"It made us more versatile," the Celtics' Al Horford said.
So many things that seemed to affect Friday's game happened before it even began. Sure, there was Garnett's colorful message, which the Celtics cited as a factor in their improved play. More significant was the Bulls' surprise announcement that Rondo, after playing so well in the first two games of the series, had fractured his right thumb in Game 2 and would be out indefinitely.
Wearing a cast and a short-sleeve blazer, Rondo watched Friday's proceedings from the bench. Without him, the Bulls lacked any semblance of organization. Jimmy Butler labored for open looks, clanging his way to a 7-of-21 shooting night. Jerian Grant and Michael Carter-Williams, Rondo's overmatched fill-ins, combined for 8 points, 3 assists and 7 turnovers.
Rondo said he would try to help his younger teammates without being overbearing. As for his potential return, he said the doctors had told him that it would be a couple of weeks.
This, of course, is problematic for the Bulls, just when they seemed to be assembling the jagged pieces of their season. They barely qualified for the playoffs, and then, as the eighth seed, took the first two games from the host Celtics. Chicago was buzzing. But the Bulls could not compensate for Rondo's absence in Game 3, and the Celtics knew it.
"They're a totally different team," Crowder said.
Boston had 34 assists on 41 field goals — a reflection, in part, of Coach Brad Stevens's decision to switch up his starting lineup. He summoned Gerald Green, a swingman and a solid outside shooter, from the deep recesses of his bench to replace Amir Johnson, who typically starts at center.
With four players stationed on the perimeter, the Celtics stretched the Bulls' defenders like rubber bands. And without Johnson clogging up the lane, Horford — the Celtics' lone post player for long stretches — had more room to roll to the basket for layups and dunks. He finished with 18 points.
Thomas is playing through grief. He has not spoken publicly since the death of his younger sister in a car accident last week. After playing in the first two games of the series, he returned home to the Seattle area to spend time with his family. He rejoined his teammates in Chicago ahead of Game 3.


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· Posted on Jul 10, 2022
19 Celebs Who Kept Their Iconic Looks From The Roles They Played
These celebs wore the outfits so well, they really deserved to keep them for life.
by Devin Herenda
BuzzFeed Contributor
The outfits worn by actors as they play film and TV characters can leave a huge impression on viewers.
Tap to play GIF Tap to play GIF
KISS FM UK / Via giphy.com
Who could forget Fran Drescher's many chic fashion statements as Fran Fine in The Nanny?
CBS / Via giphy.com
Or Henry Winkler's awesome leather jacket as Fonzie in Happy Days?
Miller-Milkis Productions / Via giphy.com
Once filming ends, celebs may be able to keep the wardrobe items they wore for a project. These 19 lucky actors got to take their legendary looks home with them.
1. Ashley Tisdale held onto Sharpay's High School Musical outfits.
Salty Pictures
In 2018, Ashley said the first item she took home from a set was "all of Sharpay's wardrobe from the first High School Musical movie." Later on, Disney made efforts to get some of the iconic outfits back from her, but Ashley didn't budge.
"Did I think I was going to wear them on the red carpet? Probably, at the time," Ashley said of the outfits. "A lot of our clothes are in like, hall of fames, and they didn't have Sharpay's stuff. Disney tried so hard to get the clothes from me and I was like, 'No, this is mine.' So, yeah, they don't have any of the clothes from the first movie. I do."
2. Ralph Macchio still has his Karate Kid headband.
Columbia Pictures, Counterbalance Entertainment / Via youtube.com
In a 2014 Oprah: Where Are They Now? episode, Ralph showed off some Karate Kid mementos he took home after shooting the 1984 film: the trophy his character, Daniel LaRusso, wins at the close of the movie, as well as the flower headband that was a central part of the character's wardrobe. Two of these headbands were used on set after actor Pat Morita had the accessory in his pocket and "just decided to put it on [Ralph]" during filming.
The actor has since worn the headband again while reprising his role for the Netflix series which continues the Karate Kid plot, Cobra Kai.
3. Gabrielle Union rocked her Bring It On cheerleading uniform nearly 20 years after playing Isis in the movie.
Universal / ©Universal/Courtesy Everett Collection
Gabrielle told People in 2017 that her Clovers cheerleading outfit from the 2000 comedy, Bring It On, was still sitting in her closet. Two years later, in a Halloween dress-up photo posted on Instagram, Gabrielle wore the uniform again. Her daughter, Kaavia James Union Wade, sported her own matching cheerleading outfit in the image. Gabrielle captioned the adorable photo, "Brought It."
4. Chris Evans kept his Knives Out sweaters.
Lionsgate / Via youtube.com
In a 2019 interview with People, the Knives Out cast was asked if they'd taken any items from the set. Chris, who starred as Hugh Ransom Drysdale in the movie, said he'd been given permission to take some clothes home, so he "got all the sweaters" from his character's wardrobe.
5. Annie Murphy's closet houses her "A Little Bit Alexis" dress.
CBC / Via youtube.com
Fans of Schitt's Creek will not soon forget Annie as Alexis Rose performing "A Little Bit Alexis" for Moira and Jocelyn. Although she doesn't have plans to wear it in real life, Annie kept the dress she wore in the hilarious scene, she told Harper's Bazaar in 2020.
"I don't know if Dan [Levy] knows this, but I also took the dress that Alexis wears for her Cabaret audition — the 'A Little Bit Alexis' dress that's a purple baby doll thing, which I will never ever wear, but it was a special scene," Annie said.
6. Ryan Reynolds took his Deadpool suit home.
20thcentfox / ©20thCentFox/Courtesy Everett Collection
Deadpool was made after Ryan spent roughly a decade attempting to move the project forward. Once the shooting of the long-awaited film was completed, Ryan told MSN he didn't hesitate to keep the suit worn by his character, per Cinema Blend.
"I loved wearing it and I have run away with one — I'll probably get into trouble for saying that, but I've waited 10 years to do this movie so I'm leaving with a fucking suit," Ryan said.
7. Olivia Newton-John had iconic Grease wardrobe items that she later auctioned off.
Paramount Pictures / Via youtube.com
For years, Olivia owned the ensemble she wore as Sandy during the epic post-makeover scene in Grease before auctioning off the outfit in 2019. Her famous tight pants sold for more than $162,000, while the also well-known leather jacket was auctioned off for $243,200. Part of the proceeds from the auction were used toward the Olivia Newton-John Cancer & Wellness Research Centre.
8. Henry Winkler still has a very special Happy Days accessory.
Miller-Milkis Productions
The brown leather jacket Henry donned as Arthur "Fonzie" Fonzarelli in Happy Days is a historic television wardrobe accessory. A few of these jackets were worn by Henry throughout the series, such as one that has been in possession of the Smithsonian museum since 1980.
Henry told The Hollywood Reporter in 2021 that he was planning to auction off one of the jackets, with some of the proceeds going towards the nonprofit organization, This Is About Humanity. He additionally still owns another original Fonzie leather jacket.
9. Rue McClanahan got all of Blanche's Golden Girls looks.
Nbc / NBCUniversal via Getty Images
There was a clause written in Rue's contract that allowed her to take all of her Golden Girls wardrobe items home with her. For years the clothes were in storage, and some of them were later sold at an estate sale in 2011.
10. Daniel Radcliffe kept his Harry Potter glasses.
Warner Bros. / Via youtube.com
In 2018, Daniel revealed that he held onto some souvenirs from the Harry Potter franchise, like a pair of Harry's glasses.
"... I did keep the glasses from the Harry Potter set," Daniel said. "I kept one pair of glasses, and I think other little bits and pieces of props that I stole along the way."
11. Reese Witherspoon got 77 pairs of Jimmy Choo shoes and the rest of her Legally Blonde 2 getups.
MGM / Via youtube.com
It was written in Reese's contract that she would keep every single wardrobe piece she wore as Elle Woods in Legally Blonde 2: Red, White, & Blonde. Reese stated this in a 2019 episode of The Graham Norton Show. The performer also said that she got 77 Jimmy Choo shoes as a result of this contractual agreement.
12. Jennifer Lawrence kept a couple of key clothing items from The Hunger Games.
Lions Gate / ©Lions Gate/Courtesy Everett Collection
Two items from Katniss' Hunger Games attire were kept by Jennifer after filming wrapped: the character's leather jacket and boots.
13. Sarah Jessica Parker saved her Sex and the City looks.
Darren Star Productions
In a Vogue interview from 2021, Sarah Jessica said she owns "every single" item from Carrie Bradshaw's Sex and the City wardrobe.
"I had all of the original stuff in my own storage," Sarah Jessica said. "Furniture, clothes, everything, packed according to season and episode and scene ... I kept every single solitary thing."
14. Emma Watson owns her Hermione Granger Harry Potter cloak.
Daniel Radcliffe isn't the only Harry Potter star who held onto some of their onset wardrobe. Emma Watson told Collider in 2010 that she was given permission to take three accessories home from the Harry Potter set. The Gryffindor cloak that she wore in character as Hermione Granger was one of the items she kept.
"I asked for permission to take Hermione's time-turner from the third movie, and the cloak, and my wand," Emma said. "So those are my three things that I took with me."
15. Chris Pratt kept his red jacket from Guardians of the Galaxy for a sweet reason.
Marvel Studios / Via youtube.com
As Guardians of the Galaxy was set to debut in 2014, Chris said he took some clothing he wore as Peter Quill/Star-Lord home with him, like his red jacket. He did this in case he might be able to visit young fans of the film in hospitals.
"I stole the jacket and some of the wardrobe so that if this movie comes out and does what everyone hopes it can, I can follow the example of someone, say like a Russell Wilson, and go visit kids," Chris told Panzer TV. "I would love to go if it was a big enough movie to where it would mean something to a kid who's sick in a hospital for Peter Quill or Star-Lord to come visit him, I'll do that. I think that's awesome ... That would give me real meaning for this movie."
16. Rider Strong took the leather jacket he wore as Shawn Hunter from the Boy Meets World set, but it was later stolen.
Courtesy Everett Collection / Everett Collection / Everett Collection
It was revealed in 2013 that Rider kept Shawn's leather jacket from Boy Meets World. Sadly, however, a thief later took the jacket from the actor's car.
"I stole the jacket from the show — Disney wouldn't let us take anything, but I had a leather jacket that I had bought on my own, and I swapped it," Rider told CNN.
17. Alicia Silverstone kept Cher's wardrobe from Clueless but was too different from the character to wear it IRL.
Cbs Photo Archive / CBS via Getty Images
In 2021 Alicia revealed to Glamour that she "wore a green T-shirt every day with jeans" in real life when she starred as Cher in Clueless. She ended up keeping Cher's outfits from the 1995 film but later found that they were better left on screen.
"After the movie ... I ran home with a lot of the clothes," Alicia said. "And I tried to wear them in real life, but then I realized, 'I'm not Cher. So this doesn't make any sense. I still want to just put on some jeans and a T-shirt and my tennis shoes. So I didn't find a way to use those in my real life, and I gave them all away."
18. Darren Criss took his Warblers blazer when Glee finished filming.
Fox / FOX Image Collection via Getty Images
In 2015, a few Glee cast members visited The Ellen DeGeneres Show and talked about the souvenirs they scooped up as they completed the final taping of the series. Darren stated that he took his Warblers blazers, which he wore as Blaine Anderson from 2010 to 2015, from the wardrobe department.
19. Melissa Joan Hart has stored her Sabrina the Teenage Witch looks in a cedar closet.
Finishing the Hat
Throughout the seven seasons of Sabrina the Teenage Witch, Melissa rocked many stylish outfits as Sabrina Spellman. In 2021 the actor told PopSugar she owns nearly all of these wardrobe pieces and has plans to auction off the items.
"I have almost all of [the costumes] in a cedar closet, actually," Melissa said. "I took some stuff when I moved recently and I dug through closets and memorabilia and the attic, and I have tons of stuff that's going to go for auction soon. And I think the cheerleader uniform might be one of them, because I don't think I'll ever fit in that thing again. I have the Alice in Wonderland [costume]. I have so much stuff."
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The Working Forest - Your #1 source for forestry and forest industry news.
Bowing to pressure, 3M agrees to reshape its sustainable forestry policies
By: MinnPost
After a long siege of public pressure and negotiations, punctuated occasionally by media-savvy comic stunts, the 3M Co. has gone from the doghouse to darling of sustainable-forestry activists.
All it took was a wholesale rethinking of its responsibility for the steady stream of wood fiber it turns into Post-Its, masking tape and other products – and an unusual, against-the-trend decision to stop outsourcing accountability to third-party certification groups.
In a conference call with reporters on Thursday, 3M veep Jean Sweeney said the Maplewood-based corporation will end its reliance on assessments by the Sustainable Forestry Initiative, widely regarded as a greenwashing arm of large logging companies, to ensure that its purchasing doesn't needlessly harm forests, communities or workers' rights.
In doing so, 3M joins a roster of SFI ex-partners that includes AT&T, Office Depot, Allstate, Pitney Bowes, US Airways and Allied Electronics.
But rather than simply replace SFI with a more respectable certification outfit, such as the Forest Stewardship Council, for one leading example, 3M has elected the unusual and surely more expensive approach of doing its own screening, auditing and reporting throughout a vast supply chain.
While 3M is a huge producer of paper products, thus a huge consumer of wood fiber and pulp, it owns no forestland of its own. Instead, it relies on some 5,000 suppliers scattered across more than 70 different countries.
Though the company casts its new policy as a continuation of corporate strategies stretching back for decades, it also acknowledges that "comes on the heels of a multiyear campaign by ForestEthics," joined last year by Greenpeace.
Like Greenpeace, but funnier
You could think of ForestEthics, headquartered in Canada but with offices in the United States as well, as an outfit as aggressive as Greenpeace in its challenges to SFI, which have included formal complaints to the Federal Trade Commission, but with a larger sense of whimsy when it comes to targets like 3M.
To spotlight issues in the 3M campaign, ForestEthics has unrolled a giant Post-It from the Washington Ave. bridge above the Mississippi River, and staged a bit of street theater with caribou-suited players outside a corporate meeting.
Last summer it hired a plane to drag a banner through the skies over Target Field before the All-Star Game that read, "3M do the right thing for forests."
But yesterday, at least for public consumption, Sweeney and ForestEthics' executive director, Todd Paglia, were talking of nothing but peace and progress in a future of mutual cooperation. Indeed, Paglia went out of his way to say that ForestEthics had learned a lot from 3M's representatives in their negotations, a point he underlined to me in an interview.
Advisers, not surrogates
Going forward, FSC and other groups engaged in forestry certification – including Minneapolis-based Dovetail Partners and The Forest Trust of Santa Fe — will advise and assist 3M in its new approach. But it will be the company's own employees – some newly hired for the purpose — who will:
"Work with suppliers to trace the origin for all of the wood, paper and pulp it buys, and [reject] fiber that was obtained in a manner that threatens high-conservation value forests," as defined by guidance developed by the High Conservation Value Resource Network.
"Ensure that its suppliers are granted free, prior and informed consent by indigenous peoples and local communities before logging operations occur."
"Publicly report progress in evaluating its fiber's chain of custody, establish benchmarks for recycled fiber and tree-free fiber and report on those, and report on the amount of FSC fiber used."
"Hold paper and pulp suppliers accountable to one of the highest standards in the industry for environmental protection and respect of human rights," help improve suppliers' performance where necessary, and "cease doing business with suppliers who do not adhere to its principles."
On that last point, 3M announced that it has cancelled contracts with an Indonesian supplier, the Royal Golden Eagle Group, over logging practices and human-rights violations. It has also put a Canadian supplier, Resolute Forest Products, on notice that it must improve both its relationship with tribes and its stewardship of caribou habitat.
Bucking the certification trend
I wanted to know a little more about why 3M chose the intriguingly opposite strategy of taking its outsourcing back in-house. I reached out to Sweeney, whose vice-presidential portfolio covers environmental, health, safety and sustainability operations for 3M. In reply I got a company statement that I quote here in full:
The policy expectations are based on 3M's sustainability values. As you heard on the call, by implementing the policy in this way, we are choosing not to delegate the responsibility for setting expectations to a third party. We recognize this might be the more challenging approach, but it aligns with how we do business.
So I asked Paglia for his thoughts, not only on 3M's reasoning and whether its model might be widely emulated, but also on the prospect that taking all the work inside could actually result in less public transparency about sustainability performance, not more.
He acknowledged that darker possibility, but said it was not something he was concerned about. Many details of the new system remain to be worked out, he said, but there really should be no doubt about the sincerity of 3M's change of heart:
We picked 3M very specifically for this campaign. We didn't pick Monsanto.
We had a history of working with 3M, and we didn't really think they were doing what they were capable of, but we also knew that they are very innovative and have a strong, values-driven culture.
We had a sense that if we could orient the campaign to be hard-hitting yet funny, and not be over-the-top, we-know-everything righteous, that we'd be able to get into a conversation with them and that they would lead us — that we would learn things we didn't know, and they would learn things they didn't know, and we'd come up with something really interesting together.
We can't force anybody to do anything. All we can do is choose a company that has the values to make a right decision, and then just keep asking them the questions: Can we make a right decision? Can we move from conflict to collaboration?
And that's what happened here.
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And this was a rather amazing possibility. Even Yngwie, who is famously unconcerned with micromanaging the details of his picking technique, acknowledges that he uses a combination of alternate picking and sweeping to power his more intricate playing. But watching the nearly seamless transition from repeated pickstrokes to sweeping happen right there on the Austin City Limits tape — it was almost like watching dinosaurs learn how to fly. Early feathered lizards may have jumped off trees or cliffs to get airborne. At some point, generations later, they abandoned the concept of launching altogether and just began flapping right off the ground. If the bounce technique was the launch, then sweeping was the flap.
For all the agglomeration of concepts in the now-famous Total Guitar "bounce technique" scene, it is amazing that all the key ingredients were indeed right there. Inscrutable as it may have seemed to a generation of guitarists trying to parse his phrasing, here we had an elite player, on videotape, actually describing his use of downward pickslanting and the power of the upstroke string change.
So let's get this straight. His picking style, which he reminds us he has already described in the first video, is where he picks up, away from the pickguard. Yes, precisely — downward pickslanting. But he's currently not free to use any old sequence of downstrokes and upstrokes, because his upstrokes go up, you see, and his downstrokes go sideways. Well, they really don't — they're downward pickslanting downstrokes, angled the same way as his upstrokes, just moving in the opposite direction. But we know what he means — he means they're buried in the strings.
But if he could make his downstrokes be like his upstrokes, so that they also went up, just in the opposite direction, then he could free himself from having to… to do what? To only switch strings after upstrokes, of course. If he could just figure out how to make those downstrokes not go what he perceives as sideways, then his downstrokes could also, just like his upstrokes, break free from the plane of the strings. And if he could do that, well, then he'd have figured out something he knows would be incredibly powerful and liberating: two-way pickslanting.
Amazing. Here Eric is describing, in roundabout fashion but in unmistakable detail, the central limitation of any one-way pickslanting strategy, as well as its actual solution. He plays a demonstration of what two-way pickslanting might look like, with wide swinging downstrokes and wide swinging upstrokes that are essentially, stringhopping. This broadly mirrors the brute-force attempt that most players make when trying to solve this problem. So in other words, this isn't going to work. And he knows it, because he then notes, again precisely, that he's still working on the technique and that it's not yet ready for prime time. You can practically see the gears turning. He's not sure how to make it work, but he can tell that the swinging approach is not it.
And that is the difference between genius and the rest of us. Eric got it — all of it — including the technique he had, and the technique he had yet to find. Had either of these two passages been stated with just a bit more clarity, the entire enterprise of picking technique could have been revolutionized in 1989.


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Spirits of the Dead(1968):Fondas,Fellini,& a Fistful of Poe
While Poe adaptations in the 60's belonged to Roger Corman and Vincent Price, today's film found three European auteurs getting down and dirty with the works of Edgar Allan. Each of them present a singular and innovative look into the work of the macabre writer, and through the film was distributed in the states by American International Pictures, it has little in common with the content or tone of AIP's other Poe offerings. It should be noted that for the purposes of this review I watched the French language version entitled Histoires Extraordinaires. This title comes from the first volume of Poe's short stories translated for a French audience by the poet Baudelaire, but when it was released in the States, it was saddled with title Spirits of the Dead, a reference to an 1927 poem of the same title by Poe. Of the two I much prefer the French title as it speaks directly to the type of tales the movie contains, stories of the extraordinary. As this film is divided into three segments with no connecting device (the American version contains narration by Vincent Price between the stories), I'm going to tackle each one individually.
First up is the Germanically titled Metzengerstein. Jane Fonda stars as Contessa Frederique de Metzengerstein, a decadent woman given to throwing grand parties filled with debauchery and sex. Next door lives the austere Baron Wilhelm Berlifitzing (Peter Fonda) who is in all ways the opposite of the Contessa. Living a quiet life, hunting and riding his horses, the Baron takes no part in his neighbor's grand lifestyle. One day while roaming in the forest separating their property, the Contessa becomes caught in a bear trap, but is freed when the Baron happens across her. Instantly smitten, the Contessa pursues the Baron, but being a moral man, he sees no future in their pairing. Lashing out, the Contessa sets the Baron's stables, containing his prized horses, on fire, and her unrequited love perishes trying to save his animals. Only one horse survives, a large black stallion that no one can control. The Contessa believes she can tame the horse, but its strong spirit, perhaps that of the Baron, becomes her undoing.
Metzengerstein was first published in 1832 in the Saturday Courier magazine, and was included in the 1864 publication of Baudelaire's translations. However the story it contains is very different than the one shown on screen. Director Roger Vadim had just completed filming on Barbarella when he was tasked with the project, and he chose to gender swap the main character from Poe's story to continue working with his previous film's star, Jane Fonda. He also injected the unrequited love story (and thank goodness it wasn't requited as Vadim cast her younger brother Peter Fonda in the role) in the place of the family rivalry of Poe's original tale. At its core, the story remains virtually the same. Both the film and the story concern one man (or woman) and their cavalier attitude toward life. As with most Poe stories, the evil are punished and we are lead to believe that the deceased have something to do with it from beyond the grave. Vadim successfully creates tension on the screen, and Jane Fonda, looking radiant, grabs the viewer with her dynamic performance.
The second tale is an adaptation of Poe's story William Wilson. Alain Delon stars as the titular character and the doppelganger who troubles his life. As the story begins, William convinces a priest to take his confession despite the fact that he is not Catholic, and he begins his tale by describing his experience at boarding school. Young William Wilson is clearly a little tyrant terrorizing all of his schoolmates, but when a new boy arrives with his same name, same face, and same manner, William's position is threatened. in the dead of the night, he attempts to strangle the new William Wilson, and for his troubles, they are both kicked out of school. Over the years, the other William Wilson always seems to be there to stop William Wilson just as he intends to do something violent,perverse, or deceptive. Finally unable to stand any further interference, William stabs his double to death, but soon finds his life in mortal jeopardy.
Published in the United States in a 1939 issue of Burton's Gentlemen's Magazine,William Wilson was the first of Poe's stories to be translated into French, making it's debut over two installments in the Parisian magazine La Quotidienne. For the film, director Louie Malle chose to emphasize William Wilson's cruel streak making him party to torture and attempted murder. Strangely, the straw that makes Wilson resolve to kill his double is being called out as a card sharp and having his fun giving a lady (Brigitte Bardot) lashes from his riders crop. (The Bardot character was completely made up in order for Malle, who introduced the world to Bardot in And God Created Women, to sex up the story.) After Vadim's rather reserved period piece, Malle's use of graphic nudity and violence allows the film as a whole to ramp up a level. However, the segment feels phoned in with Le Circe Rouge's Deleon providing the only solid portion of the film. The direction seems hasty at times, and Malle even admitted that William Wilson was the least personal of all his works. He allowed many changes to be made to appeal to mass audience in hopes it would help raise funds for his next picture, 1971's Murmur of the Heart.
The final segment of Spirits of the Deadis the most challenging and, on the surface, the least horrific of all three. However, I believe it would be the one to most appeal to Poe's wicked sensibilities. Terrence Stamp plays the titular characterToby Dammit, a British Shakespearean actor fallen on hard times due to his love affair with the bottle. In exchange for a Ferrari, he agrees to go to Italy to appear in a Western based on the return of Jesus Christ. Enduring a strange awards ceremony, Toby continues to have visions of a devilish child who he helped get back her white ball. Veering deeper into alcoholic paranoia and genuine insanity, Toby makes off with his prized car and drives with wild abandon straight into his undoing.
Toby Dammit is the only of the three tales that didn't retain Poe's original title, but it is also the segment that departs most from the source material. Poe's tale, Never Bet The Devil Your Head, is a satirical screed against morality tales and transcendentalism and was first published in 1841 in Graham Magazine. However, in the hands of Federico Fellini, Poe's story is twisted into a tale of addiction, the falseness of the entertainment industry, and artist's internal battle with demons. So in other words, the same sort of ground that the director looked at in 8 1/2 and throughout his career. The whole segment is a fevered dream, and it floats effortlessly between the absurd (Toby having his picture taken with his blond, lanky, pale stunt double who proudly states that he also doubled Tomas Milian.) to the intensely visual (Toby's wild ride, the disturbing visuals of the satanic, yet innocent, child.). In the end, Poe and Fellini come to the same conclusion in their stories, a person must have their wits about them or they are prone to lose their head. Where Poe's tale comes off like a wan joke, Fellini's film hits like a hard right. I should also mention that this is Stamp at his best, wild eyed and perfectly pitched.
While all three segments have their charms, Fellini clearly outshone the other tales. Vadim's segment lack a visual element beyond the flat, matter-of-fact shots, and Malle crafted a decent tale though it lacked spirit. Fellini chose to take Poe's tale as a launching point and then catapult the story into cosmic, philosophical territory. It should come as no surprise that while the entire film is hard to find, the Fellini segment has been split off and restored, and, in recent years, it has been hailed as a lost classic. Taken as a whole, Spirits of the Dead succeeds in giving an alternative to the heavily Gothic, dark castle Poe films of Roger Corman. Instead,Spirits of the Dead weaves Poe's morbid sensibility into the fabric of modern life, in the case of Fellini's Toby Dammit,and into the well lit Romantic and Victorian settings of Vadim and Malle. While none of the three segments give a perfect portrait of the brooding Baltimorian's stories, taken as one, they rank among this writer's favorite cinematic translations of Edgar Allan's work.
This article was posted in Reviews and tagged 1960's, 4, American International, anthology, classic horror, French, Italian, Poe, sex. Bookmark the permalink. Follow comments with the RSS feed for this post. Both comments and trackbacks are closed.


Do not use if suffering from low blood pressure.
* For relief of PREMENSTRUAL SYMPTOMS: massage undiluted. Use only as directed and consult your health care professional if pain or symptoms persist.
* For relief of HEADACHES and to help relieve INSOMNIA, NERVOUS TENSION AND STRESS: massage undiluted into forehead and temples.
* To relieve symptoms of ECZEMA, DERMATITIS, and treatment of ACNE, BOILS AND BURNS: (D).


Did you know that, depending on where you live in Canada, you have a choice of your energy supplier?
CallMePower provides you with free and independent information about your energy rates, so that you can compare and choose the energy supplier that is best for you. Please note that our site is currently still under construction. You can find the most information about Alberta at present.
Both electricity and natural gas markets have been deregulated in Alberta and Ontario. Click on your province to find out more about your energy!
Natural gas is deregulated in the provinces below.
You can find useful information about setting up power supply with your local utility, including their contact information, in our directory.
This map shows you which provinces have deregulated their energy markets for retail consumers.


text:
Q: Difference between istio_request_bytes_count and istio_request_bytes_sum? Can someone briefly explain what is the difference istio_request_bytes_count and istio_request_bytes_sum?. And why the "istio_request_bytes" standard metric is missing.

A: Istio Standard Metrics notes that istio_request_bytes is a DISTRIBUTION type metric.  In Prometheus, this would appear as a histogram metric.  So, you should see three metrics:

*

*istio_request_bytes_count is the number of requests

*istio_request_bytes_sum is the total number of bytes, added together across all requests

*istio_request_bytes_bucket{le="1024"} is the total number of requests where the request size is 1 KiB or smaller

You can calculate the average request size by dividing the sum by the count.  You can also use Prometheus functions like histogram_quantile() to calculate the median (50th-percentile) size.
This also applies to the other standard metrics.  A common thing to measure is 95th-percentile latency ("p95"); how long does it take 95% of the requests to execute, where the remaining 5% take longer than this?  histogram_quantile(0.95, istio_request_duration_milliseconds_bucket[1h]) could compute this over the most recent hour.

redpajama_set_name: RedPajamaStackExchange


2014 Matchless has launched a new motorcycle into the market, the X Reloaded. With a very limited edition the brand has experienced a revival in the "motorcycle" segment.
The style reflects the Matchless X, which was produced in England from 1929 until 1940. Now the leather jacket, which was inspired by and named after the bike, is released on the market. Simply a style icon.
Calf leather, cool badges and the colours of the bike. Striking, individual, yet with a clear-cut design the X Reloaded Jacket is already a "must have" in the retro-bike scene.


text:
PEG.js
======

PEG.js is a simple parser generator for JavaScript that produces fast parsers
with excellent error reporting. You can use it to process complex data or
computer languages and build transformers, interpreters, compilers and other
tools easily.

Features
--------

  * Simple and expressive grammar syntax
  * Integrates both lexical and syntactical analysis
  * Parsers have excellent error reporting out of the box
  * Based on [parsing expression
    grammar](http://en.wikipedia.org/wiki/Parsing_expression_grammar) formalism
    — more powerful than traditional LL(*k*) and LR(*k*) parsers
  * Usable [from your browser](http://pegjs.majda.cz/online), from the command
    line, or via JavaScript API

Getting Started
---------------

[Online version](http://pegjs.majda.cz/online) is the easiest way to generate a
parser. Just enter your grammar, try parsing few inputs, and download generated
parser code.

Installation
------------

### Node.js

To use the `pegjs` command, install PEG.js globally:

    $ npm install -g pegjs

To use the JavaScript API, install PEG.js locally:

    $ npm install pegjs

If you need both the `pegjs` command and the JavaScript API, install PEG.js both
ways.

### Browser

[Download](http://pegjs.majda.cz/#download) the PEG.js library (regular or
minified version).

Generating a Parser
-------------------

PEG.js generates parser from a grammar that describes expected input and can
specify what the parser returns (using semantic actions on matched parts of the
input). Generated parser itself is a JavaScript object with a simple API.

### Command Line

To generate a parser from your grammar, use the `pegjs` command:

    $ pegjs arithmetics.pegjs

This writes parser source code into a file with the same name as the grammar
file but with ".js" extension. You can also specify the output file explicitly:

    $ pegjs arithmetics.pegjs arithmetics-parser.js

If you omit both input and ouptut file, standard input and output are used.

By default, the parser object is assigned to `module.exports`, which makes the
output a Node.js module. You can assign it to another variable by passing a
variable name using the `-e`/`--export-var` option. This may be helpful if you
want to use the parser in browser environment.

You can tweak the generated parser with several options:

  * `--cache` — makes the parser cache results, avoiding exponential parsing
    time in pathological cases but making the parser slower
  * `--allowed-start-rules` — comma-separated list of rules the parser will be
    allowed to start parsing from (default: the first rule in the grammar)
  * `--plugin` — makes PEG.js use a specified plugin (can be specified multiple
    times)
  * `--extra-options` — additional options (in JSON format) to pass to
    `PEG.buildParser`
  * `--extra-options-file` — file with additional options (in JSON format) to
    pass to `PEG.buildParser`

### JavaScript API

In Node.js, require the PEG.js parser generator module:

    var PEG = require("pegjs");

In browser, include the PEG.js library in your web page or application using the
`<script>` tag. The API will be available in the `PEG` global object.

To generate a parser, call the `PEG.buildParser` method and pass your grammar as
a parameter:

    var parser = PEG.buildParser("start = ('a' / 'b')+");

The method will return generated parser object or its source code as a string
(depending on the value of the `output` option — see below). It will throw an
exception if the grammar is invalid. The exception will contain `message`
property with more details about the error.

You can tweak the generated parser by passing a second parameter with an options
object to `PEG.buildParser`. The following options are supported:

  * `cache` — if `true`, makes the parser cache results, avoiding exponential
    parsing time in pathological cases but making the parser slower (default:
    `false`)
  * `allowedStartRules` — rules the parser will be allowed to start parsing from
    (default: the first rule in the grammar)
  * `output` — if set to `"parser"`, the method will return generated parser
    object; if set to `"source"`, it will return parser source code as a string
    (default: `"parser"`)
  * `optimize`— selects between optimizing the generated parser for parsing
    speed (`"speed"`) or code size (`"size"`) (default: `"speed"`)
  * `plugins` — plugins to use

Using the Parser
----------------

Using the generated parser is simple — just call its `parse` method and pass an
input string as a parameter. The method will return a parse result (the exact
value depends on the grammar used to build the parser) or throw an exception if
the input is invalid. The exception will contain `offset`, `line`, `column`,
`expected`, `found` and `message` properties with more details about the error.

    parser.parse("abba"); // returns ["a", "b", "b", "a"]

    parser.parse("abcd"); // throws an exception

You can tweak parser behavior by passing a second parameter with an options
object to the `parse` method. Only one option is currently supported:

  * `startRule` — name of the rule to start parsing from

Parsers can also support their own custom options.

Grammar Syntax and Semantics
----------------------------

The grammar syntax is similar to JavaScript in that it is not line-oriented and
ignores whitespace between tokens. You can also use JavaScript-style comments
(`// ...` and `/* ... */`).

Let's look at example grammar that recognizes simple arithmetic expressions like
`2*(3+4)`. A parser generated from this grammar computes their values.

    start
      = additive

    additive
      = left:multiplicative "+" right:additive { return left + right; }
      / multiplicative

    multiplicative
      = left:primary "*" right:multiplicative { return left * right; }
      / primary

    primary
      = integer
      / "(" additive:additive ")" { return additive; }

    integer "integer"
      = digits:[0-9]+ { return parseInt(digits.join(""), 10); }

On the top level, the grammar consists of *rules* (in our example, there are
five of them). Each rule has a *name* (e.g. `integer`) that identifies the rule,
and a *parsing expression* (e.g. `digits:[0-9]+ { return
parseInt(digits.join(""), 10); }`) that defines a pattern to match against the
input text and possibly contains some JavaScript code that determines what
happens when the pattern matches successfully. A rule can also contain
*human-readable name* that is used in error messages (in our example, only the
`integer` rule has a human-readable name). The parsing starts at the first rule,
which is also called the *start rule*.

A rule name must be a JavaScript identifier. It is followed by an equality sign
("=") and a parsing expression. If the rule has a human-readable name, it is
written as a JavaScript string between the name and separating equality sign.
Rules need to be separated only by whitespace (their beginning is easily
recognizable), but a semicolon (";") after the parsing expression is allowed.

The first rule can be preceded by an *initializer* — a piece of JavaScript code
in curly braces ("{" and "}"). This code is executed before the generated parser
starts parsing. All variables and functions defined in the initializer are
accessible in rule actions and semantic predicates. The code inside the
initializer can access the parser object using the `parser` variable and options
passed to the parser using the `options` variable. Curly braces in the
initializer code must be balanced. Let's look at the example grammar from above
using a simple initializer.

    {
      function makeInteger(o) {
        return parseInt(o.join(""), 10);
      }
    }

    start
      = additive

    additive
      = left:multiplicative "+" right:additive { return left + right; }
      / multiplicative

    multiplicative
      = left:primary "*" right:multiplicative { return left * right; }
      / primary

    primary
      = integer
      / "(" additive:additive ")" { return additive; }

    integer "integer"
      = digits:[0-9]+ { return makeInteger(digits); }

The parsing expressions of the rules are used to match the input text to the
grammar. There are various types of expressions — matching characters or
character classes, indicating optional parts and repetition, etc. Expressions
can also contain references to other rules. See detailed description below.

If an expression successfully matches a part of the text when running the
generated parser, it produces a *match result*, which is a JavaScript value. For
example:

  * An expression matching a literal string produces a JavaScript string
    containing matched part of the input.
  * An expression matching repeated occurrence of some subexpression produces a
    JavaScript array with all the matches.

The match results propagate through the rules when the rule names are used in
expressions, up to the start rule. The generated parser returns start rule's
match result when parsing is successful.

One special case of parser expression is a *parser action* — a piece of
JavaScript code inside curly braces ("{" and "}") that takes match results of
some of the the preceding expressions and returns a JavaScript value. This value
is considered match result of the preceding expression (in other words, the
parser action is a match result transformer).

In our arithmetics example, there are many parser actions. Consider the action
in expression `digits:[0-9]+ { return parseInt(digits.join(""), 10); }`. It
takes the match result of the expression [0-9]+, which is an array of strings
containing digits, as its parameter. It joins the digits together to form a
number and converts it to a JavaScript `number` object.

### Parsing Expression Types

There are several types of parsing expressions, some of them containing
subexpressions and thus forming a recursive structure:

#### "*literal*"
'*literal*'

Match exact literal string and return it. The string syntax is the same as in
JavaScript. Appending `i` right after the literal makes the match
case-insensitive.

#### .

Match exactly one character and return it as a string.

#### [*characters*]

Match one character from a set and return it as a string. The characters in the
list can be escaped in exactly the same way as in JavaScript string. The list of
characters can also contain ranges (e.g. `[a-z]` means "all lowercase letters").
Preceding the characters with `^` inverts the matched set (e.g. `[^a-z]` means
"all character but lowercase letters"). Appending `i` right after the right
bracket makes the match case-insensitive.

#### *rule*

Match a parsing expression of a rule recursively and return its match result.

#### ( *expression* )

Match a subexpression and return its match result.

#### *expression* \*

Match zero or more repetitions of the expression and return their match results
in an array. The matching is greedy, i.e. the parser tries to match the
expression as many times as possible.

#### *expression* +

Match one or more repetitions of the expression and return their match results
in an array. The matching is greedy, i.e. the parser tries to match the
expression as many times as possible.

#### *expression* ?

Try to match the expression. If the match succeeds, return its match result,
otherwise return `null`.

#### & *expression*

Try to match the expression. If the match succeeds, just return `undefined` and
do not advance the parser position, otherwise consider the match failed.

#### ! *expression*

Try to match the expression. If the match does not succeed, just return
`undefined` and do not advance the parser position, otherwise consider the match
failed.

#### & { *predicate* }

The predicate is a piece of JavaScript code that is executed as if it was inside
a function. It gets the match results of labeled expressions in preceding
expression as its arguments. It should return some JavaScript value using the
`return` statement. If the returned value evaluates to `true` in boolean
context, just return `undefined` and do not advance the parser position;
otherwise consider the match failed.

The code inside the predicate can access all variables and functions defined in
the initializer at the beginning of the grammar.

The code inside the predicate can also access the current parse position using
the `offset` function. It returns a zero-based character index into the input
string. The code can also access the current line and column using the `line`
and `column` functions. Both return one-based indexes.

The code inside the predicate can also access the parser object using the
`parser` variable and options passed to the parser using the `options` variable.

Note that curly braces in the predicate code must be balanced.

#### ! { *predicate* }

The predicate is a piece of JavaScript code that is executed as if it was inside
a function. It gets the match results of labeled expressions in preceding
expression as its arguments. It should return some JavaScript value using the
`return` statement. If the returned value evaluates to `false` in boolean
context, just return `undefined` and do not advance the parser position;
otherwise consider the match failed.

The code inside the predicate can access all variables and functions defined in
the initializer at the beginning of the grammar.

The code inside the predicate can also access the current parse position using
the `offset` function. It returns a zero-based character index into the input
string. The code can also access the current line and column using the `line`
and `column` functions. Both return one-based indexes.

The code inside the predicate can also access the parser object using the
`parser` variable and options passed to the parser using the `options` variable.

Note that curly braces in the predicate code must be balanced.

#### $ *expression*

Try to match the expression. If the match succeeds, return the matched string
instead of the match result.

#### *label* : *expression*

Match the expression and remember its match result under given label. The label
must be a JavaScript identifier.

Labeled expressions are useful together with actions, where saved match results
can be accessed by action's JavaScript code.

#### *expression1* *expression2* ...  *expressionn*

Match a sequence of expressions and return their match results in an array.

#### *expression* { *action* }

Match the expression. If the match is successful, run the action, otherwise
consider the match failed.

The action is a piece of JavaScript code that is executed as if it was inside a
function. It gets the match results of labeled expressions in preceding
expression as its arguments. The action should return some JavaScript value
using the `return` statement. This value is considered match result of the
preceding expression.

To indicate an error, the code inside the action can invoke the `expected`
function, which makes the parser throw an exception. The function takes one
parameter — a description of what was expected at the current position. This
description will be used as part of a message of the thrown exception.

The code inside an action can also invoke the `error` function, which also makes
the parser throw an exception. The function takes one parameter — an error
message. This message will be used by the thrown exception.

The code inside the action can access all variables and functions defined in the
initializer at the beginning of the grammar. Curly braces in the action code
must be balanced.

The code inside the action can also access the string matched by the expression
using the `text` function.

The code inside the action can also access the parse position at the beginning
of the action's expression using the `offset` function. It returns a zero-based
character index into the input string. The code can also access the line and
column at the beginning of the action's expression using the `line` and `column`
functions. Both return one-based indexes.

The code inside the action can also access the parser object using the `parser`
variable and options passed to the parser using the `options` variable.

Note that curly braces in the action code must be balanced.

#### *expression1* / *expression2* / ... / *expressionn*

Try to match the first expression, if it does not succeed, try the second one,
etc. Return the match result of the first successfully matched expression. If no
expression matches, consider the match failed.

Compatibility
-------------

Both the parser generator and generated parsers should run well in the following
environments:

  * Node.js 0.10.0+
  * IE 8+
  * Firefox
  * Chrome
  * Safari
  * Opera

Development
-----------

  * [Project website](http://pegjs.majda.cz/)
  * [Wiki](https://github.com/dmajda/pegjs/wiki)
  * [Source code](https://github.com/dmajda/pegjs)
  * [Trello board](https://trello.com/board/peg-js/50a8eba48cf95d4957006b01)
  * [Issue tracker](https://github.com/dmajda/pegjs/issues)
  * [Google Group](http://groups.google.com/group/pegjs)
  * [Twitter](http://twitter.com/peg_js)

PEG.js is developed by [David Majda](http://majda.cz/)
([@dmajda](http://twitter.com/dmajda)). You are welcome to contribute code.
Unless your contribution is really trivial you should get in touch with me first
— this can prevent wasted effort on both sides. You can send code both as a
patch or a GitHub pull request.

Note that PEG.js is still very much work in progress. There are no compatibility
guarantees until version 1.0.

redpajama_set_name: RedPajamaGithub


Blonde hair with red highlights and lowlights is a natural and beautiful hair coloring option that looks great on most women, but looks best on those with a light or peaches and cream complexion. Red and blonde hair go together beautifully and by highlighting and low-lighting your hair you will give it a natural strawberry-blonde appearance.
Coloring your hair should be done with careful consideration and discussion with your stylist. It is important to pick colors that compliment your skin tone and won't wash you out or make you appear a funny yellow or green color. There are many different shades and tones of blonde and red hair, so talking with your stylist about the look you want and which shades look best with your skin is important!
Blonde hair with red highlights and lowlights is a treat to see. Highlighting helps to lighten the hair, while lowlighting darkens it a bit. Combining the two in blonde hair with red highlights and lowlights gives a natural, fiery glow to blonde hair that is often missing in natural tones. When you use both highlights and lowlights together you are adding depth and dimension to your hair that make it appear more natural and less like a dye job.
Remembering when considering any coloring job, to look at pictures of what you want. These can give you an idea of how a coloring job will look on you and you can take them with you to your stylist so he or she can see what look you're going for. A good stylist will be able to mimic the look in the picture in your hair!


I have been eagerly anticipating this recording ever since I found out about it (almost by accident, whilst surfing the net).
Legendary Canadian pianist Glenn Gould's first recording was him performing Bach's Goldberg Variations. It was recorded in 1955 when Glenn Gould was 22 years old, virtually unknown to the public except his family and friends (and those privileged enough to attend his critically acclaimed New York debut earlier in the year, as well as Columbia Records, who snapped him up in a recording contract purely on the strength of his Manhattan Town Hall performance). When it was released in 1956, the album quickly became a bestseller and forever changed how we play and listen to Bach keyboard music.
Even today, more than 50 years later, the performance sounds fresh, innovative, inspiring, and absolutely breathtaking. Anyone who has ever tried playing the Goldberg Variations will be amazed by the technical virtuosity displayed. Sometimes the notes flowed so fast they made the piano sound like a different instrument. And yet every note was precisely articulated, every polyphonic part so clearly nuanced to reveal new insights and perspectives into the music.
But it wasn't mere technical prowess that made this recording so beloved by Glenn Gould's fans. Never before had any performer so completely fused a musical piece into his personality, turned it upside down and delivered an end result that was as much Glenn Gould as it was Bach. At times stormy, at times pensive, each variation seemed to have a personality of its own. Some were playful, others moody, a few were exquisitely beautiful.
Glenn Gould's "James Dean"-like looks and wild dishevelled hair complemented the audacity of the music and supports the "Rebel with a cause" aura and mystique that developed around him. Soon there were wild stories and rumours about his "peculiarisms" that cemented his public persona and image. Stories about a man who wears mufflers and gloves in the heat of summer, who soaks and heats his hands in scalding hot water prior to playing, who even brings his own folding chair to concerts and recording sessions (and later on, his beloved Steinway "CD 318" piano). Eventually, some of the rumours even turned ugly (there were claims that he was "addicted" to various medications, and some even accused him of "faking" the 1955 performance through tape splicing and editing) and after 1964 he "abdicated" from giving live performances altogether, and became a Howard Hughes like recluse, communicating mainly via lengthy phone conversations with his close friends, and to the public only through his recordings, which he continued to release right up to his death in 1982 of a stroke.
But back to the 1955 recording, the one that started his career. Many treasure it as one of their favourite albums, and its popularity is such that it has never been out of print. Indeed, just on CD alone, there are several versions available (the original CD mastering, the Super Bit Mapped remastering in the early 90s, the version on the Original Jacket Collection, the version on "A State of Wonder", ...). I know - I own all the ones mentioned, plus the LP. There's even a SA-CD of the 1981 recording (Stereo DSD layer only), which is one of the earliest titles released by Sony Classical to promote the format.
Good though the recording is across these different versions, its age and limited fidelity bothers some people. First of all, it's a mono recording, with a limited soundstage. It's also rather bloomy in the midrange, with rolled off highs and lows. And some people are annoyed by the background noises (the creaking of the folding chair, Gould's sharp intakes of breath, foot tapping and occasional moan and groan). Finally, the tape hiss is so pronounced one could almost drink it, or maybe even drown in it.
And this is where this new release comes in, and why it is so potentially exciting. A small company called Zenph Studios claims they have perfected a method of "reverse engineering" a recorded musical performance back into the individual notes (including precise details about not only what notes were played, but their exact moments in time and duration, and dynamics). The output is a computer data file (in a proprietary "high resolution" extension to the popular MIDI format used to program synthesizers) that in theory captures all the nuances of the original performance, but now can be "replayed" or "reperformed" on a suitable musical instrument capable of interpreting this data.
As it so happens, Yamaha produces a line of acoustic pianos (called the "Disklavier") that are effectively like normal pianos except the keys can be mechanically actuated by feeding it enhanced MIDI data. This hybrid multi-channel SA-CD released by Sony BMG contains a "reperformance" of Gould's 1955 recording, lovingly analyzed and captured by Zenph, realized on a modern Disklavier Pro piano, recorded at the Glenn Gould Studio in Toronto directly into DSD using a Sonoma digital audio workstation, nearly 25 years after Glenn died.
What is on disc is actually three different versions of the same performance. Five microphones are used to capture the 5.0 multi-channel version, recorded directly onto DSD with I imagine little or no post-processing. The front left and right channels are then used to create the stereo version (on both DSD and CD layers) with no down-mixing. Finally, an additional set of omnidirectional microphones (built into the "ears" of a dummy's head) were simultaneously used to create a binaural (headphone) version (available as tracks 33-64 on the CD and stereo DSD layers of the disc).
Some of you may be a bit skeptical. Can a computer analysis, no matter how sophisticated, really capture (and reproduce) the essence of a human playing the piano? Even if it could, wouldn't it sound different when played back on a different piano from the original recording?
Others may miss the background noises present on the original recording. Would a version that was totally devoid of extraneous noises sound sterile?
I was interested in exploring possible answers to these questions, so it was with a lot of excitement that I requested and received a pre-release review copy of the SA-CD directly from John Q. Walker (President of Zenph Studios). The title itself has just been released in Japan, but is scheduled to appear in the USA in late May, and at this stage it is unknown whethere it will be available in Australia.
First of all, let's talk about the recording itself. It is technically flawless and perfect, and the direct to DSD technique captures the sound of the Disklavier Pro in amazing, mouth watering detail. The multi-channel version sounded exactly as if there was a real piano in our listening room. Every note came through with perfect clarity, including the harmonic overtones of the piano's timbre, and the reverb tail of each and every note decays wonderfully and naturally into the ambience. It's probably worth buying this recording just to hear how incredibly realistic the piano tone is.
In the multi-channel version, all three front speakers are used effectively, but the surround channels are very restrained and mostly used for ambience. The stereo version sounds nearly as good, with a very wide and deep stereo field, but ultimately doesn't "breathe" as well as the 5.0 version. The binaural version sounds a bit weird when played back using loudspeakers, but sounds amazing on headphones (almost as if I was Glenn Gould himself, hovering over the keys - although the positioning of the dummy's head is slightly higher than Glenn Gould's normal stooped and hunched piano playing posture).
But what about the performance? Is it the "real" McCoy, or a pale imitation of Gould?
Well, the answer is yes and no. It certainly doesn't sound "artificial" or "unnatural": the piano playing is expressive and idiomatic, and any Gould fan would instantly recognise the performance as authentically "Gouldian."
But after listening to both the original recording and the reperformance back to back (the version on "A State of Wonder" compared to the CD layer, on the same player), I feel there are subtle differences between them.
Certainly the versions of the Aria sound remarkably similar between the two recordings, so similar that I was hard pressed to detect any differences.
But in fast passages, the original recording tends to blur the notes so that they kind of run into each other, creating a breathless sense of anticipation as the ear tries to follow the melody. It somehow made the performance more exciting to listen to, not dissimilar to the feeling of being in a rollercoaster. Good examples are of course the last few variations, ie. Variations 26, 28 and 29.
On the re-performance, the individual notes seem to stand out more clearly by themselves. Perhaps this is due to a different piano being used, or perhaps it's due to the higher fidelity of the recording, or perhaps a combination of both. But to me, having the notes stand out more distinctly as individual sounds made the music flow less smoothly, and I don't seem to get as much of a "rush" as I do on the original. The sense of "unreality" that I get on the original version (that the notes almost sound impossibly fast, as if the tape is being played too fast, almost making the piano sound like a completely new instrument) is noticeably absent in the new recording.
I seem to also notice slight differences in the stress of the notes. Perhaps it's my imagination, but occasionally a stray note would "feel" a bit out of place, enough that I would notice it. Sometimes, the character of a phrase would sound a bit different between the two versions.
I don't mean to imply that the original version is superior and that the new version is somehow lacking. Rather, both versions seem to be slightly different interpretations, realized on different pianos. Sometimes I actually get more enjoyment out of the new version (for some reason, the contrapunctal and supporting musical lines seem to come through more clearly in the new version, and made me enjoy them more since they are more distinct). At other times, the original version seemed more subtle. For example, in Variation No. 10 (Fughetta), each new repetition of the fugal theme seemed to have a character of its own in the original version, but in the new version the playing seemed more homogeneous.
Finally, the piano tone was very similar between the two recordings, I wonder if the Yamaha Disklavier was tuned in any way to sound more like the Steinway used in the original recording. However, the piano tone also reminded me of the timbre in Glenn Gould's 1981 re-recording of the Goldberg Variations (where a Yamaha piano was used).
So, in summary, I don't believe that both recordings are identical in terms of the emotional impact of the performances, even though I am willing to concede the notes and playing style may well be identical. The re-performance sounds very similar to the original 1955 version, but curiously inherits some of the characteristics of the 1981 recording.
I wonder what Glenn Gould would have thought of the recording, if he is still alive today. On one hand, we know that he was fascinated with recording technology, and it is certainly tempting to imagine him being very excited by the concept, and working hand in hand with the Zenph engineers to tweak the captured data.
On the other hand, Glenn Gould was also known for being somewhat disparaging and dismissive of his 1955 performance. Perhaps he may not be that keen on this re-performance of what in his eyes may be an embarrassing reminder of an "immature and foolish" youth.
However, regardless of Glenn's own value judgement of his own performance, it is true that many people (including myself) prefer this performance over his more measured, and stately 1981 version. And it is to us that this re-performance is aimed at.
My final conclusion is that this is a recording worth owning, and true to the spirit and ideals of Glenn Gould. It may not be an exact replica of the 1955 recording, but it is a valid performance in it's own right, and takes it's place alongside the 1955 and 1981 recordings with pride.
Don't let anyone fool you this re-performance is anything much like Glenn Gould's. It doesn't even sound like any living pianist attempting to ape Gould – any living person would focus on emulating the ESSENCE of a Gouldian performance, but this is exactly what is missing here. Missing are the special touch, attack, bite, vitality, humor, the unique Gould CHARACTER. You're left with a well recorded, civil, elegant, mellifluous playing, which may match Gould's TIMING to a millisecond, leaving all other aspects out. The very character is lost.
Not that the technical aspects, software and hardware, of Zenph's re-performance are less than astonishing. You can think of it as being able to reproduce, without sampling or recording, a man's speech, with all the pitch and timing aspects, but without capturing the unique expression, insinuations, tone colors, etc., or, in short, character. As the booklet admits, "the process is still in its infancy, really".
The recording, sound-wise, is as good as Sony can give us, which is pretty impressive. I have listened to neither the regular stereo nor the binaural version.
Recommended only for the overly curious and/or those wishing (justifiably) to support Zenph's R&D. The potential of their technologies is, indeed, great!
I don't understand the purpose of this title. The sound, between 1955 original version and the digitally replayed version, declares the absolute winner in the first edition. I found the DSD recording (I listen to stereo version only) from Disklavier dull, all but not natural. The original 1955 performance is strongly different (thanks to God!) from the "newer" one. I think that this experiment is totally unuseful because there isn't better sound, there isn't perfectly similar replaying.


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We were honored to participate in the annual Boca de Oro Arts and Literature Festival in Santa Ana, California.Streets of tThe quaint village of Santa Ana are lined with beautiful homes in the Frank Lloyd Wright manner of Craft Homes. The 25-block downtown area is rife with historical buildings, bakeries, coffee shops, and restaurants. I participated in a panel discussion on migration and used the experiences of my main character in Three Lives of Peter Novak, as well as my own experiences. Fellow panelists Seamus Beirne and Bill Glovinazzo, both authors of historical novels that feature migration, shared their experiences as well as those of the characters in their books. The festival was a huge success and I look forward to participating next year.
One of the perquisites of interacting with fellow authors is getting to know them. Award winning author Seamus Beirne was born and reared in Ireland and migrated to the U.S. at the tender age of 18 to study for the priesthood. After he was ordained he migrated to California to teach Latin and English. He left the priesthood and had a 25-year career as an English teacher, administrator, and union activist. He lives in Irvine with his wife Ann and their dog, Lucy. His novel, Breakout From Sugar Island, was recently published by Fireship Press.
Bill Glovinazzo authored soon to be released "An Italian Love Affair," and three other books. He is a gifted speaker as well a writer.
I will be at the Paseo Verde Library's Local Author Showcase in Henderson from 11:30-12:30 on the 18th of this month, as well as the Spring Book Fling at the main Clark County Library on Flamingo Road 11:30-12:30 on the 25th. Hope to see you there.


text:
Pauatahanui
Opera, Ballet, Theatre & Arts
Oscars Ballot
"an engrossing movie filled with memorable incident, colourful characters and heartwarming and wrenching drama"
★★★★★ - STUFF
- "Who would be interested in a tale of domestic struggles and joys?"
That's the question asked by Weekly Volcano Press' Mr Dashwood (Tracy Letts) of aspiring author Jo March (Saoirse Ronan), when assessing her Little Women manuscript. It's not the first time he's offered her advice either. "Morals don't sell novels," came an earlier warning, along with the "note" that "if the main character is a girl, make sure she's married or dead by the end".
Not that Jo will necessarily pay him much attention. After all, she's been more than happy paddling her own canoe. One of four sisters from Concord, Massachusetts, Jo decided to pursue a writing career in New York, while, as their fearsome Aunt March (Meryl Streep) put it, "Meg [Emma Watson] had her head turned by a penniless tutor and Beth [Eliza Scanlen] battled sickness". That leaves Amy (Florence Pugh) as the family's "last hope". To assist in her prospects, Aunt March has taken her to Paris to learn painting. But to her dismay, Amy has caught the eye of old family friend Laurie (Timothee Chalamet), a young man Jo has already turned down.
This eighth cinematic adaptation of Louisa May Alcott's much-loved 1868 novel might initially come as something of shock to purists, but the result is a bold, bubbly and bravura retelling that makes this classic tale timely as well as thrilling.
Writer-director Greta Gerwig, who proved so adept at capturing the voice of today's young women in films like Ladybird, Mistress America and Frances Ha, here manages to seamlessly splice contemporary concerns, while still evoking the sights and sounds of late-1860s America (the Hollywood Foreign Press should feel ashamed for having overlooked Gerwig for best director).
Yes, all the familiar beats are there, from the book burning to the hair cutting and the ice skating, but they are cleverly juxtaposed against events seven years later in a fractured narrative that actually reinvigorates what could have been a predictable amble down a well-trodden path.
Gerwig also mixes things up with some clever camera angles and varying film speeds, but, never fear, period drama lovers, the costumes are absolutely stunning, the art direction sublime and Alexandre Desplat's score a jaunty peach.
However, Gerwig's real ace is her cast. No disrespect to 1994's "dream team" of Trini Alvarado, Kirsten Dunst, Claire Danes and Winona Ryder (or Katharine Hepburn and company 60 years earlier), but Scanlen, Watson, Pugh and Ronan (ironically an Australian, two Brits and an Irishwoman) really are a magnificent quartet. Through roles in Lady Macbeth, On Chesil Beach, Midsommar and Brooklyn, the last pair have shown themselves to be two of the most exciting actors of their generation and, here, they get the chance to really shine.
The awesome foursome are also supported by a fabulous supporting cast that includes Streep, Chalamet, Chris Cooper and Laura Dern. While playing second-fiddle to her younger charges, it's her Mamie who gets the most poignant lines. "I am angry nearly every day of my life. But, with 40 years of effort, I'm trying not to let it rule my life."
An engrossing movie filled with memorable incident, colourful characters and heartwarming and wrenching drama, Little Women is a reminder of the transportative and allegorical powers of cinema. Make a date to see this with the significant women in your life.
- James Croot, STUFF
Little Women is now playing at Light House Cinema!
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5. What is Your Vision of The Ideal Presenter in Our Environment?
8. Round Table Discussions  Participants agree on a specific topic to discuss and debate.  Each person is given equal right to participate.
9. Academic Conference  Formal event where researchers present results, workshops, and other activities.
11. Seminar  Small groups for recurring meetings, focusing each time on some particular subject, in which everyone present is requested to actively participate.
14. Objectives of Group Meeting 1. To launch a new product. 2. To create interest of a medical community toward a certain problem related to one of your products. 3. To reinforce and increase sales potential of a hospital or a region. 4. To overcome problems or rejections raised by certain medical community. 5. To promote a new concept, a new indication or a recent document related to one of your products. 6. To involve and gain opinion leaders. 7. To keep and improve regular contacts with junior doctors.
18. Choosing the Title The title should be INFORMATIVE and ATTRACTIVE to the audience, as it is the first thing they will know about your presentation.
19. Cont. … Effective title should answer the following 4 questions: 1. Is the title correct, does it accurately represent the subject? 2. Does the title state the limits of the subject? 3. Is the title understandable? 4. Has the title been expressed briefly and effectively?
22. Cont. …  The length of title does not guarantee its accuracy and clarity.  Non-informative phrases contribute to nothing. e.g. A study of….. An investigation on …..
26. Invitation  The invitation may be personal or public.
27. Cont. … The written invitation should include :- 1. Company name, preferably with logo. 2. Name of the hospital (place) in which the function will take place. 4. Title of function. 5. Name of speaker" if any" 6. Type of meeting. 7. Place, time and the date of the meeting.
28. Cont. …  In addition, the personal invitation should contain the name of the invited customer preferably typed, and it must be delivered personally.
29. Cont. …  The public invitation should be hanged in places that allow every body to see it, and this should happen many days prior to the function.
31. Room Arrangement  It is very important to properly arrange the meeting room.  The objective of room arrangement is to make sure that all attendance hear and see you clearly.
32. Cont. … When arranging the room, some items are to be considered:- 1. The site of electric supply, and you should have an electric connection wire. 2. Light intensity, light switches and Curtains. 3. The position of the projector. 4. Mic. 5. Chairs setup and passages. 6. Screen and flip chart.
35. Cont. … Projector 1. Keep the screen at least 120 c.m. above the floor. 2. Test the projector before using it. 3. When to turn off the projector?
36. Cont. … Block notes and pens  May be supplied by the hotel, but its better to be branded  Should be related to the subject, or the company.
38. Cont. … Pointer 1. The pointer can add much to your presentation, and also can take much. 2. You have to test the pointer and make sure of its battery. 3. How to use the pointer?
39. Cont. … MIC  Test the mic and make sure your voice is clear.  Check the battery if the mic is wireless.
41. Audience Analysis You will have to analyze your audience, since audience analysis will guide you during the preparation as well as the delivery of your presentation.
42. Cont. …  Who are there? How many will be there?  What are their knowledge about the subject?  What is their age, gender & educational background?  The influencer, is he supportive to you and your product?  Where will you stand?  What are their needs for the topic and you?  What specific needs do you need to address?  What do they expect to hear and learn from you?
44. Cont. … As an Organization 1. What is their history about group meetings? 2. Which companies held group meetings there before? How does it sound? 3. What is my history and my company history in this place? 4. Which products used currently in this place? To what extent? In which indication? 5. Did any one of the attendees had attended a previous function arranged by your company?
47. Cont. … 2. Receptivity to you and your product  There are two important questions that you should ask yourself about every individual in the group: 1. How receptive is he/she to you and your company? 2. Which of them is likely to be positive or negative toward you and your product?
48. Cont. … Note  Audience analysis will help you expect problems that will be raised by negative people in order to be ready for answering.  It also will help you identify who are your supporters in the meeting.
60. Preparing the Presentation Advantages 1. Increase audience interest. 2. Good slides give the impression of professionalism and thorough preparation. 3. Increase percentage of message retention. 4. Amusing slides can add a touch of life to the presentation.
65. 00:30 Arrive at appointed place about 30 minutes before scheduled time of the presentation.
68. TALK to your audience before the presentation START linking with them.
70. Podium Panic For some people, the thought of giving a presentation is more frightening than falling off a cliff, financial difficulties, snakes and even death.
71. Causes of Podium Panic 1. Lack of knowledge. 2. Poor preparation. 3. Forgotten audience need. 4. Over practicing. 5. Too hasty.
72. Dealing With Podium Panic  Consider the presentation as an opportunity to show your audience how professional you are.  Audiences are forgiving.  Nervousness is usually invisible.  Be yourself.  Practice deep breathing visualization techniques.  Begin in your comfort zone.
73. Cont. …  If you see some negative expressions, do not worry, nobody hates you.  Audience want to feel that you are friendly, so that try to be intimate with them. If the audience feel that you are nervous or unsure, they will form a negative opinion about you.  Try to look confident and smile.
74. Humor It is a good idea to start the presentation with something funny.
78. Presentation Time 20:00Maximum 20 minutes are allocated for the presentation time.
79. Time Frame Presentation Time Consequently, you will have to represent the most important benefits to their practice so as to attract them and also to avoid some objections.
81. Begin with a slow, well prepared introduction Do not rush into the core of the subject, use the first minute to set the pace. Introduce yourself and your company and then greet and welcome the audience.
85. Presentation Time 1- Introduction  When you start speaking, your opening statement is very essential.  People who have not formed an opinion about you by just looking at you will certainly form their opinion on the basis of what you are going to say by the start of your talk.
91. Some Opening Remarks May Spoil the Presentation  Joke  I am not the best to talk about this subject  It is a honor to be here  Using clichés as Mr. chairman, Mr. president, Professor A, Professor B, ladies and gentlemen.  I prepared this last night, and I did not had enough time to review.  It's a pleasure to be with you, when your body says the opposite.
94. Presentation Time 2- Body  After you have drawn the audience's attention, you will move into the main core of your presentation.  Try to keep the contents restricted to three or four main points which constitute the core of your presentation.
95. Cont. … Your objective is to make sure that the audience are fully aware before introducing one of the main points of the presentation, and this could be achieved by:- 1. Asking rhetoric question just before an important point. 2. Showing a striking visual aids.
96. Cont. … e.g.1 We had a look at the spectrum and penetration power of Ciprofloxacin, let's now have a look at how can this improve your patient convenience?
97. Cont. … e.g. 2 And moving to a very important point in the treatment of these cases, which is: How much will it cost your patients? Can anyone tell me the average cost of a chronic prostatitis patient?
98. Cont. … These two techniques help you to:- 1. Get the key points across to the audience. 2. Frequently remind the audience with the main message. 3. keep the audience's attention and interest through the presentation. 4. keep an eye on time.
101. Presentation Time 3- Conclusion It is very important to finish the presentation in a way leaves the audience thinking about what you have said long after you have finished.
102. Cont. … You can use some signal words such as "finally" or " as a conclusion" to start the conclusion.
103. Cont. … Many techniques used to strongly end the presentation: A call to action  Asking the people to act on what you have told them to gain the experience on their own. A quotation  Very effective, just make sure that it is relevant to your talk.
104. Cont. … A challenge  If your presentation advocates changes, challenge the audience to try it as many people accept challenges. A strong summary  A clear summary of the main points of what you said will be retained in the audience mind.
105. Cont. … In the conclusion, you have to avoid: 1. Ending weakly. 2. Adding any new information. 3. Adding any unimportant points. 4. Going on too long. 5. Using clichés ( I repeat again, as last word) 6. Showing a table or a diagram.
108. Discussion Time After every presentation, there is a time for questioning, and this period may enhance the presentation or may not.
109. Cont. … Usually, discussion is after the presentation, and here you will receive the audience questions about your subject.
110. Cont. … That's why there is no time limit for the discussion period, as long as it is productive and the whole questions are direct to you. The effective discussion may be a sign of a successful presentation.
111. Cont. …  During the discussion, if you don't know the answer of a question say so, without neither hesitation nor embarrassment.  If the question is related to the product, take the name and address of the doctor who gave the question, refer to the office and send the answer back to him.
113. Controlling Discussion Here are some tips that help you to properly handle questions and ensure supporting your presentation: 1. Listen to the whole question before answering it. 2. Make a pause to give yourself time to evaluate the question. 3. If needed, answer the question by a question to give yourself more time. 4. Repeat the question loud so that everybody can hear it.
114. Cont. … 5. Credit the person who asked the question " Thank you very much for this question" " That's a very important point you raised " 5. Respond to the question honestly. 6. Always after answering any question say " does that reply your question?' and the "Yes" here is your permission to move to the next question.
117. The Talk Hog Definition This individual want to monopolize the group discussion and waste time.
118. Cont. … Handling  Avoid eye contact with him in order to prevent his participation.  What if he is already talking?
120. The Argumentative Definition:  This individual shows disagreement within the group.  This naturally occur during any discussion in the medical practice.
121. Cont. … Handling:  Interrupt this individual and point out that the total agreement is not expected and there are always two sides of an issue.  Then, direct a question to an uninvolved person about a detail that was not included in the disagreement.
124. The Status Seeker Definition:  This individual wants to use the discussion as an opportunity to manifest his personal knowledge to the group.  He does not really care about your product, but his concern is to impress other members of the group.
125. Cont. … Handling: When the status seeker comments, direct his statement back to the group as overhead question, or direct him a question to bring his comment back to the subject.
127. The Calm Definition: This individual will not volunteer comments and he has a tendency to stay silent.
128. Cont. … Handling: Direct a question to him, and whenever he speaks up, reinforce it by thanking him for his participation and express how interesting it was.
130. The Joker Definition: This individual is not serious about the topic of the presentation, but he interjects humorous remarks and jokes.
131. Cont. … Handling:  This is not a serious problem, it can even help the group to relax and enjoy the presentation.  If you are an experienced discussion leader, you will get use of the joker.  Do not be afraid to laugh at his jokes.
133. The Sharp-shooter Definition : This individual is a hostile to you and/or your product, and seems to use every available opportunity to embarrass you.
134. Cont. … Handling:  Allow him to express his hostile feeling in front of the group.  Answer his question by a question while you are looking at him and moving closer to him.  Get back to your position and rephrase his question and then answer it.
135. Cont. …  You may have to point out that one of the purposes of the presentation is to hear all opinions.
137. Time Frame Hi-teatime The Function is not over by the end of the discussion.
138. Time Frame Hi-teatime Do not leave your audience taking their hi-tea alone, you should be with them to show great hospitality and care. Your attended colleagues and your direct boss should accompany all audience during the hi-tea, especially the hospital director and the head of department. Let everybody talk about the subject while they are taking their hi-tea.
142. Why Following-up is Important? Because if it is neglected; objectives of the group meeting might not be achieved Participants will be engaged in new projects after your group meeting. So; reinforcement of the purpose of the group meeting is not achieved.
147. Channels of Communication The more the channels of communications you can use at the same time, the better the retention of your message in the audience's mind.
149. Cont. … People grasp ideas by two ways  Verbal way: Which stimulates the left hemisphere of the audience brain.  Visual way: Which stimulates the right hemisphere of the audience brain.
151. Gesture  Your gesture should be natural and spontaneous.  Remember that gestures are reflections of your personality, and what may be right for one person is not necessarily right for another.
153. Cont. … Some recommendations may guide you to effective gesture:  Respond naturally to what you think, feel and see.  Create a condition to gesture.  Suit the action to the word and occasion.  Do not overdo gesturing.
155. Voice  Your voice should reflect confidence, emotion and emphasis.  Vary your voice occasionally to avoid monotony.  Use pauses and silences to create suspense, emphasis or mark question.
157. Eyes  Eyes are said to be the key to soul.  They represent the first and the most effective weapon in convincing the audience with your honesty, credibility and confidence in the subject.  You should use your eyes to enhance rapport with your audience, by establishing eye contact with every member of the group as often as possible.
158. Cont. …  Visualize your audience as individuals not as a mass.  In addition, shortly after each change in posture, a slight smile will convince everyone in that direction that you have seen and acknowledged him/her.
162. You Don't Know Your Topic!  You memorized the content….  Someone has a question…..  Panic sets in  You never prepared for questions and all you know about this topic is what is written on the slides.
163. A Better Scenario  Know your material so well, that you could easily do the presentation without an electronic enhancement such as PowerPoint.  Nothing will ruin your credibility as a presenter faster, than not knowing everything about your topic.  Use key words and phrases and include only essential information to keep the audience focused and interested. Be prepared for questions and know the answers.
165. The Slides are Not Your Presentation  An audience member says that she can't read the slides.  You graciously tell her you will be reading them and proceed to do so, while looking up at the screen. Each of your slides in filled with the text of your speech.  Why do they need you?
166. A Better Scenario  Always remember that you are the presentation. The slide show should only be used as an accompaniment to your talk.  Simplify the content, by using bullet points for key information.  Keep the most important points near the top of the slide for easy reading in the back rows.  Focus on a single topic area for this presentation and use no more than four bullets per slide.  Speak to the audience, not to the screen.
168. Too Much Information  You know so much about the topic, that you jump from here to there and back again talking about everything there is to know about your brand new widget, and no one can follow the thread of the presentation.
169. A Better Scenario  Use the K.I.S.S. principle (Keep It Simple Silly) when designing a presentation.  Stick to three, or at the most, four points about your topic and expound on them.  The audience will be more likely to retain the information.
171. Poorly Chosen Design Template Or Design Theme  Blue was a good color for a design template or design theme.  You found a really cool template/theme on the internet, with a beach scene. Water is blue, right?
172. A Better Scenario  Choose a design that is appropriate for the audience.  A clean, straightforward layout is best for business presentations.  Young children respond to presentations that are full of color and contain a variety of shapes.
174. Electrifying Color Choices  Audiences don't like unusual color combinations.  Some are unsettling and red and green combos can't be differentiated by those with color blindness.
175. A Better Scenario  Good contrast with the background is essential to make your text easy to read.  Dark text on a light background is best.  Off white or light beige is easier on the eyes than the typical white.  Dark backgrounds are very effective, if the text is light for easy reading.  Patterned or textured backgrounds make text hard to read.  Keep the color scheme consistent.
177. Poor Font Choices  Small, script type fonts might look great when you are sitting 18 inches away from the monitor.  You didn't consider the lady sitting 200 feet away from the screen who can't read them.
178. A Better Scenario  Stick to easy to read fonts such as Arial or Times New Roman.  Avoid script type fonts which are hard to read on screen.  Use no more than two different fonts: 1. One for headings 2. Another for content  No less than a 30 pt font so that people at the back of the room can read them easily.
180. Extraneous Photos and Graphs  You figured no one will notice that you didn't do much research on your topic if you add lots of photos and complicated looking graphs.
181. A Better Scenario  "Time is Money" is really true in today's world.  No one wants to waste their time sitting through a presentation with no substance.  Use photos, charts and diagrams only to emphasize key points of your presentation.  They add a nice break to the material, and when used correctly, can only enhance your oral presentation.  Illustrate, don't decorate.
183. W-A-Y Too Many Slides  Your vacation cruise was so fantastic that you took 500 photos, and put them all in a digital photo album to impress your friends.  After the first 100 slides, snores were heard in the room.
184. A Better Scenario  Ensure your audience stays focused by keeping the number of slides to a minimum.  10 to 12 is plenty.  Some concessions can be made for a photo album, since most pictures will be on screen for only a short time.
186. Different Animations on Every Slide  You found all the really cool animations and sounds and used 85% of them in your presentation, to impress everyone with your flair.  Except …..  The audience, doesn't know where to look, and have totally lost the message of your presentation.
187. A Better Scenario  Animations and sounds, used well, can heighten interest, but don't distract the audience with too much of a good thing.  Design your presentation with the "less is more" philosophy.  Don't let your audience suffer from animation overload.
189. Hardware Malfunctions  The audience is settled.  You are all set to start your presentation  And … guess what?  The projector doesn't work.  You didn't bother to check it out earlier.
190. A Better Scenario  Check all the equipment and rehearse your presentation, using this projector long before your time to present.  Carry an extra projector bulb.  If possible, check the lighting in the room you will be presenting in, prior to your time in the limelight.  Make sure you know how to dim the lights if the room is too bright.