменной длины заключается в том, что символы Юникод непосредственно индексируемы. Получение n-ой кодовой позиции является операцией, занимающей одинаковое время. Напротив, коды с переменной длиной требует последовательного доступа к n-ой кодовой позиции. Это делает замену символов в строках UTF-32 простой, для этого используется целое число в качестве индекса, как обычно делается для строк ASCII.

Главный недостаток UTF-32 — это неэффективное использование пространства, так как для хранения символа используется четыре байта. Символы, лежащие за пределами нулевой (базовой) плоскости кодового пространства, редко используются в большинстве текстов. Поэтому удвоение, в сравнении с UTF-16, занимаемого строками в UTF-32 пространства, не оправдано.

Хотя использование неменяющегося числа байтов на символ удобно, но не настолько, как кажется. Операция усечения строк реализуется легче в сравнении с UTF-8 и UTF-16. Но это не делает более быстрым нахождение конкретного смещения в строке, так как смещение может вычисляться и для кодировок фиксированного размера. Это не облегчает вычисление отображаемой ширины строки, за исключением ограниченного числа случаев, так как даже символ «фиксированной ширины» может быть получен комбинированием обычного символа с модифицирующим, который не имеет ширины. Например, буква «й» может быть получена из буквы «и» и диакритического знака «крючок над буквой». Сочетание таких знаков означает, что текстовые редакторы не могут рассматривать 32-битный код как единицу редактирования. Редакторы, которые ограничиваются работой с языками с письмом слева направо и составными символами (), могут использовать символы фиксированного размера. Но такие редакторы вряд ли поддержат символы, лежащие за пределами нулевой (базовой) плоскости кодового пространства и вряд ли смогут работать одинаково хорошо с символами UTF-16.

История
Стандарт ISO 10646 определяет 31-битную форму кодировки, названную UCS-4, в которой каждый закодированный символ представлен 32-разрядным значением кода в кодовом пространстве чисел от 0 до 7FFFFFFF.

Поскольку на самом деле используются только 17 плоскостей, то коды всех символов имеют значения от 0 до 0x10FFFF. UTF-32 — это подмножество UCS-4, которое использует только этот диапазон. Так как документ JTC1/SC2/WG2 устанавливает, что все будущие назначения символов будут ограничены нулевой (базовой) плоскостью кодового пространства или первыми 14 дополнительными плоскостями, то UTF-32 сможет представить все символы Юникода. Соответственно, UCS-4 и UTF-32 идентичны в настоящее время, за исключением того, что у стандарта UTF-32 есть дополнительная семантика Юникода.

Использование
UTF-32 применяется, главным образом, не в строках символов, а во внутренних API, где данные являются единственной кодовой позицией или глифом. Например, при прорисовке текста на последнем шаге происходит построение списка структур, каждая из которых включает в себя позиции x и у, атрибуты и единственный символ UTF-32, идентифицирующий глиф для прорисовки. Часто в «неиспользуемых» 11 битах каждого 32-битного символа хранится посторонняя информация.

UTF-32 используются для хранения строк в Unix в том случае, когда тип wchar_t определён как 32-битный.
Программы на Python версии по 3.2 включительно могли быть откомпилированы для использования UTF-32 вместо UTF-16. С версии 3.3 поддержка UTF-16 была удалена, и строки хранятся в UTF-32, но лидирующие нули оптимизируются в случае их неиспользования.
В ОС Windows, в которой тип wchar_t имеет размер 16 бит, строки UTF-32 почти не используются.

Неиспользование UTF-32 в HTML5
Стандарт HTML5 гласит, что «авторы не должны использовать UTF-32, поскольку алгоритмы определения кодировки, описанные в данной спецификации, не отличают его от UTF-16».

Ссылки
 Полное описание стандарта Unicode

Юникод
Компьютерные кодировки


Nike Basketball is currently trotting out 10 of the 16 teams left in the NCAA's March Madness Sweet 16, and in honor of the occasion, the Swoosh is introducing four new colorways with the 'One Shining Moment' theme present through metallic and iridescent branded accents in their Time To Shine Pack this Friday, March 24th. But the standout news here is that the ever-popular Nike PG 1 "Shining" will get a re-release with wider availability after a limited run sold out to mark the debut of Paul George's Nike signature debut. The popular colorway was once rumored to be limited to 12,000 pairs, but it looks like Nike Basketball is bringing the option back for those of you that missed out on the $110 model the first time around.
As for the other pairs included, the LeBron 14 gets its iciest installment yet with a simple white mesh upper accented by Metallic Silver throughout. The Time To Shine Pack will also introduce the world to the first installment of the KD 9 Elite featuring a more wearable upper than ever with the help of full-length Zoom cushioning. Unlike past Elite installments, the price point remains the same despite the overhauled upper at just $150 USD. The Kyrie 3 features a colorway closely resembling his teammate's, but with a vibrant pop on the unique traction system peeking through in Multi-Color form.
Check out preview shots of each of all 4 of the Time To Shine offerings below and stay tuned for more Release Date updates right here on Sneaker News. You can find each option available via Nike.com this Friday with prices ranging from $110-$175 USD.


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Mweka est une localité, chef-lieu de territoire de la province du Kasaï en République démocratique du Congo.

Géographie
Elle est située sur la route nationale RN 20 à 280 km au nord-est du chef-lieu provincial Tshikapa

Histoire

Administration
Chef-lieu de territoire de 59 637 électeurs recensés en 2018, la localité a le statut de commune rurale de moins de 80 000 électeurs, elle compte 7 conseillers municipaux en 2019.

Population
Le recensement de la population date de 1984, l'accroissement annuel est estimé à 1,62 en 2012.

Personnalités liées à la commune
 Roger Lumbala (1958-) est un homme politique de la République démocratique du Congo.

Voir aussi
 Mweka (territoire)

Références

Localité dans la province du Kasaï


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Contemporary Musicians Mika and Richard Stoltzman Return to Carnegie Hall for One-Night Only Concert
New York City, NY --- World-renowned artists Mika (marimba) and Richard Stoltzman (clarinet) return to Carnegie Hall on November 5, 2015, to showcase their amazing versatility and crossover ability in a one-night only concert event. The program includes works by Chick Corea, John Zorn, Toru Takemitsu, Bach, Ravel, and Stravinsky, as well as the world premiere of William T. McKinley's 22-movement Mostly Blues for Clarinet and Marimba. Joining the duo on stage are guest artists Eddie Gomez (bass), Adam Albert (clarinet), John Hamann (bass clarinetist), and Miki Orihara (principal dancer of the Martha Graham Dance Company).
In addition to sharing a married life together, these two consummate artists also share clarity of voice, astounding techniques, musical breath and generosity of spirit. "Our duo is a consummation of the ideals of music," says Richard Stoltzman. "We are two people who love each other and who are dedicated to making pure music that enriches people. We strive to communicate and share our love for music with everyone in an accessible way." According to drummer and long-time collaborator Steve Gadd, "when you hear them play, it makes you want to rise up to the occasion."
Hailed as exceptional virtuosos in both classical and jazz music fields, the Stoltzmans serve as living testimonials to the endless facets of their instruments. Their authentic takes on the marimba and clarinet help build bridges between drums, piano, bass, strings, and dance, and similarly between jazz, classical, pop, and folk music. Mika is a spirited, fearless marimbist who specializes in a meticulous acoustic fusion proving "time and again that she's a brilliantly borderless artist...one-of-a-kind musician (All About Jazz)." Richard is a Grammy Award-winning clarinetist known as a captivating recitalist, chamber musician, jazz performer, and prolific recording artist. He has been hailed as "...an artist of indescribable genius...the preeminent soloist on the clarinet today (The Washington Post)," "one of the most, if not the most, expressive clarinet soloists in the world (Los Angeles Times)," and "the greatest clarinetist of the century (San Francisco Chronicle)."
Marking their collaborative debut, the Stoltzmans join forces with one of modern dance's most beloved artists, Miki Orihari. Performing her own original choreography, Orihari joins live solos by Mika and Richard in John Zorn's The Nymphs for Solo Marimba and Stravinsky's 3 pieces for solo clarinet (1919), respectively. Composer/jazz pianist William T. McKinley wrote a 22-movement work Mostly Blues for Clarinet and Marimba exclusively for the duo before he died earlier this year. Movements two, seven, eight, 11, and 19 will premiere on the Carnegie Hall stage. According to the Boston Musical Intelligencer, this work "show[s]-off their jazz abilities-the clarinet playing a delightful, mischievous melody while the marimba comped in excellent rhythm." Also on the program are the New York premieres of Bill Douglas's Walz Cantando for Marimba and Clarinet and Chick Corea's Wigwam featuring Grammy Award-winning bassist Eddie Gomez.
About Mika Stoltzman
Born in Japan, Mika Stoltzman is a vibrant and exciting marimbist who has performed in major concert halls around the world, including multiple performances at Carnegie Hall. She premiered John Wyre's Moonlight for marimba and orchestra with the Kyushu Symphony, Bill Douglas's Marimba Concerto with the Kumamoto Symphony Orchestra and Chick Corea's Piano Concerto No. 1 on Marimba with Xalapa Symphony Orchestra. In 2012, she performed eight world premieres and her tours in Japan and United States continue to sell out. In a review of her latest release If You Believe, All About Jazz hailed that "Mika Stoltzman is beyond category, to use Duke Ellington's signature compliment, and she proves it here."
About Richard Stoltzman
Clarinetist Richard Stoltzman is a two-time Grammy Award-winning clarinetist whose virtuosity, technique, imagination and communicative power have revolutionized the world of clarinet playing, opening up possibilities for the instrument that no one could have predicted. He was responsible for bringing the clarinet to the forefront as a solo instrument and is still the world's foremost clarinetist. Stoltzman's talents as both a classical and jazz musician has led him to perform and record with such classical and jazz greats as Emmanual Ax, Yo-Yo Ma, Chick Corea and Wayne Shorter.
THE STOLTZMAN DUO ON MARIMBA + CLARINET Presented by MIKARIMBA NY Project & Kanon NY
Thursday, November 5th at 8:00 p.m.
Work: Mostly Blues for Clarinet and Marimba [Selections II, VII, VIII, XI, XIX] (2015) world premiere
Composer: William T. McKinley
Performers: Mika Stoltzman (marimba) and Richard Stoltzman (clarinet)
Work: Air (1995)
Composer: Toru Takemitsu
Performer: Richard Stoltzman (clarinet)
Work: The Nymphs (2012)
Composer: John Zorn
Performers: Mika Stoltzman (marimba) and Miki Orihara (dancer)
Work: Walz Cantando for Marimba and Clarinet (2015) New York premiere
Composer: Bill Douglas
Work: 3 pieces for solo clarinet (1919)
Composer: Igor Stravinsky
Performers: Richard Stoltzman (clarinet) and Miki Orihara (dancer)
Work: Chromatic Fantasy and Fugue (1802)
Composer: Johann Sebastian Bach arr. Richard Stoltzman
Performers: Adam Ebert (clarinet) and John Hamann (bass clarinet)
Work: Sea Journey (2015) New York premiere
Composer: Chick Corea arr. Tim Garland
Work: Wigwam (2015) New York premiere
Performers: Mika Stoltzman (marimba) and Eddie Gomez (bass)
Work: Pavane (2009)
Composer: Maurice Ravel
Performer: Mika Stoltzman (marimba), Richard Stoltzman (clarinet), and Eddie Gomez (bass)
Weill Recital Hall at Carnegie Hall, 57th Street & 7th Avenue, New York City, Subway: A/C/B/D/1 Columbus Circle N/Q/R/B/D/E 7th Avenue
$50. To purchase, carnegiehall.org | CarnegieCharge 212.247.7800 | Box Office at 57th St/7th Ave
More Information: http://www.carnegiehall.org


Page 120 - Gallery Design of Home And Furniture | Aliciajuarrero Dining Room Furniture Ideas. Battery Wall Clocks. Wine Racks America.
collection of galleries from Home And Furniture like Dining Room Furniture Ideas. Battery Wall Clocks. Wine Racks America. and other designs you might like Modern Wingback Chair. Hillsdale Counter Stools. Silk Decorative Pillows. French Country Chandeliers. Knobs And Pulls. Bedroom Bench Seat. Cottage Style Curtains.


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Home Gaming Watch the presentation of Final Fantasy Type – 0 and Final Fantasy...
Watch the presentation of Final Fantasy Type – 0 and Final Fantasy XV, now with English subtitles
Final Fantasy fans who don't speak Japanese or read moonrunes, don't despair!
Square Enix is generous enough to release the 50-minute presentation of Final Fantasy XV and Final Fantasy Type-0 HD in glorious English subtitles. Now non-Japanese speaking fans can get an update of the upcoming Final Fantasy titles "straight from the horse's mouth." The presenters are Hajime Tabata, director of Final Fantasy XV and Final Fantasy Type-0 HD and Akio Ofuji, manager of the Marketing Division.
Final Fantasy Type- 0 HD is coming to PS 4 and Xbox One in North America and Europe on 17 March and 20 March 2015 respectively, packed with a voucher for Final Fantasy XV demo called "Episode Duscae". Watch the trailer for Final Fantasy Type-0 HD shown at TGS 2014 below:
The fifteenth installment of series is said to be darker, focusing on more realistic human characters compared to other titles in the franchise previously. The story is a mythology of Fabula Nova Crystallis but totally different from previous titles. The Final Fantasy Type-0 HD is also part of the Fabula Nova Crystallis mythos, proven to be very popular in Japan and sold well in the market. The plot for Type-0 focuses on 12 students who are skilled in magic when they are caught in war after a military empire sought to control the crystals at their land via invasion.
Source: Crunchyroll
Secret of Mana 2 to get remake for the PS4, Vita and PC
Distant Worlds is back this October
Final Fantasy XV to hit Steam early 2018


We use a unique dataset to analyze marriage and union patterns of the European nobility from the 1500s to the 1800s. Historical evidence shows that: nobles tended to marry nobles with identical title; and, German marriages, whose dowry rules were more rigid, were characterized by a higher degree of homogamy in titles than English marriages. Moreover, we show that German data exhibit lower odds of intermarriage than English among high ranked titles, and hence provide evidence of a more stratified society. We propose a matching model that rationalizes our empirical findings: it predicts homogamy in title, and that more stringent constraints on the dowries lead to a higher degree of homogamy.


was born in Westminster in 1731. He was educated at Westminster School and Trinity College, Cambridge. In 1764 he was appointed head master of Westminster Seminary, in 1766 vicar of Greenwich, and in 1769 bishop of Peterborough. Hinchcliffe was a man of sound scholarship, and especially celebrated as an orator both in the pulpit and in the forum. He died in 1794. He only published three sermons delivered on public occasions. A collection of his Sermons (London, 1796, 8vo) is not without merit, but they certainly did not meet the expectations of his contemporaries. — Hook, Eccles. Biog. 6, 73; Allibone, Dict. of Authors, 1, 850.


This morning, Otelco (OTT) was down more than 40% after announcing Friday evening they are losing their biggest source of revenue. I made a purchase this morning at an average cost of $7.00 in one account and $6.88 in an account I oversee.
Shares of OTT are unique in that they are an IDS. In laymen's terms, each share of OTT represents one share of stock and one share of a bond. The bond is valued at $7.50 and yields 13%. It is callable in 2012 but does not mature until 2019.
The company announced Friday night that Time Warner will not be renewing its network access contract with Otelco when it expires 12/31/12. There will be a transition period in 2013 when they stop doing business with Otelco. In response, Otelco suspended the dividend on the stock portion of the IDS. In my opinion, suspending the dividend is great news and the only option the company has.
At some point in early 2013, 11.7% of their revenues vanish (the Time Warner portion). This is bad. Really bad. Based on 2011 revenues, it's a $12.1MM annual loss in revenue.
We also know they just dropped the dividend, and frankly that ain't coming back. They spend $8.9MM per year on the dividend portion of their quarterly payout.
This leaves a gap of $3.2MM per year ($12.1MM minus $8.9MM). BUT, we won't actually see this revenue loss until next year, so the $8.9MM in savings from cutting the dividend in 2012 will shore up the balance sheet some through 2012.
The company spent $5.4MM for to acquire another telephone company,Shoreham, in October last year. Otelco's cash balance dropped to $12.4MM at the end of 2011 as a result.
The business was already generating $5MM+ cash per year. Add to that the $8.9MM they won't be paying out. That's nearly $14MM in cash they will be able to add to the balance sheet, giving them in my estimation about $26.3MM at 12/31/12.
This is when it gets ugly. Not only will they contend with the loss of Time Warner, but their Senior Subordinated debt owed to Wells Fargo comes due October 31, 2013. They can't pay it off, so it will have to be refinanced. Fortunately, the company has been chipping away at this debt over the last few years. It has declined from a high of $173.5MM to its current $162.4MM balance. These prepayments were completely voluntary. As a lender, Wells Fargo likes to see a company demonstrate an ability (and desire) to prepay debt.
Otelco has way too much debt. That's the biggest risk with this company. In fact, roughly $.25 of every dollar they take in goes towards interest payments. It's downright scary. One option the company has this year is to call their subordinated notes (these are the ones yielding 13%). The Senior notes from Wells Fargo yield 4%. If they could work out terms with Wells Fargo to roll up all their debt into a single instrument, they could potentially lower their debt service. A bonus to the investor is that if the notes are called in 2012, Otelco will pay you a 6.5% premium (so you would receive $7.9875/bond instead of $7.50/bond).
For the individual investor, you could buy shares of Otelco under $7.50 if you believe they will not go bankrupt. Sure, the company could defer interest on the subordinated note, but as long as they don't declare bankruptcy, your biggest risk is the deferral of interest on your notes. To mitigate risk further, you might purchase shares now, and sell them at the end of 2012 if they haven't been called. What you don't want to happen is to see October 31, 2013 roll around without the company having reached new terms on their senior debt. That's the trigger that could bring this company into bankruptcy.
I'm not a professional, and I benefit if this company's stock goes up. Do your own research before considering a purchase of Otelco.


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5 Things We Learned From Wilco's Jeff Tweedy in Our Podcast Interview
Brian Hiatt
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Jeff Tweedy performs during day two of the 2019 Newport Folk Festival at Fort Adams State Park on July 27, 2019 in Newport, Rhode Island.
Wilco's Jeff Tweedy went deep on the making of the band's new album, Ode to Joy, and many other topics in his recent appearance on our podcast, Rolling Stone Music Now. Read some highlights below, and to hear the entire interview, press play or download and subscribe on iTunes or Spotify.
There was some trippy conceptual thinking behind the sound of Ode to Joy.
"The unifying kind of overall blanket concept was, what if we didn't have record collections? What if we were relying upon an oral history of music and had to kind of recreate rock music from some distant memory or some handed down lore?"
The track "Citizens," with its reference to "high crimes," is sort of an accidental protest song.
"Lot of times I write lyrics with the news on and the sound down," Tweedy says. "So a lot of my early iPhone early recordings of songs, like a sketched idea on my Voice Memo will have working titles like "Collusion," "Creepy Porn Lawyer," whatever. So occasionally some lyrics end up being sort of impressionistically kind of left behind. I would go through and clean up some stuff, but then sometimes it sounds good and it's still accurate to the way the song feels, and it doesn't distract.
One Wilco Fan's Choice: Get Covid, or Kiss $6,000 Goodbye
20 Overlooked Bob Dylan Classics
'Silence of the Lambs': 'It Broke All the Rules'
When Tweedy was asked to contribute to the Lost on the River: The New Basement Tapes project in 2014, he ended up writing an entire album's worth of songs with unused Bob Dylan lyrics – but he's still not sure if anyone will get to hear them.
"I certainly would like to share it; I don't know who that's up to," he says. "I've cannibalized a lot of the songs: "Evergreen" on [the recent solo album] Warmer was a song that used to have Dylan lyrics. What was so amazing about looking at unused Dylan lyrics is I could hear a Dylan song, but it wasn't one on any of the records, just because I spent so much time listening to his music and maybe tried to emulate a lot of it over my lifetime. So it came really, really fast. I wrote and recorded all the songs in like, a weekend, and I thought I was going to get to be a part of the project that became Lost on the River. And then my wife got sick, and I needed to stay home for her treatment. And so I thought, well, I'll just send them what I did. And they weren't interested in it."
Tweedy has been working on an unusual side project for the last 15 years.
"Anybody that can write that's a friend of mine, like [Lincoln in the Bardo author] George Saunders, I'll have them write a record review of an imaginary record. And then my goal is to record a song or two off of each of those records and put it out as a compilation. But start with the review or the biography of the band. Itcan be from any part of the world — could be a 10 piece could be one piece — but just give me as much information as you feel like you need to give me. I don't know if I'll ever finish it… but I get a lot of satisfaction out of that. I don't know if everybody needs to hear it, but I find it pretty satisfying."
For all his songs that reference ghosts, Tweedy isn't sure if he believes in life after death.
Still, he says, "all of the theories of what could happen like reincarnation or heaven, none of them seem as implausible to me as being here – like, actually being alive is just as weird. Like where were you? Now you're here. So that's enough for me to maintain some sort of open mind."
Download and subscribe to our weekly podcast, Rolling Stone Music Now, hosted by Brian Hiatt, on iTunes or Spotify (or wherever you get your podcasts), and check out two years worth of episodes in the archive, including in-depth, career-spanning interviews with Bruce Springsteen, Halsey, Ice Cube, Neil Young, the National, Questlove, Julian Casablancas, Sheryl Crow, Johnny Marr, Scott Weiland, Alice Cooper, Fleetwood Mac, Elvis Costello, Donald Fagen, Phil Collins, Alicia Keys, Stephen Malkmus, Sebastian Bach, the Pixies, Billy Idol, Tom Petty, Kelly Clarkson, Pete Townshend, Bob Seger, the Zombies, Gary Clark Jr. and many more — plus dozens of episodes featuring genre-spanning discussions, debates and explainers with Rolling Stone's critics and reporters. Tune in every Friday at 1 p.m. ET to hear Rolling Stone Music Now broadcast live from SiriusXM's studios on Volume, channel 106.
In This Article: Bob Dylan,	Jeff Tweedy,	Rolling Stone Music Now,	Wilco


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February 7Follow us on Twitter, @TheDevilier & on Instagram, @bhsdevilier
The Devilier
Dear Devilier
[Our] World News
Film Frenzy 2019
Alyssa Jacoby, Staff Writer|February 7, 2019
BRUNSWICK, OH- 2019 is going to be filled with tears, laughter, and a whole lot of action. Movies provide entertainment for all ages, allowing everyone to find a movie that they like. They have become a pivotal part of pop culture that life would be different without movies. This year, there are more than 65 anticipated movies coming out, some including Dumbo, Avengers: Endgame, Spider-Man: Far from Home, The Lion King, and Star Wars: Episode IX.
Logan Isley, a junior who loves movies, said, "Movies are an easy way to escape into another world in a more digestible manner than when one reads a book. They offer their own unique storytelling techniques."
Here is the synopsis of some of the most anticipated movies for this year:
Dumbo– Directed by Tim Burton, the Disney Classic Dumbo is brought to life using CGI, which is live-action technology. Follow the story of a young elephant with oversized ears that allows him to fly. Ringmaster Max Medici, portrayed by Danny DeVito, runs the small circus in which Dumbo and his mom are home to. Holt Farrier, portrayed by Collin Farrell, is the animal keeper of the elephant and learns that the elephant can fly with his ears. When the circus starts to see a decline in sales, will Dumbo save the show? Look to see Dumbo in theaters March 29th for the answer.
Avengers: Endgame- After the events of Avengers: Infinity Wars, the Avengers must assemble in order to defeat Thanos. The universe is in ruins so the remaining allies must join together to restore the universe once and for all. With the recent death of Stan Lee, will Marvel pay a tribute to him on screen? Find out how the Avengers battle Thanos in theaters April 26th.
Spider-Man: Far from Home- Known to spoil key points of movies, Tom Holland spoiled the title of the movie back in June during an Instagram Live video. It is the sequel to Spider-Man: Homecoming which came out in 2017. After the events of Avengers: Endgame, Peter Parker goes on a school field trip to Europe but is recruited by Nick Fury, portrayed by Samuel L. Jackson, to defeat the Elementals with Mysterio, played by Jake Gyllenhaal. See Spider-Man: Far from Home in theaters July 5th.
The Lion King- The live-action Disney Classic brings to life the story that we all have loved since 1994. Join Simba (Donald Glover), Nala (Beyonce), Pumbaa (Seth Rogen), and many more animals in the circle of life in the African safari. Mufasa, voiced by James Earl Jones who had voiced the King of Lions during the original 1994 version is back for this version. Watch the epic journey of Simba transform from a cub to a ferocious king to rule over the kingdom of lions. Coming to you in theaters July 19th.
Star Wars: Episode IX- The third and final installment of the Star Wars sequel trilogy and the ninth and final installment of the Star Wars Skywalker saga is going to continue the story of Rey, Finn, and Poe Dameron. Carrie Fisher, who played Princess (and later General) Leia Organa died in 2016 and was expected to have a major key role in Episode IX. What will happen now? How are they going to address the death of the Princess? Find out in theaters on December 20th.
"Focusing on movies in the news is a way for us to temporarily forget about the world," said Isley.
Sit back, relax, and watch a movie during the year. Take a break because you're doing to need it from time to time.
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The student news site of Brunswick High School


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