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Together Again in the Dark: The 2003 Chicago International Film Festival
Robert Keser
The crowd has a thousand eyes
The words come from Taiwanese master Tsai Ming-liang, referencing his unique tribute to the cinema in Goodbye Dragon Inn, but any film festival supplies an occasion for moviegoers to gather in the darkness once more in a new community.
For the 39th time, the Chicago International Film Festival cemented its reputation as the cornerstone of the cinematic year by unreeling over 100 new features and numerous shorts from 43 countries, and spectators did their part by flocking to buy tickets for all manner of film rarities. Even the weather helped by gracing the event with autumnal sunshine and balmy Indian summer breezes, no small matter when arctic winds could quickly turn the city into a frozen Alphaville, capital of pain.
Filmmakers, both veterans and newcomers, arrived to shop their newly minted masterworks and to hobnob with their audiences, who rubbernecked to spot the more visible luminaries such as Anthony Hopkins, Campbell Scott, Tsai Ming-liang, and Peter Greenaway, while Robert Downey Jr., Taye Diggs, and Robert Benton deplaned to pick up career achievement awards.
With such a variety of entries, each representing a different strain of cinema, it's misguided to search for consistent themes, yet many of the choices below somehow revolve around absent fathers but conclude with individuals hoping to turn disasters into new beginnings. From the festival's embarrassment of riches, the following 14 films proved rewarding as upwellings from the collective unconscious of cinema.
Has any film introduced its heroine with more beautiful imagery than South Korea's Oasis? Here, a snow-white dove darts into a tenement window and flutters through the rooms, but a sudden cut reveals that the bird's movements are actually reflections of light dancing on the ceiling. Then, when the camera angles toward the source of the light, we see the heroine sprawled on the floor, trying to manipulate the mirror in her clenched, spasming hands, unable to walk from cerebral palsy. Penetrating beneath the surface limitations that control her physical state, director Lee Chang-dong edits to connect us directly to the woman's thirst for beauty. The hero's problems, apart from his recent stint in prison, include a mental deficit, but Lee boldly roots us in his head, winning the audience's total identification with the wiry youth's quest for human connection, his survivor's intelligence pulsing with a young man's hormones, never mind his inappropriate behavior and sometimes poor choices. The sharp, achingly intelligent Oasis became South Korea's top box office hit, perhaps because it reimagines the cinema love story in an unsettling new form, complete with its own love song. These lovers live with deficits that become prisons, turning simple actions into agonizing impossibilities, where even slamming a wheelchair into a wall does not communicate its message, and where sawing down the branches of a tree can become an obliquely touching expression of love. With its muscular camerawork, the film also casts an unblinking eye on the embarrassment of the abled, and the ways families can exploit the disabled. Plot twists ultimately reveal unexpected layers of meaning in seemingly transparent events, which then ripple and grow in the mind with reflections on communication, criminal guilt, and the abuse of the defenseless. Putting aside the tricky time/memory structure of his Peppermint Candy, Lee again guides the stars of that powerful film, Sol Kyung-gu and Moon So-ri, into boldly original work that keeps us nailed in our seats. Now that this director has taken office as South Korea's Minister of Culture, will his country flower with cinematic blooms?
A scrawny mouse struggling to free itself from a strip of sticky paper becomes a metaphor for both protagonists of Distant (Uzak), two cousins who enact a country mouse/city mouse polarity while trapped in their own circumstances. One is a lean, languid, fastidious photographer accustomed to indulging his refined tastes (his intellectual friends squabble over Tarkovsky). The other is a young village man laid off when the local factory closes, leaving him only with a desire to see the world and a responsibility to send home money. Snowy vistas of Istanbul alternate with stunning Anatolian landscapes as attention shifts from one man to the other. The photographer pursues his career, reluctantly tends his ailing mother, and still more reluctantly faces up to his own shortcomings. Meanwhile, the cousin's goal of a seafaring life proves to be a pipe-dream, as wrecked as the massive ship on its side that forms one splendid image, while he longs to connect with a woman yet cannot make a decisive move. With no dialogue at all for the opening 15 minutes, and much natural sound thereafter, including wind-chimes tinkling and discreet passages of Bach, director Nuri Bilge Ceylan lets the contrasts between the men build, leaving Turkey's economic downturn as simply a jumping-off point to trace the nuances of alienation in his characters. Eventually, personal frustrations boil over in the arena of sharing the photographer's sterile electronics-filled apartment, with the camera moving into intense close-ups to support the sincere, thoughtful performances of the two stars, who shared the Best Actor prize at Cannes. Despite the polished photography, playing with shallow focus to divide visual planes, the epic widescreen seems too expansive for the two self-absorbed characters, while the emotional content eventually thins out as both men prove too tactful for blunt confrontations. When Ceylan withholds details about how the intellectual contributed to the failure of his marriage, or about what provoked the villager's final decision, this ellipsis may seem modish and sophisticated, but life and meaning live in those details. Considering that the film won the Grand Prize at Cannes, its concluding image of loneliness — the cold sea splashing across the stormy waterfront with Angelopoulos-like drama — falls somewhat short of the intended resonance.
The magnificently civilized A Talking Picture more than keeps the promise of its title, proceeding via a stream of cultivated discussion of history, largely through the person of an elegant history professor from Lisbon University who is taking her seven-year-old daughter on a cruise through the magical ports of call that established civilization on the Mediterranean. Like Vasco da Gama, they are two Portuguese seafarers, and with the same destination of India, to meet her husband, an airline pilot. Both teacher and mother, answering the child's questions she becomes the vehicle for Portuguese auteur Manoel De Oliveira to reconsider first principles: What does civilization mean? What's a myth? Why are people so wicked? What do we mean by "nature"? What's a mosque? From the Acropolis to the pyramids at Giza to a market in Aden, the golden sunlight illuminates the discussion, while the director notes mysterious correspondences: a dog pulled on a leash in Marseilles is mirrored by a similar figure in a mosaic in Pompeii. It wouldn't be a De Oliveira movie without performance elements, so a majestic shot introduces the Greek theater where Antigone and Medea first played, and later Irene Papas performs a folk song for the passengers aboard ship. At the captain's table, John Malkovich speaks in English, Catherine Deneuve in French, Stefania Sandrelli in Italian, and Irene Papas in Greek, with the conceit being that they all understand each other (and even remark on the fact). Love, women, politics, and language are the topics, presided over by Malkovich, who is surely the most effete sea-captain known to cinema. Those seeking an eventful narrative must wait for the final ten minutes, where the writer-director deviously changes course and convulses expectations, casting an entirely new context for the hundred minutes that have gone before, but only a 94-year-old director could get away with ending on such a supremely audacious note.
A Thousand Months (Mille Mois) revisits a particular moment in Morocco's history, the entire month of Ramadan in 1981, just before fundamentalism took root throughout the Muslim world, when young women could still wear short skirts. Director Faouzi Bensaidi concentrates not on the hardships of fasting but on the struggle for survival in a mountain village, at a troubled time of ruinous drought, government repression, and punishing labor that has already driven one villager mad. At the center of attention is a little boy, a reluctant teacher's pet who has to tote the instructor's chair to school every day, carrying on his head the full weight of this symbol of civil authority. Used as a go-between by his smitten schoolteacher, the boy has to deliver (and recite) love letters that voice sentiments like "Next to you, other women look like hairy apes." The boy's father has been imprisoned (without trial) as a militant, but his mother and grandfather maintain the fiction that he is working in France. The village's free spirit, the qaid's progressive daughter, wears blue jeans and make-up, smokes cigarettes, leads student demonstrations, and seems a touchstone of integrity. Controlling the means of communication becomes a concern, as the engineer who runs local TV transmission cuts off a popular soap opera for the entire village, except for his beloved's house so that only she will know how it ends. The boy's performance, whether playacting at martial arts postures after seeing a Bruce Lee movie, or realizing in one piercing epiphany of mortality that "I'm going to die!", betrays not the slightest self-consciousness. Bensaidi's historical perspective functions as a shield that permits a scene where the boy, annoyed by a madrasa-student who won't stop reciting the Koran, proceeds to beat him on the head. Similarly, when guards forbid a prison visit, the wife's protests are met with physical intimidation and bruises, and we later see her succumbing to despair as she lets a band of beggars snatch away her money. Whatever pressures constrained the director, the film does seem insufficiently shaped, with the tone wobbling from vignette to vignette among elements that could just as soon turn comic as tragic. Then, when an extended wedding party turns disastrous with drunken revelry, with frustrations vented, secrets uncovered, and ending in suicide and flames, a strikingly composed shot sends a horseman riding through the flames as the wedding tent burns and falls apart before our eyes.
Fans of Alexander Sokurov will not be surprised by the occasional stylized dreamscapes in Father and Son, with their filtered light bending in distorting mirrors, or by allusively religious dialogue like "A loving son lets himself be crucified". Creating the same trance-like intensity as the director's haunting Mother and Son (soon to be joined by a third title in a family trilogy), this new film evokes the same sense of love isolated in a private poetic world. Here a rooftop becomes the privileged space where the title duo work out their charged relationship in a series of baiting challenges and insistent provocations, a tug of war not for dominance but separation and independence. Combative action and feverish intimacy continue at the son's military academy, where blond recruits push body against body in testosterone-fueled games. Playing with the dangers of instability and the risks of heights, the director stages movement and even fights on a plank casually thrown between two windows over an abyss. If Sokurov made the world hold its breath throughout the 95-minute unbroken shot of Russian Ark, here the director fissures a scene where the son's mistress ends their affair, citing a liaison with a new lover, with dynamic montage of overlapping cuts. Embarrassment about this film's humid intimations of incest apparently inspired the cold shoulder shown it by critics at Cannes. While Sokurov chided them for being out of touch with physicality, the erotic signposts are unmistakable: two hunky males, one twenty years older but hardly believable as such, soulfully gazing into each others' eyes in long intense close-ups. The very opening has the men's muscular arms entwine during a turbulent, disturbing dream, but later when a third character arrives in search of his father who disappeared, he can only briefly penetrate the household. With all its poetic refinements — its arresting images shot in locations in both Russia and Lisbon, full of discreet underexposure and overexposure in buttery sunlight, all underscored with wisps of Tchaikowsky and inventive electronics — Sokurov's film cannot be reduced to its sexual meaning, but the heavy-breathing claustrophobia belongs to the Cocteau of Les Parents Terribles.
Sexual Dependency sets out to indict machismo on two continents, from the forced frolics of spoiled rich kids in Bolivia to the homoerotic jock-play of drunken frat boys in upstate New York. Teen revelry is open 24 hours here, with a centerfold-ready cast of 15- to 17-year-olds burning pure adrenaline in crowded clubs, flashbulb-strobed fashion shows, and university theater stages. Sex, it turns out, is rather an ordeal, whether for the working-class schoolgirl (whose father threatens, "I'll kill you if you get pregnant"), or the shy Colombian teenager pushed into a brothel backroom for his initiation to manhood, or a hunky underwear model who can't own up to his same-sex attraction and so hangs around longingly in locker rooms. With few parental units in sight, the jailbait cast feel free to disrobe often, encouraged by director Rodrigo Bellott, who brings his cameras into a public shower to soap up alongside the football team. There's no plot per se, just loosely connected characters in successive mini-dramas, each with its own title, but this nonlinear approach allows Bellott to double back, recycling earlier moments from a fresh viewpoint. The narrative complexity consistently exceeds the psychological insight, though, and then the movie brakes to a standstill for an extended monologue that involves an heirloom mirror, a dismembered Barbie doll, and a parking lot rape. At his best staging flashy scenes of kinetic movement, the energetic 24-year-old director tries to pump up visual interest by splitting the screen, the two frames showing different angles or occasionally counterpointed scenes, though less to pursue an experimental agenda than for sheer novelty. However admirable his intention to fuse North and South American cinema, the director is mostly shooting blanks with these vacuous delinquents.
In the opening moments of Time of the Wolf (Le Temps du Loup), a family arrives at their country cottage only to have their world of bourgeois security destroyed by a single shock cut and a single gunshot that kills the father. Some unspecified and unspoken darkness has fallen over the world ("Don't you really know what's going on, or are you just stupid?" asks the killer), allowing Austrian auteur Michael Haneke to pull at the skin of civilization that covers the western world, stripping it of electricity to plunge the characters into the same hellish conditions that prevail in postwar Iraq or much of the third world. Forced into a makeshift existence to survive in a new post-apocalyptic wolf-age, the mother (Isabelle Huppert) leads her two children in quest of safety and relief through the menacing backwater (she keeps asking about the city, seeking other urban dwellers). Enclosed in primal darkness and silence, they are reduced to primitively burning clumps of hay for some transient, flickering light or traveling by the light of bonfires that consume carcasses of cattle and sheep, dead from contaminated water. In images that are precise but not airless, cinematographer Jürgen Jürges — collaborator with Fassbinder and Wenders, as well as Haneke (Code Unknown) — provides memorably striking visuals: the pitch-black night stretches across the widescreen, extending the darkness of the theater onto the screen, relieved only when torches proceed along the top of the screen, or day dawns with an almost impenetrable veil of white smoke shrouding the countryside. With no power, movement ceases (even a bicycle has become useless: there is nowhere to go), and technology appears like the privilege it is for most of the world. Never romanticizing the mother's emotional responses (in fact, others criticize her), Haneke soon shifts the film's center away from the nominal star to the children, both in highly sensitive performances, and then outward to peripheral characters, probing at the human capacity for violence, until all humanity seems to be on trial. In extremis, people cannot help but reveal their essence as human beings, but thieves and control freaks have also survived, as have class divisions and bigotry. With dualities of dark and light, living and dead, Haneke's cinema of anxiety builds an austere atmosphere of sensory deprivation where a few bars of music sound unbearably precious, yet for once this most unnerving director allows that charity and sacrifice are also realities. When the father's presence resurfaces, suggesting a challenge to the finality of death, the finale mounts toward a gesture of hope and generosity from one stranger to another, before the powerfully enigmatic final tracking shot (but be forewarned that several animal deaths are depicted).
"It's the cortisone," says the doomed hero of Jafar Panahi's Crimson Gold, to explain his lumbering bearlike body. This could be a memento of a wartime injury, for he is an army veteran, and "the medication slows him down," according to his pickpocket colleague. When a robbery goes wrong near the beginning of the film, we see his death but rather than acting as a plot spoiler, this deepens the subsequent flashbacks, where he lives like the walking dead. As played by real-life paranoid schizophrenic Hossein Emadeddin, this pizza deliveryman, zooming his motorocycle around the traffic-clogged highways of Teheran at night, is a great creation. Perhaps it's his puffy face and the dark shadows under his eyes, or maybe it's his Thorazine shuffle and inability to summon any affect, but — consonant with Iranian film's aesthetic of shunning emotional indulgence — his lack of emotive response (and Panahi's impassive camera) forces us to dig below the surface to x-ray his actions and words. Funny when he pragmatically distributes unused pizza to some cops, humane when advising a 15-year-old soldier that he's too young for the army, and patient when he politely asks his desperately chattering fiancée to " Please stop talking," he seems neither saintly nor childlike, and the director resists turning him into a clinical case. With no dramatic underlining to push our responses, the impact of each daily humiliation accumulates in our minds as we measure the man's vulnerability. Dogged by social invisibility, he feels insulted at a jewelry store by the patrician owner ("He didn't even look at us"), and he stands next to a wealthy playboy who tells his telephone caller "there's no one here." The creator of The White Balloon and The Circle, Panahi was famously arrested by American officials last year and held in chains for 16 hours at JFK Airport in New York for resisting Immigration personnel's demands that he get a transit visa merely to change planes. Nor has he flourished in Iran, where homegrown cultural tyrants have banned this film, no suprise given its portrayal of repressive entrapment by police. Secretly staking out forbidden parties with young people, the police are shown wielding their power with irrational authoritarian aggression, arresting men and women as they leave, as well as parents arriving to pick up their children. The humanism of the torn-from-the-headlines script by Abbas Kiarostami, the director's mentor, makes its point when the hero asks the young soldier what he does for fun: nervously looking around, the boy replies without irony, "What's fun?" Lying in darkness in his modest room, his beefy torso overflowing his modest bed, the proletarian hero can only brood while outside another police raid rounds up more people who protest their innocence. What a contrast to the palatial penthouse duplex that he visits, with its fountains and pool, grand piano and balcony, a showcase of the glaring economic disparities within the Iranian theocracy. As the playboy freshly back from the U.S. keeps repeating, "This is a city of lunatics!"
André Téchiné's Strayed (Les Egarés) opens with b/w footage of walls collapsing, then of horses stumbling and falling, tripping up horses behind them. It's June 1940 and desperate evacuees from Paris, trucks piled high with their belongings, are in flight through the countryside. From the treetops, a tracking shot cranes down a line of vehicles until the camera stops on the anxious face of Emanuelle Béart. She is a schoolteacher, a widow trying to drive her son and daughter to safety, yet she refuses a ride to a pleading soldier (it's "everyone for himself," she explains). In the chaos of a Stuka attack on the refugees, they are joined by 17-year-old Yvan, a near-feral survivor who patrols the forest, looting corpses ("The living might as well have it"). The magical note is struck when he is introduced almost subliminally: first there were three people fleeing from the burning car, then there are four. He leads them into what we come to realize is an enchanted forest, away from the chaos of war and suspended in time, where the quartet set up housekeeping in a deserted manor house where the clocks have stopped. But why does Yvan cut the telephone lines and conceal a radio? He evades questions about his background, then his inability to read a wine bottle label reveals that he's illiterate. No moralist, director Téchiné is interested in framing the unexpected relationships free of everyday constraints, in a fairy tale structure, not in judging them. The mother embodies the proper bourgeoise, mortified that she wet her skirt with fear, protective of her family, opposed to entering a stranger's property, but no one listens to her. Not her tough-minded 13-year-old son ("You give us fine speeches but you do the opposite!"), nor her little daughter, who rejects a bedtime story, preferring to play with the boys. Unable to sleep and plagued with a recurrent nightmare when she does, Béart's reserved schoolmistress succumbs to wine and lassitude, becoming a kind of Unsleeping Beauty. She barely rules in the home, but when she finds a revolver that Yvan has stolen, she buries it and refuses to tell him where ("Death scares me. I'm civilized") for as long as they live together as a community. As master of the countryside, Yvan provides game and fish for food, and just as the possibility of a sexual relationship arises, two survivors from a doomed infantry regiment appear and proceed to restart the clocks. As Yvan's concern about the gun takes on a new meaning, the film could veer down several different paths, but the development followed is sharp, sophisticated, and dark. Balancing the images of wartime dislocation and instability, Agnes Godard's tracking camerawork moves freely through the radiant fields and forests brimming with summer abundance, but with the same tensile strength that she brought to Beau Travail.
"They say this theater is haunted" are the first words spoken in Goodbye Dragon Inn, a full 45 minutes into Tsai Ming-liang's feast of minimalism. While Dragon Inn, Tsui Hark's desert swordplay spectacle, unfolds onscreen, its dryness becomes a witty counterpoint to the director's longtime obsession with water. As the scratchy music of the 1966 movie booms around the nearly empty Fu-Ho Grand Theater, one of this film's first images shows the backs of two heads, exactly as you would see them in the row ahead of you. Instead of celebrating the onscreen Hong Kong fantasy, Tsai studies the audience, the receivers of the celluloid myths, who are conceived here as ghosts, vampires, and wraiths inhabiting the theater. Tsai teasingly watches patrons we'd rather not sit next to, ones who make too much noise rattling their bags and eating (including a hilarious deadpan scene of a sluttish woman, legs slung over the seat ahead, cracking seeds in her teeth with deafening sound), while others have designs on their neighbors' bodies. This cinema is a place where outsiders gather for community, yet connection is fitful at best as people remain closed inside themselves. Unafraid of slow scenes, Tsai draws out whatever action that transpires to lengths quite beyond reason, building and sustaining tension so that the merest turn of a player's head amasses unaccustomed significance and, as often as not, absurd humor. Even when a much prolonged shot, such as the cashier desultorily picking at her fuschia-colored steamed bun, brings no pay-off, it still destabilizes our sense of film time, preparing us for the next attempt. Tsai's longtime onscreen counterpart Lee Keng-sheng plays the projectionist in this anti-Cinema Paradiso. When he collects water from two pails, he pours it into one big pail, and then tosses the water out the window, into a driving rainstorm: this is very funny, but why? The Taiwanese master uses offscreen space, sometimes opening on an empty frame that a character enters at one plane and then exits at another, and defines onscreen space when the cashier, dragging her clubfoot, walks and climbs and walks endlessly, showing the audience every seed-spattered inch of the cinema, like Sokurov leading the audience through the Hermitage museum in Russian Ark. When she finally exits the frame and the shot of the empty theater persists longer and longer and still longer, Tsai provides only a whisper of ambient sound, enlisting your unwitting neighbors as interactive participants with their natural sounds. Like Buster Keaton adrift alone on an ocean liner in The Navigator, Tsai makes deadpan poetry out of vast open spaces. If the camera rarely moves in his cinema of stillness, each multidimensional composition presents an image dense with striking detail, like the cashier's face illuminated by light streaming through pinpoint dots of the screen. When the end credits roll (the production's two cats get top billing), nature pours rain over a woman with a red umbrella while a pop song throbs with nostalgia: "So much of the past lingers in my heart, half bitter, half sweet…Can't let go, can't let go."
Out of the closet of past masterworks, Chicago Reader critic Jonathan Rosenbaum shone a retrospective light on Benilde or the Virgin Mother, a 1974 rarity from Manoel De Oliveira, one that signaled a new surge of prolific output from this preeminent doyen of living directors. From a controversial 1947 play, the film tests its characters by their reactions to a young woman's claim that God has impregnated her in a miracle of divine grace: her father tries to control her, her aunt confesses indiscretion and madness in her own past, her fiancé claims he took advantage of her while she was asleep. Who is lying? Can we know, and does it make a difference? With creamy whites plus richly saturated technicolor, with stormy shadows and leaves swirling, De Oliveira recalls Douglas Sirk's melodramas, in the service of intensely dramatic questions: Did the heroine's mother die insane? Is Benilde really bearing a child? Can the social structure around her absorb a miracle? With unapologetic theatricality, the camera never moves outside the home, but to complement the ambiguities, De Oliveira inserts the occasional mysterious shot: a vase of roses, an overhead shot pointed down a chimney looking at the fire, and a balcony door forced open by a cyclonic wind, as well as some aural counterpoint with the wailing of the village idiot (never seen onscreen). Retaining the play's division into acts pointedly underlines the performance aspect, but despite its surface lack of action, this film is paradoxically cinematic, as stage cannot reproduce this experience of De Oliveira directing us to watch the listener's reactions as entire speeches are spoken off-camera. The miracle question suggests both Dreyer's Ordet and Rossellini's Il Miracolo (and nudges at Pasolini's Teorema), but De Oliveira nimbly steps aside just far enough to avoid being pinned down.
For event programming, the Chicago Sun-Times' Roger Ebert brought Japan's sole professional benshi narrator, the distinguished Sawato Midori, to perform her art on Ozu's 1932 smiles-and-tears classic I Was Born But…, the delightful silent comedy of two mischievous little brothers who live in an innocent world where power comes from schoolyard attitude and strutting. When they see their father making funny faces for his boss's home movies, they revolt. Why does their father defer to him? "Because he pays me," answers the father. "Don't let him pay you! You pay him!" they cry. Too young to understand that wealth and status control the adult world ("a problem they're stuck with the rest of their lives," says Dad), they still learn just enough for the family to rebalance itself into harmony. Ms. Midori's Japanese narration added a unique dimension by voicing different styles of address for male, female, and child characters, coloring and shading stretches that usually pass without intertitles, increasing both the humor and the emotional investment despite the linguistic barrier. Though benshi-type narrators developed in other countries (such as Mexico), Japan developed the practice to an art, valuing the benshi's social purpose in interpreting the unfamiliar cultural content of foreign films for Japanese audiences. As a scholar who has researched Ozu's world and then composed original dialogue for the film, Ms. Midori herself can claim auteur status of a sort, or at least active participation in the tatami-mat master's vision.
The Chicago Tribune's Michael Wilmington revived Elia Kazan's 1961 Wild River, the evocative look back at the flooding of the Tennessee Valley in the 1930s, with Montgomery Clift romancing Lee Remick in the full splendor of classic Cinemascope.
Still more from the festival: Cinerama Adventure.
When all ballots were counted, the Golden Hugo for Best Film was awarded to Crimson Gold, with a statement by jury president Klaus Eder saying that "We hope this prize might help keep the director working and help the film get distribution in Iran."
Acting awards went to Ludivine Sagnier for Best Female Performance in Claude Miller's La Petite Lili and to Pierre Boulanger for Best Male Performance in Monsieur Ibrahim.
The Silver Hugo, a Special Jury Prize, was awarded to Distant for "its intense and elegant depiction of overwhelming loneliness," and a Gold Plaque to Goodbye Dragon Inn for its "highly distinctive vision."
The Gold Hugo for Best Documentary Feature went to Nathaniel Kahn's My Architect (USA), with secondary awards to The Revolution Will Not Be Televised (Ireland/Venezuela), S21: The Khmer Rouge Killing Machine (France), People Say I'm Crazy (USA) and Jonathan Demme's The Agronomist (USA).
The "outstanding cinematography" awards went to Denmark's Reconstruction, with FIPRESCI first-movie awards to Jérôme Bonnell's Olga's Chignon and Peter Hedges' Pieces of April, the latter also voted as the audience favorite.
The complete list, including additional awards for short films, can be found here.
Distribution: The Triplets of Belleville and Crimson Gold will open commercially, along with the festival's more mainstream offerings, including The Barbarian Invasions, The Human Stain, My Life Without Me, Mambo Italiano, Pieces of April, Shattered Glass, The Singing Detective, and Wilbur Wants to Kill Himself, and even the documentary The Revolution Will Not Be Televised. Petition your local megaplex to show the others.
— Robert Keser
Robert Keser is Senior Lecturer in Cinema Studies at the Red Sea Institute of Cinematic Arts in Aqaba, Jordan. He has written for the Pesaro Film Festival (Italy), the Jeonju Film Festival (South Korea), the Las Palmas International Film Festival (Spain), and the Melbourne Cinémathèque (Australia). He wrote thirty-two entries in Defining Moments in Movies, edited by Chris Fujiwara, and more of his film writing can be found at Senses of Cinema, Slant, and other publications.
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You can combine two different tables created out of two different requests into one.
DATATILE matches rows/columns by labels case-insensitively.
The first table is always leading and define default order of rows/columns in the joined table.
Please note that label matching is case insensitive but symbol-precise. So "Brand" and "brand" are considered the same, but "Brand-1" and "Brand 1" (space instead dash) would be treated as two different labels.
See below 2 mins screencast on how to join tables.


This eight story campus landmark is a stylish and popular residential college. Birnkrant has seven floors of student housing, each divided into men's and women's sections. Each floor has approximately 20 rooms, two large bathrooms (one for each gender) and a laundry room. The triple rooms are especially spacious. Birnkrant's ground floor features a music practice lounge, study area, and a television lounge.
Birnkrant is conveniently located next to Leavey Library and is home to the popular Trojan Grounds coffeehouse. The "Everybody's Kitchen" dining facility is just steps away. All residents are required to have a full meal plan.
The University's smallest residential college, Birnkrant is known for its tight-knit community, commonly referred to as "8 Floors of Open Doors".


During reading time, we were given a challenge by our teacher Mrs Nua to create a digital learning object (DLO) about Future Focus Learning. My friends and I got together and had a planning session to decide what we could make for this task. After a while, we came to an agreement on doing a poster. We thought it would be different to what everyone else was doing since the majority of DLOs that were being created were movies. This movie shows the process of our poster and what meanings are behind the things in it.
Laita drew, painted and came up with what objects should be in this awesome painting. She was involved a lot in this and did an amazing job. Although, all of us contributed really well and worked pretty hard. Enjoy!
Nice job ladies. Thanks for explaining the finer details of your poster. I think there really was a lot of thought and discussion involved in creating.
Laita certainly did a remarkable job on those images.


Stock up with this fantastic black freezer from Indesit. It has a 255 litre capacity which means you can store up to 14 bags of food shopping. On the front door you'll find a built-in water dispenser, so you can have ice cold water, perfect for refreshing drinks in summer. It also has an anti-bacterial coating that protects the interior of your fridge, preserving your food for longer. This model is also frost free, meaning air constantly circulates to minimise frost build-up which making maintenance and cleaning a breeze.


text:
Q: Div inline alignment I'm working on a simple image slider, which has a main container with a fixed width and then another div for controlling the movement of the slider.
It works fine but I would like to align the divs (with the slide class) beside each other, and the overflowing divs should be moved aside, and not "falling down".
I used the overflow:hidden property on the container and thought it should work and the overflowing divs should be on the sides but for some reason they keep falling down.
This is my pen:
http://codepen.io/anon/pen/xOZVPL
They jQuery code isn't relevant for the current problem, so just ignore it.
I would appreciate any help!

A: What if you add the width an float attributes to your #sliding?
#sliding
{
  width: 1200px;
  position: relative;
  margin: 0;
  float: left;
  left: 0;
  transition:all 0.5s linear;
}

You maybe have to do some additional css changes here and there. But that brings the circles on one line.
The second option is to add white-space: nowrap; to your .slider class
.slider {
  white-space: nowrap;
  text-align:center;
  direction: rtl;
  width:1000px;
  border:2px solid;
  height:160px;
  position:relative;
  margin:0 auto;
  overflow:hidden;
}

Here you can find more information about the white-space atttribute:  http://www.w3schools.com/cssref/pr_text_white-space.asp

A: You need to add white-space: nowrap on the element which has the overflow: hidden to prevent its contents from wrapping around to the next line.
The overflow: hidden would only suppress the display of the portions that are outside the container but it won't prevent the content from wrapping around.

$(document).ready(function() {
  var index = Math.floor($(".slide").length / 2);
  $('.slide').eq(index).addClass("focus");
  $("#right").click(function() {
    $('.slide').eq(index).removeClass("focus");
    index--;
    $('.slide').eq(index).addClass("focus");
    $("#sliding").css({
      left: $("#sliding").position().left - 144 + "px"
    });
  });
  $("#left").click(function() {

    $('.slide').eq(index).removeClass("focus");
    index++;
    $('.slide').eq(index).addClass("focus");
    $("#sliding").css({
      left: $("#sliding").position().left + 144 + "px"
    });

  });
});
* {
  margin: 0;
  padding: 0;
}
.slider {
  text-align: center;
  direction: rtl;
  width: 1000px;
  border: 2px solid;
  height: 160px;
  position: relative;
  margin: 0 auto;
  overflow: hidden;
  white-space: nowrap;
}
#sliding {
  position: relative;
  margin: 0;
  left: 0;
  transition: all 0.5s linear;
}
.slide {
  transition: all 0.6s ease;
  border: 1px solid;
  border-radius: 50%;
  width: 120px;
  height: 120px;
  margin: 8px;
  background-repeat: no-repeat;
  background-position: 50%;
  display: inline-block;
  background: url(http://i.imgur.com/heDRFUE.jpg);
  box-shadow: 0 0 8px rgba(0, 0, 0, .8);
  -webkit-filter: brightness(50%);
  -webkit-box-shadow: 0 0 8px rgba(0, 0, 0, .8);
  -moz-box-shadow: 0 0 8px rgba(0, 0, 0, .8);
}
.focus {
  -webkit-filter: brightness(110%);
  transform: scale(1.2);
  z-index: 10;
  position: relative;
}

  <button id="right">slide right</button>

  <button id="left">slide left</button>

redpajama_set_name: RedPajamaStackExchange


In this Article, we describe an emerging arena of global administration.
A recurring theme in the sociology of education is that schooling produces citizenship or a sense of membership in the nation-state.
Peñas Blancas, the border post where all overland commerce passed between Costa Rica and Central American countries to the north, was infamously slow and exceedingly congested.
Russia's invasion of Georgia last month seriously undermined peace and security in Europe for the first time in years.
With the announcement on Monday that an agreement has been reached on the Trans-Pacific Partnership (TPP), the controversial trade accord is in the news all across Asia this week.
Sponsored by the Taiwan Democracy Project and the U.S.


Discussion in 'Giant / Scale Scratch and Kit Build Threads' started by Blazing Wings, Aug 3, 2018.
Here a few facts on the MIG3 1/4 scale.
Construction of fuselage in fiberglass and carbon fiber, gel coated in white. Horizontal stabilizer removable, constructed in fiberglass and carbon fiber, gel coated in white. Fuselage and wing center section all molded in one piece. Wing tubes sleeves are already built in place. Composite flaps, gear covers, split cowl, Foam core wing panels (or wood for built up), wood for ailerons, rudder and elevator, canopy and wing tubes.
I will post picture of completed fuselage around March 2019.
HRRC Flyer, Snoopy1 and Jetpainter like this.
MIG3 is coming to a completion. She gonna be one good looking plane. Only cowl mold left to do. This weekend all is done. She will be dormant until February. Plenty time for molds to cure. I might make a new cast for the exhaust stacks during winter months.
Jetpainter, WMcNabb, acerc and 1 other person like this.
Very interested in this. Been flying a 80" Mig for a few years now and love it. It would be great to have a larger Mig 3 in the stable.
The MIG 3 will be an easy kit to complete building, for the novice or pro. Most is already built by me such as the wing center section and the wing spar. Also the horizontal stabilizer is completely built be me. All there is left to do is basically to build your outer wing panels, ailerons, rudder and elevator. And to build those parts is straight forward built up and cover in fabric for the scale appearance.
Beginning of March I will start fabricating kits.
Jetpainter and lomcevac like this.
I will be keeping an eye on this one for sure.
This is my Mig from a while back.
Jetpainter, pawnshopmike and Blazing Wings like this.
How is this project coming? The MIG 3 is one of my favorite airplanes.
It is all completed and ready to produce the kits.
This month only I offer a special discount for pre-orders of 10%. That is a US$250 saving from list price.
Or a 5% discount with 50% down payment.
Alky6, AKNick and Jetpainter like this.
I de-molded the the MIG 3 today from the master plug, and all came out very nice. I still have to wash the molds and clean them up before applying wax and get them ready for production.
Alky6, TonyHallo, WMcNabb and 3 others like this.
Starting Production on MIG 3 1/4 scale.
The new MIG 3 construction will have all composite parts Gel coated and carbon fiber reinforced. The wing center section is molded in one piece with the fuselage.
That gives more strength to the overall construction and makes field assembly and transportation easy. The wing spar (or wing tube) will be already built in place by us All you have to do is to build your outer wing panels and install your electronics. The fuselage is constructed in two piece for easy installation of tail gear, and shipping purpose.
Once you have your tail gear installed you simply epoxy halves together.
Here is a list of what you will receive with the 1/4 Scale Mig 3 kit. Wingspan is 101"
We offer retracts from Robart and Sierra. All accessories for landing gear is available through us.
I further offer free repairs on any of my composite kits if needed, and 50% discount on replacement parts.


text:
The Real State Of The Union For Workers
By Dave Jamieson
A chambermaid prepares her cleaning trolley at a Premier Inn hotel at Heathrow airport in London, U.K., on Friday, April 20, 2012. Whitbread Plc, the owner of Premier Inn budget lodges, reported slowing sales growth as a tough market for U.K. hotels countered an improvement in demand at its Costa Coffee shops. Photographer: Chris Ratcliffe/Bloomberg via Getty Images
WASHINGTON -- "The state of our union is strong," President Obama will tell the country tonight, echoing a sentiment shared by nearly every executive before him. But just how strong is it for the country's working people, particularly those on the lower end of the income scale?
The number of workers living in poverty exploded during the Great Recession and its aftermath, as people were hobbled by part-time work, temporary employment and the disproportionate growth of low-wage jobs. Most workers have endured at least a decade of wage stagnation, with their pay being well outstripped by corporate profits. A McDonald's executive may now earn $8.75 million a year, but a McDonald's worker still earns $8.25 an hour.
Below are just some of the wages and working conditions faced by tens of millions of workers in the U.S. -- and how those conditions are determined in part by policy set in Washington.
Warehouse work is the hidden engine of the U.S. retail sector, but many of the so-called "lumpers" who load trucks bound for major retailers earn poverty wages on a contingent basis. The companies whose products are being moved prefer to outsource the warehouse responsibilities to third parties, which in turn outsource the work to other third parties. While it saves the companies plenty of money, the byzantine contracting arrangements tend to blur the lines of corporate accountability, leading to widespread allegations of wage theft and other abuses by temp firms at the bottom of the contract chain. As one expert put it to The Huffington Post, "All of these companies, wherever they possibly can, they want to create a workforce that doesn't work for them."
Dollar store employees
Dollar stores -- Dollar General, Dollar Tree and Family Dollar -- are one of the fastest-growing sectors of the retail economy. By one measure, a new dollar store is opening every six hours in the United States. But much of that growth, as HuffPost reported, is underwritten by dubious labor practices by the big chains that collectively employ over 100,000 people. Even though managers spend their days doing grunt work -- like unloading trucks and stockings shelves -- their designation as "managers" excludes them from basic protections in federal labor law, like a guaranteed minimum wage and time-and-a-half for overtime. Some of them work so hard physically that they get hurt, but at the end of the day, they don't earn much more than the workers they oversee. Managers throughout the country are now suing the chains over these practices.
Meatpackers
Working on a poultry processing line is a dangerous and low-paying job, full of repetitive motion and muscle pain. A recent government study found that four in ten workers at one chicken plant in South Carolina showed signs of carpal tunnel syndrome, the painful hand-and-wrist condition. Despite such findings, federal regulators are now considering a proposal to raise the maximum line speed even higher -- a move that has the wide backing of the poultry industry. One poultry worker told HuffPost that the men and women who eviscerate and debone chicken carcasses can barely keep up at current speeds. Faster line speeds, he said, were nearly unimaginable: "It's a job where you don't get any relief."
Repo agents
While auto repossession has always been difficult and dangerous work, big banks have recently found new ways to make it low-paying as well. The lenders who underwrite auto loans have recently pushed auto repossession agents into working on a "contingency" basis -- meaning if they don't find the car, they don't get paid a dime. Not only has that squeezed agents' wages, it's also encouraged them to put their lives and others' in danger by making risky repossessions. HuffPost reported the story of one agent working on contingency who ran over a car owner during an altercation. As the owner of one repo outfit said, the lenders' stinginess is "turning good people into bad, making them do things they wouldn't normally do."
The quintessential image of a fast-food worker is a high school kid looking for spare cash at night and on the weekends. In reality, many fast-food workers are now grownups with families to support; 40 percent are now 25 years or older, according to the National Employment Law Project. But despite the growing age and experience of its workforce, the fast-food industry is about as low-paying as its ever been when adjusted for inflation, with a median wage under $9. HuffPost has interviewed fast-food workers whose most recent raises were granted not by their employers but by the U.S. Congress, when the federal minimum wage was last hiked in 2009. For minimum wage workers in states that don't adjust the wage floor each year for inflation -- and that would be the majority of states, including pricy New York -- the wait between raises can be years.
Taxi and sedan drivers
A lot of sedan and taxi drivers aren't technically employed by the companies they work for. Like other folks in the transport industry, they're instead classified as "independent contractors" working on their own. Many of them aren't independent in any real sense. The companies set the terms of employment -- where the drivers work, when they must be available, and even what they wear while on the job. But the companies reap major benefits by classifying the workers as independent -- like not having to pay workers' comp or unemployment taxes, and not having to worry about their drivers unionizing. Since they're technically not employees, the drivers can't expect health coverage or other basic workplace benefits. In some cases, they don't even get to keep the "gratuities" that the companies charge their clients.
Walmart workers
Earlier this month, officials at the National Labor Relations Board formally accused the world's largest private-sector employer of retaliating against workers who spoke out about working conditions. The general counsel for the board charged Walmart with violating the rights of more than 60 workers in 14 states surrounding the Black Friday strikes that became national news for the retailer.
Coal miners who take a stand
Coal mining remains one of the most dangerous jobs in the world. Even though U.S. miners have strong whistleblower protections written into federal law, those who speak out about mine hazards or refuse to do risky work still have a way of getting demoted or fired. The official investigations into the Upper Big Branch mining disaster, which killed 29 people, showed that miners who dared question the dubious orders coming from management were threatened with their jobs. Such coercion can be routine in some mines. Charles Scott Howard, a Kentucky miner, has been reinstated on the job at least three times after being retaliated against for his whistleblowing on safety issues. Reuben Shemwell, another Kentucky miner, was hit with a lawsuit by his own company merely for filing a whistleblower complaint with the feds.
Restaurant workers who try to unionize
With few exceptions, the restaurant industry is a union-free world. Chains and franchisees can usually rely on the work's high turnover rate to keep unions naturally at bay, but in recent cases, owners have taken a much more proactive approach. A Jimmy John's sandwich shop franchisee in Minnesota fired pro-union workers during a heated unionization battle. Similarly, a major Panera franchisee in Michigan has declined to accept the successful union election of its bakers. The federal labor board has issued a raft of union-busting charges against the company, but the bakers still don't have a contract. "I came into this thinking we had the right to bargain collectively," one baker told HuffPost.
At a lot of U.S. hotels, the men and women who clean guests' rooms are no longer even employed by the hotels. Instead, they work for temp staffing agencies on a day-to-day basis. This arrangement has obvious benefits for large hotel chains; by outsourcing the work, they don't have to worry about offering a living wage, health care coverage or other benefits to the housekeepers who clean their hotels. But for workers, the outsourcing comes at a steep cost. Previously in-house workers can be rehired through the temp firms at substantially lower wages, and many of them enjoy no job stability whatsoever as temporary employees. "It's everywhere now," an Indianapolis janitor said of the hotel outsourcing. "The housekeepers, the restaurant, the stewards, laundry, room service ..."
Home care workers
The roughly 2 million home care workers who clean, cook and care for the elderly and disabled earn some of the lowest wages in the health care sector. Part of their low earnings can be traced directly to federal law. Decades ago, Congress carved these workers out of basic labor protections through the so-called "companionship exemption," which equated home health workers with casual babysitters. As a result, these workers still don't have the minimum wage and overtime protections enjoyed by other hourly workers in the U.S. That will finally change in 2015, courtesy of a new rule issued by Obama's Labor Department. After being excluded for years, workers who log as much as 80 hours a week may actually get some overtime pay.
Labor Reporter, HuffPost
State of the Union Politics News Barack Obama Hotel Workers Obamas State Of The Union 2014

redpajama_set_name: RedPajamaCommonCrawl


Finn Arild and Reidar met each other in junior high school and immediately hit it off musically with the same passion for music that no-one else seemed to like at the time. This was in the days you were defined by being into either punk, synthpop or metal. What they were into wasn't yet called progressive rock, if anything, it was called symphonic rock (or boring weird stuff by their contemporaries).
They were also both musicians - Reidars granny was the local pianoteacher, and he was an accomplished keyboard player already then, and maybe even more importantly - had his own keyboard. Finn Arild started playing guitar when he was six, and had 4 years of frustrating a classical guitar tutor into teaching him something else than Bach. By this time he had gotten an eletric guitar and a 10watt Peavey amp.
Over thirty years later they are back together again with this new band and new album. Finn Arild plays guitars, bass, keyboards and sings, while Reidar does all the drums, the piano parts and the keyboards Finn Arild didn't do. Anthropology is out November 1st. Keep watching this space!


text:
Indian Navy Undertakes MEDEVAC From Merchant Ship
January 22, 2021 January 28, 2021 forceindia 0 Comment
Based on an input received regarding a medical emergency onboard a Singapore flag merchant vessel, MV Eagle Tampa, Medical Evacuation (MEDEVAC) was executed by the Indian Navy. The ship was received at the Joint Operations Center at Headquarters Western Naval Command.
M V Eagle Tampa was 18 nautical miles off the coast of Mumbai when it reported a patient, Geetha Selvaraja, a 34 year old Malaysian citizen, to be suffering from gastro esophageal reflux disease and was experiencing difficulty in breathing.
A press note from the Navy stated, "Attempts by ship's agent JM Baxi & Co to transfer the patient to a tug failed due to high swell in the area. The patient being unconscious, also added to the complexity of the transfer."
Following confirmation of two failed attempts to transfer the patient to the tug, an Indian Naval Sea King helicopter from INS Shikra was scrambled for MEDEVAC. The helicopter picked up the patient from the ship and returned to INS Shikra. The patient was then transferred to Saifee hospital by private ambulance.
← Successful MMP Firing with Target Designation made by a Novadem Drone
VCAS Visits the DRDO, CAW and Air Force Academy, Hyderabad →


text:
Get Access to Information on Healthcare Issues with the Healthguv App
TOMS RIVER, N.J., Nov. 20, 2019 /PRNewswire/ — Medical social networking just got even easier with the newly launched Healthguv app. Renowned for its unique healthcare network, Healthguv has been a hub of medical related information ever since its inauguration. Enjoy Healthguv on your Android, iPhone, iPad, and iPod touch.
The social networking website has gained hundreds of followers from all across the world, eager to connect with peers and medical experts. With the Healthguv app, the site has become even more user friendly and easy to navigate. Launched during the holiday season, the app has already made waves in the tech startup industry.
Joseph Creadle, Camille Valmon and Gabrielle Valmon, the founders of Healthguv, are excited about the launch of their app. Joseph said, "Social media has become one of the most effective ways of connecting people globally. Nowadays, individuals rely upon social networking channels for pretty much everything, from advertising products, organizing campaigns, and getting their daily dose of news. In this fast-paced world, people want instant access to these services and an app dedicated to medical social networking is the ultimate way to go about it."
Just as Healthguv has been carefully designed by a team of medical experts, the Healthguv app is no different. It brings the global community together even more efficiently, making it easier for members to exchange information, seek professional advice, and discuss treatment options online.
A representative for Healthguv stated, "We acknowledge the advantage social media apps have over their websites. They're more accessible to the users, and can easily be navigated on their smartphones and other devices. Our app has been designed to make it even easier for Healthguv's members to sign up and stay connected. With its user friendly features, they can now get quicker access to their healthcare information."
Healthguv has been the go-to channel for the online community. By connecting members with healthcare information, it's been an extremely useful platform in creating awareness about various medical issues. There are millions of people all over the world who are in search for people who share their rare medical conditions. Users can get the latest reviews, google a disease, upload images, videos and instantly chat with other users. Create a network with people globally.
Website: http://healthguv.com/
Joseph Creadle
View original content to download multimedia:http://www.prnewswire.com/news-releases/get-access-to-information-on-healthcare-issues-with-the-healthguv-app-300961561.html
SOURCE Healthguv


Nothing screams safe, livable city like transport trucks getting wedged between buildings in the middle of the neighbourhood.
I decided to hop on the bike for a quick spin last night and got to watch this scene unfold on Locke Street at Main Street West. I arrived just as the truck started screeching against the poles. It quickly got wedged against the light posts and buildings.
The driver eventually managed to escape after backing up onto Main Street again.
We have to ask: why on earth is a transport truck trying to turn north up Locke Street North, a purely residential street? Did the driver get lost on our confusing one-way street network and try to cut over to King Street to head back west?
I've been saying this for years: cities that actually care about their residents don't allow transport trucks to drive through urban neighbourhoods. How many more ridiculous pratfalls and close calls do we need to experience before we wake up to this?
Why do you have to be so anti-business? This truck was probably doing local deliveries. Don't know know that your groceries arrive by truck? Cyclists should pay their fair share of the roads. I pay driver license fees - $75 a year. That covers all my road costs! And another thing, there's nowhere to park!
Sean, it looks like your Hamilton troll performance was so spot-on that some people mistook you for the real thing.
I've been studying under the best for years - right here on RTH!
In many large cities with narrow streets deliveries are made using smaller trucks that can handle the required turning radius.
Why do you have to be so anti-business? This truck was probably doing local deliveries.
I totally agree, what if this guy was driving a moving truck for someone moving into one of these residential neighborhoods. To me its not really prudent to 'not all trucks', but it does make sense to design streets in a way that truck drivers would prefer to avoid them as through-routes (e.g. Cannon street vs Cannon Street). Maybe at 70km/hr a transport truck is substantially more dangerous than a car, but at 30km/hr things are different. Even trucks are not 'inherently dangerous'.
Cyclists should pay their fair share of the roads. I pay driver license fees - $75 a year. That covers all my road costs! And another thing, there's nowhere to park!
Cyclists already pay taxes, which fund the majority of infrastructure expenditure as well as policing on municipal, provincial AND federal levels - most of that spending goes to making sure that roads are adequately built out, maintained and policed for car and truck traffic, which requires several orders of magnitude more investment and development than it would to just build roadways that were adequate for cyclists. So despite the fact that we cyclists don't pay license fees, we actually contribute way more to roads than we get out when compared to drivers.
Honestly, in Hamilton the city spends tons of money on roads, money which is sourced from the taxes of both drivers and cyclists, and yet what do cyclists get out of it? An incomplete network of dangerous, deteriorated throughfares on which they have to mingle dangerously with inconsiderate speeding motorists, some of whom honk at them and yell at them to 'get off the road' (though it is actually illegal to cycle on the sidewalk). So lets talk about what is fair, shall we?
Why you responded seriously to what is obviously a satirical comment posted in the classic "troll-spearean" style is beyond me. Having said that, it made the original comment even better. So, kudos!
I honestly dont know anymore with these internet trolls...anyways I'm quite serious about the fact that you can't just say 'no trucks ever'. As the saying goes, "Only a Sith deals in absolutes".
The fix is obvious: Twice as many five-axle trucks.
And five times as many two-axle trucks!
Hands down ^ comment of the year!
It's not as if it lost a 20 ton steel coil at Caroline that rolled down Main St. and hit the BMO building. Like that could or would ever happen.
The greater crime is arguably the BMO building itself.
Trucks are always allowed to travel by the most direct route to local deliveries. It seems unlikely that this truck was making a delivery to the two block stretch between King and Main, but I suppose it is possible. Nevertheless, the driver should have been able to navigate properly through the turn, or know that it was too tight for his truck.
In Hamilton, most arterial streets are designated "truck routes" by default which allows trucks of any size (including 18 wheelers) to use them for long distance travel, e.g. using Main St as a "shortcut" from the 403 to the QEW Niagara instead of using the freeway ring road (Linc/RHVP or QEW across the skyway bridge). It is the designation of residential and commercial downtown streets as truck routes for long distance transport that bothers many people. The incident of a truck losing a roll of steel on King St is one good example of why this shouldn't be allowed (this truck could have taken Burlington street to the QEW!).
""The first question municipal planners must ask is whether the existence of a truck route is needed in the municipality," said Laskowski. "If freight is moving efficiently through a municipality without issue, the development of a truck route is probably not warranted. However, if it is determined that a truck route would be helpful in addressing traffic challenges, there are key issues and stakeholders that must be considered if a truck route is to be successful including clearly defining the problem to be resolved at the outset.""
With the Burlington St, QEW, Linc/RHVP most of these urban core truck routes are not warranted!
When the RHVP was being proposed one of the arguments in favour was that it would enable the city to take 18 wheelers off downtown streets like King and Main. That hasn't happened.
And the claim that a $75 license fee pays for the full costs of road construction, maintenance, policing, emergency services and the direct and indirect social costs of accidents and pollution is ridiculous (and, of course, most cyclists are also drivers). As pointed out many times on this site, a federal study showed that all income from drivers (directly or indirectly) does not come near to covering the direct building and maintenance costs of roads (let alone the indirect societal costs). Hamilton will spend $100 million this year from property tax revenue on its road system ... paid by drivers and non-drivers alike.
I am really happy to see that for once someone believes that some RTH articles are just blowing things out of proportion. This isn't a big deal, local delivery or not. No one was hurt.
Would it be a big deal if it was your house the truck was wedged against?
Oh sure, it's totally normal and not at all outrageous for an 18-wheeler transport truck to get wedged between a pole and a building on a residential street while attempting to drive through downtown. Just like it's totally normal for a transport truck to shoot a runaway tire 550 metres down Main Street or knock over a light pole at Hunter and John or sideswipe a minivan at York and Queen or dump its trailer on a lawn at Victoria and Main or spill 19-tonne steel coils down Main Street or dump its load of steel at York and Locke. We should really stop making a big deal about this stuff and just be grateful for all the wonderful things these transport trucks deliver that couldn't possibly go around the city on our ring highway or, you know, use a smaller truck.
This sarcasm is absolutely beautiful!
I lived in kensington market this type of thing happened all the time.
I've often wondered how long it would be until Stelco shuts down its Kensington location.
Coils of steel came flying off transport trucks in Kensginton Market "all the time"?
Ryan, that list is embarrassing and sad at the same time. The problem is everyone who doesn't live in Wards 1, 2 or 3 just don't care.
They don't understand the ENTIRE city would benefit from complete streets. "Don't you dare do that to the streets where I live, but hey you'd live where I do if you could afford to."
There isn't a Councillor outside the Wards above that would ever support the calming of the lower city's roads.......but hey, close the Mount Albion mountain access when you open the RHVP and now make Upper Mount Albion a cul de sac.
Why is what's good for one area not good for others?
Re: "Does someone have to die under the wheels of a transport truck?"
I'm not a "Sun+" subscriber. Can you post a precis?
Me neither. Paywall roulette, maybe?
"The victim of Hamilton's 12th traffic fatality of the year was identified Friday as a 55-year-old local man.
Richard Yates was on the sidewalk at James St. N. and King William St. at about 3:15 p.m. on Thursday when the Hamilton man "tripped or stumbled off the sidewalk and went into the path of a slow moving commercial motor vehicle," a Hamilton Police press release said.
Despite efforts by a doctor who happened to be in the area and responding emergency crews, Yates was pronounced dead at the scene, police said. No charges were expected against the truck driver, who stopped immediately after Yates was struck, police said."
I don't get how the one way's tie into this mind you I understand it fits with the agenda of this site.
Was their any consideration given that this is a film studio vehicle heading out to the shoots going on in the downtown? No of course not.
Was there something in the article I missed? I don't see any reference to one way streets.
Can a website have an "agenda"?
Some writers might have an agenda - the agenda being a livable, economically viable city. How dastardly.
If you want to read a one-way/two-way argment into this article, I'll give you a head start: If you are turning left from a two-way street, you have a much greater radius available to you than if you have to turn left from the leftmost lane of a one-way street.
So thanks for bringing that up, it was an excellent point. You are right, this probably happens less often on two way street networks.
It's written pretty clearly: "Did the driver get lost on our confusing one-way street network?" Maybe slow down a little if this is above your reading level.
Oh you mean the sarcastc quip? Please. That statement does not place blame on one ways. If you can't understand even the lowest form of wit then perhaps you should steer away from this entire corner of the internet.
No, it's that Mr. Leach has, in numerous other posts here, argued for making that strip into 2-way traffic. As is demonstrated here, it's too narrow as it is, and only serves to reinforce that not all pieces of asphalt in our city don't need to be 2 way.
This incident demonstrates neither of those.
Actually, Locke is two full lanes wide, plenty of room to go two-way. Also, if a truck was turning from the left turn lane of a two-way Main Street, it would be coming at an angle that would allow it to make the turn. One way Main Street was definitely a contributing factor because the truck had to turn from the far left lane.
This picture odes not depict Main and Locke, sorry. I am not sure where this picture was taken but it was not at Main and Locke.
It is Main and Locke. Perhaps you are not as familiar with the city as you think you are. That little strip between Main and King is about 1.5 lanes wide there, then grows out to a narrow 2 lanes.
Correct, its King and Locke. Locke St is one way (the truck is going the wrong direction). It looks to be one of the few film trucks from their shoot up the road near Hess.
It is not king and locke, it is main and locke, as it says in the headline.
The Locke Street Bistro is now Alirang, but you can plainly see it's the same buildings.
So again it does not depict king and Locke, I could be worng, however I do not believe I am.
It is Main Street and Locke Street. Just like the article says.
Probably too late to get noticed...but that's a moving truck. The low deck, small wheels in the back, and the lack of rear doors (it's a fold-down ramp) are obvious indicators.
While your comments concerning the use of Main St as a truck thoroughfare might be warranted, this particular incident does not support it, as it could occur irrelevant of the truck route laws.
EDIT It might also be an enclosed car trailer.
It's a movie production truck, as was stated earlier.
Why on Earth people become so suspicious? A truck got stuck - did anybody come and ask what's wrong? What the driver was looking for or maybe he needed help? Heavy cargo transportation has never been an easy job to do. Do not be mean, men.


The TAMUS AGEP National Fellowship Lab includes seminars that provide students with information and tips regarding completing a national fellowship application such as NSF GRFP, National Institute of Health (NIH), National Research Service Award (NRSA), National Consortium for Graduate Degrees for Minorities in Engineering and Science Fellowship (GEM), and FORD Foundation Fellowship. The seminars will also cover areas such as research and/or personal statements, proposal development, and providing the students resources and individuals that are willing to review their application packet prior to submission.
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LA Muscle Six Pack in 4 Weeks EXTREME has been purposefully designed to ensure it contains 3 of LA Muscle's best selling supplements.
Lose fat, NOT water NOR muscle!
Here's your chance to get that elusive six pack and abs in just 4 short weeks in this Six Pack in 4 weeks (Extreme) deal. LA Muscle are giving you three of their best-selling fat loss and weight loss supplements in one very special TV deal. The 'Six Pack in 4 Weeks' is the ideal combination for anyone who is after quick and effective weight loss. All three supplements are 100% natural with no side effects and work with your body to help you lose stubborn and unwanted fat - very fast!
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Take 1 of each capsule before eating 3 times a day.
Take 1 of each capsule, 3 times a day and watch the fat melt away.
This combination will last 1 month.
My go to product bundle to shift my yo-yo dieting weight! Awesome!
Dieting and training HARDER are not relevant as the results are great. First 8 days of strict diet and hard training resulted in a weight loss of 11lbs and the second week a loss of 6lbs, thank you L.A MUSCLE.
This product was bought out of the blue, and I've got to say I'm fairly impressed. Ive only been using it for under 2 weeks and I've already started to notice a shrinkage of body fat around my abdomen and love handle area.
I take this product as part of a bundle so it is not realistic to attribute all my rewards to this product alone. However it plays a contribution to my weight loss.
Hi, I bought the followings: 6 pack pill extreme, Bloat no more, Thermoxen, fat stripper, sculpt, fat stripper intense and slim whey. Can you please advice me the best way to take them (what and when).
JHi Artur, yes you can. Take them as directed on their tubs for best results.
Hi, can I use Possessed with this fat burner pack to lose weight? Should I remove Possessed?
Hi Artur, yes you can.
Hi James, no it should not as none of our products contain anything illegal, only natural ingredients.
Hi Wayne, you can start to see results after a few days.
Hi Wayne, yes when used in conjunction with a good diet and training plan you'll see good results.
Hi does the six pack in 4 weeks (extreme) special offer include 1 bottle of each or is it 2 bottles of each for £98.99 thanks.
Hi Andrew, it's 1 bottle of each so 3 bottles total in the bundle.
If i take six pack in 4 weeks am i suppose to take the 3 pills at once 3 times a day? And what happens after i finish the product do i gain the fat again?
Hi Ulises, yes 3 times per day with meals. You will need to maintain your physique as normal to keep body fat down. Using at least one of our fat burners for maintenance should help.
How long before meals is it best to take the six pack in 4 weeks stack? I.e. Immediately before you eat food or X,Y,Z minutes before you start your meal?
Hi Nathan, around 5-10 mins before meals would be ideal.
can i take bloat no more as a link with the six pack in four weeks special?
Hi Alex, yes you can.
Hi Jianhua, BMI is not a major factor as it will be based on bodyfat percentage which you will want to be around 15% or lower.
Hi Billy, they are both great bundles that guarantee results. Ab man contains products with more natural stimulants for energy and six pack in 4 weeks has less depending on your preference.
Hi Lauren, there is no time limit. Ideally take the tablets after meals and you can train at whatever time you prefer.
Hi Lauren, all of our weight loss products will help with overall weight loss as well as target specific areas.
Hi there. Iv been reading the questions a lot of answers and advice you give is about not lifting weight during the 6 pack bundle, but if I do the maximum cardio required(intense 5-6x per week) can I weight train in my spare time? Thanks!
Hi Lauren, yes you could however we would recommend incorporating weights into your cardio through methods such as circuit training. This would give the body more time to recover and achieve your results.
Hi Sam, yes you can although for weight loss when taking six pack in 4 weeks we would recommend doing mainly cardio and circuit training 4-6 times per week to achieve your desired results.
Hi Sam, yes you can however for optimum results we would recommend cycling them and focusing at weight loss and muscle building separately.
Can you tell me the caffeine content of each product?
Hi Sam, the only caffeine content in this bundle is in Thermo24 Intense in the form of Standardised green tea (100mgs), Guarana (100mgs) and Yerba Mate (75mgs).
Hey, so I just started to use the 6 pack in four weeks supplements, as well as the 6-pack toner gel. How many days per week should I work out to get the best results? The only fat I need to lose is in the stomach/chest area.
Hi Dylan, ideally you should be training 4-6 times per week for optimum results.
Hi Andy, a great product you can take alongside this combination is Slim Whey, which is high in protein and will help add lean muscle quickly.
I am in lean shape. I have only stomach fat, i just want to remove that part fat i don't want to lose muscle so can i use this ??
Hi Kalpesh, yes you can. This bundle will help you with your training goals and you can combine it with Sculpt to protect your lean muscle.
Hi Ahmed, yes you can, however we would recommend combining LA Whey and Norateen Heavyweight II with only one of our fat burners, such as Fat Stripper Intense, for optimum results.
Hi Mohamed, yes you can. Another great alternative would be a combination of Slim Whey and Fat Stripper.
Well I've got the insanity product that's on tv I dunno what to to get to help me with it I wanna get something that will be strong on the stomach and waist and legs I want to get into shape for June time could you give me tips please on what to buy?
Hi Rory, this is a great pack for rapid weight loss and would be a good starting point for achieving your weight loss targets. We would also recommend Fat Stripper, which is excellent for shedding weight.
Can these be used with t5's what is the difference between this and the ab man pack?
Hi Stephanie, we cannot comment on other companies products.
In regards to the two bundles, the difference is that they have different fat burners included in each bundle. Both are very effective bundles for rapid weight loss.
how old do u have to be to take this?
Hi Dennis, we recommend the minimum age to be 18 in order to use these products.
Would this be effective for generally fat people or does it only work if you have a small stomach and wish to get a six pack fast?
Hello Umar, this would be for the latter; people with a lower amount of body fat who are looking for assistance in losing it to show their six pack. If you have a large amount of fat to lose we would recommend a combination of Slim Whey and Fat Stripper.
Can I add six pack pill extreme to this bundle?
Hi Richard, yes you can add this to the bundle to help optimise your weight loss results.
Hi Jamie, absolutely. These products have been specially formulated to help lose fat on your stomach and thigh regions when combined with a good training program and clean diet.
Hi, I am 106 kg, I have just started training in the gym and eating healthy, I have a kickboxing fight in may, I want to drop to 85 kg by end of may, will this help, in the gym I have been doing treadmill, rowing machine, cross trainer and bike. Possible?
Hi Shane, absolutely! This bundle has been created as the ingredients in the products work very well together at burning a large amount of body fat in a short period of time when combined with an intensive training program and clean diet.
Are these all suitable for vegetarians?
Hi Basil, Yes they are all suitable for vegetarians.
I just ordered the 6 packs in 4 weeks extreme. How do I take the pills. Will it be 6 pills at a go, 2 each for each of them, for morning, afternoon and evening? Also when do I start seeing results, especially my tummy?
Hello Jessica, you will take them as listed under directions, take 1 of each tablet, 3 times a day, preferably with meals. You should see results quickly depending on your training and diet. Ensure to follow a high intensity training program as well as a high protein, low fat, low carb diet.
I'm about to start the 6 pack in 4 weeks extreme and I have some questions: 1) should I stop or reduce my LA Whey doses (currently 3 x a day); 2) I will be doing 50 minutes cardio only and 3 x per week. Is that ok? 3) Can I use vasculator?
Hi ArthurThank you for your question.The 6 Pack in 4 Weeks Extreme is an amazing bundle for weight loss. You can continue taking 3 LA Whey servings a day. One serving in the morning, one post training and a scoop an hour before bed. Make sure to mix it with water for best results. On the days you do not train, you can take it twice daily. For effective weight loss, we would recommend increasing your cardio to 5-6 times weekly as cardio burns calories and enhances your metabolism. You should mix it up to shock your body for continuous results. Using Vasculator is fine, no harm at all. Best of luck with your goals.
Can you take these while breast feeding?
Hello Saleem, We would not usually see a problem with this, however we would always advise that you consult your GP for more information.
Hello Tyler, Our products contain only natural ingredients so this shouldn't be a problem, but we do recommend that you consult your GP before proceeding with any supplements if you are already taking some form of medication or supplementation.
Hello Tyler, All of our products contain only natural ingredients, however we advise you refer this question to you GP for more information.
Yes, there is a 30 day 100% Money Back Guarantee on all of our products.
Would this be safe for diabetic women?
Hi Shah, in theory yes but this is really a question for your doctor.
I'm 20 despite what I eats or how I excercise I stay between 67-70kg with no apparent and I have a body fat of 15%. My arms are toned, but theres a good inch of fat on my belly! Will I see results without upping my game?
Hi Shah, Body Mass Index and Muscle to fat ratio is more important that "weight". It sounds like you really need to up your cardio.
Hi Wong, the supplements in 6 pack in 4 weeks are very safe and free of any side effects. However it is best to speak to your doctor if you have a medical condition.
Hi Richard, fruit in moderation is fine but too much fruit can raise blood sugar levels and lead to gaining weight!
Hi, been going to the gym for 5 months now, lost 2 1/2 stone,now 13 1/2. my body fat is 21%. visit the gym 4/5 times a week doing cardio and weighs. I've just started taking LA slim whey and sculpt. will six pack product help or do i need to loose weight.
Hi Myles, yes they will definitely help.
Hi, is it safe to take 2 of each tablet 3 times a day?
Hi Alan, yes it is but don't take it for more than 2 months without having at least 1 month's break.
Can you use Scuplt with the Six Pack.
Hi Rina, yes you can.
Hi,i have some fat stripper intense left over from a tub, can i take two fat stripper intense whith the six pack exreme?.
Hi John, yes you can.
How long will the six pack last for?
Shivraj hi, your six pack will last as long as you eat clean, not over eat and continue to exercise.
Hi Robert, you can start straightaway. No side effects.
hi am taking sculpt caps. and slim whey, only have a weeks wotth of sculpt. does your body get used to aproduct? also out of all your fat loss caps which r best for fast results taken with slim whey, or should i re order more sculpt ? thanks,asha.
Hi! Yes the body can get used to a fat burner, that's why we recommend 2 months on, 1 month off for each particular product. All LA Muscle fat burners are quite strong. Sculpt is for fat loss and maintenance of muscle too. Fat Stripper Intense is pretty popular, though they are all as good really so your choice!
Hi Birbahadur, fast walking, stepping, stationary cycling are all good.
Hi, can all 3 of these products be taking at the same time??
Hey, I wanted to try this bundle for my holiday in July. However, I am also currently training for a half-marathon in September. Do these supplements have any effect on the cardio-vascular system? I.e. an increased heart rate, etc?
Hi Martin. no they do not. They are 100% free of side effects.
I'm going to start this six pack in four weeks !!! Can I take la whey with this program or would u recommend that I don't ? Cheers !!
Help!!! I have been leaning down for my holiday! But this week I have notice a significant loss of strength on the gym. My diet is 2000 calories and I weigh 74kg. I am using the pyramid workout from your book with 3 sets of 8. Just generally tired.
Hi Warren, you may be over-doing it or under-feeding your body. You can try taking a supplements like Norateen Heavyweight II for extra strength, up your carbohydrates a bit and/or rest for a few days.
Berice hi, it shouldn't stunt growth. It just burns fat. If you are uncertain, please talk to you GP.
Hi Berice, probably best to take them one by one at that age and not all at once.
Hi Ed, yes in an ideal scenario, no weights at all. You should do pure cardio; the more the better! As a minimum, 45 mins, 4-5 times a week. Also depends on how much you have to lose and what you want to look like at the end.
Hi Scott, depends on your training too. Yes you can try it for sure and you should see great results.
What's the minimum age the six pack in 4 weeks can be taken at?
Hi Mullac, ideally 18 but some 16+ year olds also take it, though you should not take it for too long if you are under 18.
Hi Lee, Exactly. You will get the best results with as much cardio as possible. You don't need to do too much ab work. Twice a week, 30 reps x 2 sets of crunches will be fine but of course you can do more if you like.
Can you still take Norateen Heavyweight II whilst using these?
Is it advisable to stop taking creatine and NOX based products whilst on a cycle of the six pack in four weeks?
Hi Neil, depends. Strictly speaking if you are really going for it with the Six Pack in 4 weeks, then you should be doing only cardio and no weights so there is no need to take Creatine or NO products during that time.


text: Q: Why is my buck converter stimulation not working on proteus? Why is my proteus stimulation only outputting the voltage and current zero when I connect the ground terminal - shown at the bottom right of the image, when I do not connect the ground terminal the output is 18V - which is way too high I am trying to achieve a 5v output


The 2010 Arizona Cardinals are looking like they are going to have a Kurt Warner hang over as QB Matt Leinhart looks like he is playing his way out of the starting QB spot for a third time. The Cardinals were 11th in scoring last year with a very effective red zone offense. Without QB Warner and WR Boldin the offense looks like it has taken a couple of steps back his year. The 2010 Cardinals defense looks like the strong point of the team and will build upon their T14th in NFL scoring defense in 2009.
Online NFL sportsbooks have NFL Future Odds Arizona Cardinals Regular Season Wins Over/Under 7.5 Wins with early preseason steam on the OVER. The Arizona Cardinals are +4000 odds to Win 2011 Super Bowl XLV (45) and the Cardinals are +165 odds to make the NFL playoffs. Clearly, NFL odds makers do not have confidence in the Arizona QB situation. WR Larry Fitzgerald is a +3000 odds to win the NFL Regular Season MVP Award.
The NFL Future Odds on the Arizona Cardinals Regular Season Wins is Over/Under 7.5 Wins (-135) meaning that for every $135 bet will payout $100 if Arizona wins 8 or more regular season games. The NFC West is still a soft division. The Cardinals offense has played horribly in the preseason. USC and Matt Leinhart haters may see some good value in the UNDER 7.5 Wins.
Online NFL Sportsbooks that accept US customers and have Arizona Cardinals Betting Lines: BetUS Review, Bodog Sportsbook Review, Sportsbook.com Review - Sportsbook.com Review and Diamond (DSI) Sportsbook sportbook online for US customer.