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Sigma 40mm f/1.4 DG HSM Art Lens for Sony E
New Item Coming Soon
Truly wide and truly fast, the Sony E-mount 20mm f/1.4 DG HSM Lens is a member of the venerable Art series of Global Vision lenses from Sigma and pairs a sophisticated...
A wide and fast Sony E-mount prime, the 24mm f/1.4 DG HSM Lens is a member of the highly regarded Art line of Sigma's Global Vision Series and is characterized by its...
Pairing an immensely versatile focal length with a bright maximum aperture, the Sony E-mount 35mm f/1.4 DG HSM Art Lens from Sigma is a wide-angle prime characterized by its...
Fast and versatile, the Sony E-mount 50mm f/1.4 DG HSM from Sigma is a normal-length prime designed to achieve high optical performance through the incorporation of both three...
Sigma 40mm f/1.4 DG HSM Art Lens for Nikon F
Designed within the rigorous tolerances of a cine lens, the Nikon F-mount Sigma 40mm f/1.4 DG HSM Art Lens is a wide normal-length lens characterized by a bright design and...
Sigma 135mm f/1.8 DG HSM Art Lens for Sony E
135mm F1.8 DG HSM | A ULTRA-HIGH RESOLUTION FOR ULTIMATE ARTISTRY Category: Lenses, Telephoto Lenses, USB Dock Compatible, MC-11 Compatible Class: Art Typical...
Sigma USB Dock for Nikon Lenses
The Sigma USB Dock for Nikon Lenses allows you to connect your Sigma Global Vision lenses to your computer in order to update firmware and adjust focus setting parameters using the Sigma...
Sigma 40mm f/1.4 DG HSM Art Lens for Canon EF
Designed within the rigorous tolerances of a cine lens, the Canon EF-mount Sigma 40mm f/1.4 DG HSM Art Lens is a wide normal-length lens characterized by a bright design and...
Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports Lens for Nikon F
A single zoom covering a huge 10x range, the Nikon F-mount Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports Lens is a versatile optic well-suited for a variety of subjects, including...
Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports Lens for Canon EF
A single zoom covering a huge 10x range, the Canon EF-mount Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports Lens is a versatile optic well-suited for a variety of subjects, including...
Sony Alpha a7R III Mirrorless Digital Camera (Body Only)
Thanks to an evolutionary leap in image processing power and efficiency, the a7R III combines a high-resolution 42.4 MP back-illuminated Exmor R® CMOS image sensor with impressive...
Sony FE 35mm f/1.8 Lens
Large F1.8 maximum aperture The 35mm focal length is a perfect choice for everyday snapshots, food photography, landscapes, night scenes and more as the maximum F1.8 aperture opens up a world...
Sony VCT-SGR1 Shooting Grip
A unique tool to help improve stability, the VCT-SGR1 Shooting Grip from Sony is a flexible accessory that serves as both a larger grip for handheld shooting as well as a sleek...
Sigma 56mm f/1.4 DC DN Contemporary Lens for Sony E
An especially sleek portrait-length prime, the 56mm f/1.4 DC DN is part of Sigma's Contemporary series of lenses, and is designed for use with APS-C-format Sony E-mount mirrorless...
Inherits the development philosophy
behind the SIGMA CINE LENS
High-end cine lenses used by professional filmmakers are required to have a consistent characteristic over the entire sensor at a high level, because these lenses are used to film a subject moving freely on the screen or while panning or tilting the camera. This represents exactly the concept of the Art Line; "optical performance comes first", and the high-end cine lenses need to be designed with this idea. The SIGMA 40mm F1.4 DG HSM | Art is SIGMA's first lens developed originally to live up to the sought-after angle of view and performance standard for a cine lens. This new perspective to ensure the quality of professional equipment for visual production empowers it to breakthrough also as an interchangeable photographic lens.
Optical performance that meets the requirements
of high-end cine lenses
This lens effectively arranges three FLD ("F" Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration to the limit. A sharp image is formed on the focal plane with the maximum aperture and contrast with the soft bokeh in the out of focus area highlights the solidity of a subject. With a distortion of 1% or below and a sagittal coma flare corrected to the limit, it demonstrates a consistent optical characteristic over the entire sensor. This is the ultimate large-diameter standard lens that has both 8K-compatible resolution and beautiful bokeh.
Lens construction / Specifications
Designed to meet all shooting conditions
The water- and oil-repellent coating on the front lens element, together with the dust- and splash-proof structure, ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures instantaneous photography movement.
water- and oil-repellent coating
water- and oil-repellent coating Forefront and rear lenses incorporate a water and oil-repellent coating that allows water to be wiped away easily and prevents oil and fat from sticking to the surface, even in challenging shooting conditions. At the same time, the maintenance of the lens surface becomes easier.
This lens features a highly effective dust- and splash-proof structure with special sealing at the mount connection, manual focus ring, zoom ring, and cover connection, allowing photographers to work in all types of weather.
High-speed AF
The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures instantaneous photography movement.
Hood with lock
Features a hood with lock to prevent dropping the hood.
Manual override (MO)
Manual override (MO) capable of switching two full-time manual modes
* By setting it to the MO position, it switches to manual focus by rotating the focus ring even during continuous AF.
The default setting of Full-time MF function varies for each mount.
FLD glass
SLD glass
ASPHERICAL LENS
16 elements in 12 groups
Angle of view (35mm)
Number of diaphragm blades
9 (Rounded diaphragm)
Minimum focusing distance
40cm / 15.7in.
Maximum magnification ratio
(diameter x length)
φ87.8mm×131mm /
φ3.4 × 5.1in.
1,200g / 42.3oz.
All figures calculated by SIGMA.
Appearance and specifications are subject to change without notice.
Case, Petal Type Hood with lock(LH878-01)
Corresponding AF Mounts
SIGMA / NIKON / CANON / Sony E-mount
The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism.
Functionality may be limited on some camera bodies.


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You are here: Home / News / Pre-employment training was noncompensable
Pre-employment training was noncompensable
April 11, 2017 by Wolters Kluwer Legal & Regulatory
On-the-job training for new employees can be time-consuming and disruptive of regular work operations. What's more, if the newbie actually performs work (even ineptly or inefficiently), the employer will generally have to pay the worker for the training time.
In a new case, however, an employer took a different approach to worker training. The company required prospective employees to undergo training before being offered a job. What's more, a U.S. district court held that the employer was not required to pay for the training time.
Kathryn Otico was accepted into a training program to become a customer service representative for Hawaiian Airlines. The program, which took place at an airport, lasted 10 days. It consisted almost exclusively of classroom work and tours of the facilities. Hawaiian Airlines employees taught Otico about FAA regulations, the computer system, and the way that the company operated. Except for one occasion when she was observing the customer check-in process and actually checked information for one or two passengers, Otico provided no services to any Hawaiian Airlines customers during the 10-day instruction period. Before interviewing for the position, Otico was told that she would not be paid for the training.
At the end of the training period, Otico was required to take a test. Otico passed the test, was hired, but quit a short time later. Following her resignation, Otico filed a lawsuit claiming that she was an employee of Hawaiian Airlines during the 10-day training program and should have been paid for the training time.
Trainee or employee
The key question before the court was whether Otico was a trainee or an employee under the Fair Labor Standards Act (FLSA).
The U.S. Department of Labor (DOL) has identified six criteria for deciding whether a worker crosses the line from unpaid trainee to paid employee under the FLSA.
• The training, even though it includes actual operation of the facilities of the employer, is similar to that which would be given in a vocational school.
• The training is for the benefit of the trainee.
• The trainee does not displace regular employees but works under close observation.
• The employer derives no immediate advantage from the activities of the trainee; and on occasion the employer's operations may actually be impeded.
• The trainee is not necessarily entitled to a job at the conclusion of the training period.
time spent in training.
The DOL takes the position that all six criteria must be met for a worker to be classified as an unpaid trainee. However, the court rejected such a rigid approach. Instead, the court said that the key question is whether the employer is taking financial advantage of the trainee and using him or her to perform work that an employee would otherwise be performing. "If so," the court said, "the trainee should be paid for the work as an employee."
According to the court, the DOL's criteria seem designed for true "on-the-job" training—that is, where a trainee is actually performing the work of an employee as part of his or her training. In those situations, the concern is that the employer is exploiting trainees by using them to save money on payroll. However, Otico did not engage in the type of "on-the-job" training that the criteria are concerned with. She did not actually perform the work of an employee. Her training comprised almost exclusively of classroom instruction and touring of the facilities, which were precursors to performing the work of an employee. Therefore, the court concluded that Otico was not acting as an employee when she took the Hawaiian Airlines training course—and Hawaiian Airlines was not required to pay her for the training time.
One the other hand, the court was not entirely sympathetic to the airline's unpaid training program. "Although one wonders why Hawaiian is unwilling to pay something to these people, since they no doubt must sacrifice to participate in the program," the court said, "the law does not require it to do so." (Otico v. Hawaiian Airlines, Inc., No. 16-cv-02557-VC (N.D. Cal., January 9, 2017).)
Visit our News Library to read more news stories.

redpajama_set_name: RedPajamaCommonCrawl


U.S. Masters Swimming is hosting a USMS Level 3 Masters coach certification course on Saturday, June 8, 2019 in Seattle, WA.
You must have completed Levels 1&2 of the USMS Masters coach certification program and be a current USMS Member to participate in the course.
Upon successful completion of the certification process, including all required memberships, applications and completed tests: Each person will be awarded a USMS level 3 Certified Masters Coach certificate.
$225 for Level 3 Course.
Current full-time, part-time or volunteer coaches who would like to explore the possibilities of coaching Masters swimmers as a profession. Anyone interested in supporting their existing team and coach.
Online registration only. Registration closes at midnight pacific time on Friday, June 7, 2019 or when the course enrollment reaches 25.
If you are interested in securing a hotel reservation for this event please contact theEmbassy Suites by Hilton Seattle North Lynnwood, 20610 44th Ave W, Lynnwood, WA 98036.


photography – We Are All Meant to Shine!
there is absolutely no way I'm going to feel old or forget my younger days.
A friend of mine once described a particularly happy experience as a rocking chair moment. He said he knew that when he was old and sitting in a rocking chair that he was going to think back fondly on that event. We humans do have a tendency to reminisce and it can be fun to look back in time. One of the things I also registered from the comment and realized is that we still had a lot more living to do and a lot more moments to experience that would become a part of our treasured history.
Rocking chair moments don't have to involve expensive vacations or life changing events necessarily. Many of our most special moments take place because we are doing them with loved ones or simply participating in a favorite activity. Talk to most parents and they will have very specific memories of their children growing up that stand out to them. There are poignant moments during milestone markers, such as completing kindergarten, graduating high school, getting married, having a child, losing a loved one or achieving something meaningful, no matter how big or small.
One of the ways I like to track time and record special moments is through photography. Photography is a favorite art form and also a storyteller. Several years back I even participated in a photo blog group and for over two years I posted at least one photo a day. There were a few group leaders who would post the word of the day and the goal was to interpret or represent that word with a photo. It was fun, creative and sometimes challenging. It enhanced my tendency to look around myself with wondering new eyes. I know the photographic project came easily to me because I already had a tendency to look around myself with artful eyes.
Whether you are around the house, just going around town or away enjoying a summer vacation, look around you with the eyes of an artist and a photographer. What do you see? What do you notice? What draws your eye? What could you want to capture as an image? What would you want to share with others?
I recently went away on vacation with my husband and twin daughters. We spent a few days in Monterey and then moved over to camping at Little Basin, near Santa Cruz and Boulder Creek. Being on the coast and in the redwoods provided a smorgasbord of images to delight me.
Here is a slideshow from the Monterey area and another of camping in the redwoods at Little Basin with more photos.
I'd love to see some images delight you. Consider what sorts of things make for rocking chair moments and photograph them, describe them in words or paint or collage them. The creative options are wide open, so explore and have fun.
"The Milky Way drifts across the sky. Aurora tumble and roll.
The video Purely Pacific Northwest is composed of 260,000 shots John took of Mt. Shuksan, Crater Lake, Mt. Bachelor, Mount St. Helens, Oregon's Badlands, Painted Hills, Cape Kiwanda, Mt. Hood, Lost Lake and Cannon Beach between July 2011 and August 2012.
I am in awe of this video. There is something about nature, our planet, the stars, the cosmos above, that leave me with a sense of wonder and wow, but also a greater sense of peace. It reminds me that we are all a part of something so much bigger and greater than ourselves. It also gives me a comforting reminder of the way we are all connected on this planet.
Connecting with the beauty of nature has always been a grounding touchstone for me. Is the same true for you?
Consider getting out, taking your camera and going for a walk in your neighborhood or a nearby park or if you have more time on your hands, take a little drive and go exploring to find some fall color. Perhaps your adventure might even call for a hike in the mountains.
Come back and share photos after your outing.
How did you feel during the outing?
Here is a photo slideshow from the world of nature my family and I have been enjoying the last few days in beautiful Northern California.
but not obvious to strangers?
With her camera, body paint, and the quest to explore how people choose to show themselves to the world, Katheryn Trenshaw—photographer, documentarian, and artist— approaches total strangers and asks: What is true of you that is not obvious to strangers?
After conferring with Katheryn and consulting with their hearts, those who agree to participate choose a word (or phrase) that reveals something about themselves that is unknown to others. Katheryn then paints the word on the skin of the person and photographs them. The result is as moving as it is unexpected.
Her background in art, psychology, and language allows her to connect with her subjects on a variety of levels. This multi-layered perspective comes through to the viewers of her moving photographs. Over the past year, Katheryn has created nearly 150 portraits of subjects from more than thirty countries and all walks of life. Each photograph documents a personal story.
"Some years ago during a silent retreat I had an epiphany. I realized that the greatest treasure I hold is buried deep inside the thing I least want anyone to know about. Within this wound inside of me lay a rich treasure trove. I was a living paradox and the sooner I could learn to dance with this, the sooner I could unabashedly share my gifts.
As an artist, I have specialized all of my professional life in the masks we wear, and am passionate about ritualistic mark making on skin and bodies. Breaking the Silence was a body or work I created consisting of 100 masks that toured the United States and Europe for over 15 years. It was all about revealing our true nature and looking at what we conceal and has had a huge influence on my subsequent work, life and respect for peoples traditions throughout the World.
This In Your Own Skin documentary short is about nothing short of unlocking human potential and joy. I've seen the potential for human beings to share in such a powerful openhearted way. The further I go into this project, the more I trust our deep intelligence. I experience people being genuinely authentic. We are living differently now in these challenging times. We are living more and more in community and in ways that we really support each other.
Projects like this one and the others I have created ( like my Breaking the Silence Project) show that love always trumps fear.
I am passionate about this project! I love every minute of this mad and wonderful process: creating these ways to reveal and share our hidden stories with each other. I love how this process can weave into the every day aspects of my life, parenting, community and travels. I recently was reminded of the obvious… that the meaning of life is to find your gift and the purpose of life is to give that gift. Each of the In Your Own Skin portraits gives a gift and reveals a part of each of us. Now that is worth getting up for in the morning! I am so very grateful.
A beautiful song and video to inspire you mid-week.
You are bountiful, blissful and beautiful. You are.
was published in my column in the Cosmic Cowgirls Magazine.
to how we are all connected.
What if taking silly and wild photographs was the cure for lifting your spirits? What if creativity, a sense of humor and some good ol' make believe could not only change your life, but also bring laughter and hope to the lives of others?
This is exactly what happened for 91-year-old Hungarian grandmother Frederika who had been feeling sad and bored. Her grandson, a French photographer named Sacha Goldberger, suggested that they shoot a series of outrageous photos in unusual costumes, poses and locations to cheer her up. She relunctantly agreed, but once they started, she has thoroughly enjoyed herself and proven to be quite the model.
Mamika even has her own MySpace page, has been "friended" by thousands and receives messages like: "You're the grandmother that I have dreamed of, would you adopt me?" and " You made my day, I hope to be like you at your age." Initially, she did not understand why all these people wrote to congratulate her. Then, little by little, she realized that her story conveyed a message of hope and joy.
Goldberger has since shared that his grandmother has never shown any signs of depression since they began their Mamika journey.
Take a look below at these fun and sassy photos and as you do begin to imagine your own supershero costume.
Describe what it looks like and how you feel when you wear it.
What powers do you have when you are wearing your supershero outfit?
Paint it, draw it, create it, sew it, photograph it, post it!
Mamika showing off her sassy side!
A special showing of the Self Worth Project will take place on Thursday, February 10th, 2011 in Redding, California at the Cascade Theater. Click here for theater information.


text:
What killed Lehman
Lehman chief executive Richard Fuld testified before Congress on Oct. 6, 2008.By Grace Wong, contributing writer, and Aaron Smith, staff writerMarch 15, 2010: 10:29 AM ET
NEW YORK�(CNNMoney.com) -- Failings by Lehman Brothers executives and its auditor led to the bank collapse that unleashed the worst of the financial crisis, according to a report by a court-appointed investigator.
Lehman "repeatedly exceeded its own internal risk limits and controls," and a wide range of bad calls by its management led to the bank's failure, says the report, authored by examiner Anton Valukas.
Comment on this story
Valukas, of New York law firm Jenner & Block, was appointed in January 2009 by the U.S. Bankruptcy Court for the Southern District of New York to examine the causes of Lehman's failure.
Lehman's bankruptcy filing on Sept. 15, 2008 -- the largest Chapter 11 filing in financial history -- capped a 95% slide in the firm's stock price and unleashed a crisis of confidence that threw financial markets worldwide into turmoil, sparking the worst crisis since the Great Depression.
Blame the execs
As a credit squeeze caused investor confidence to falter in the fall of 2008 Lehman tried to stave off collapse by painting a misleading picture of its financial condition, the report claims.
The report is highly critical of Lehman's executives, who "should have done more, done better."
Lehman ex-CFO Erin Callan: She's back!
Valukas blamed Lehman executives for exacerbating the firm's problems, resulting in financial fallout to creditors and shareholders. The executives' conduct "ranged from serious but non-culpable errors of business judgment to actionable balance sheet manipulation," he said.
The report said former Chief Executive Richard Fuld was "at least grossly negligent in causing Lehman to file misleading periodic reports."
But it says responsibility for its collapse is shared. A flawed business model that rewarded excessive risk and leverage exacerbated the bank's problems, as did government agencies.
0:00 /3:40Paulson on AIG and Lehman
Lehman's plight "was more the consequence than the cause of a deteriorating economic climate," Valukas wrote.
Repo 105
In particular, the examiner's report criticizes Lehman's failure to disclose its use of an accounting device called "Repo 105" to make its books look better. Lehman used this device to strip some $50 billion of undesirable assets from its balance sheet at the end of the first and second quarters of 2008, instead of selling those assets at a loss, according to the report.
Accounting rules permitted Lehman to treat this transaction as sales instead of financings, "so that the assets could be removed from the balance sheet," according to the report.
The examiner's report included e-mails from Lehman's global financial controller confirming that "the only purpose or motive for [Repo 105] transactions was reduction in the balance sheet," adding that "there was no substance to the transactions."
The report accused Lehman of not disclosing its use of Repo 105, let alone its "significant magnitude," to government regulators, rating agencies, investors or its board of directors.
The financial crisis: One year later
The auditor Ernst & Young was aware of the use of Repo 105, but it did not challenge or question it, according to the report, which runs more than 2,200 pages.
The report said there was "sufficient evidence" that Fuld knew about the use of Repo 105 before signing off on quarterly financial reports that made no mention of it.
The examiner based this charge on statements from former Chief Operating Officer Bart McDade, who said he discussed the use of Repo 105 with Fuld. The report also said that Fuld denied, in an interview with the examiner, any recollection of the conversations with McDade.
Fuld's lawyer, Patricia Hynes of Allen & Overy LLP, said that her client was not aware of his company's use of Repo 105.
"Mr. Fuld did not know what these transactions were -- he didn't structure or negotiate them, nor was he aware of their accounting treatment," said Hynes, in a statement.
'Unprecedented events'
Ernst & Young spokesman Charlie Perkins deflected blame from his company, saying that Lehman's bankruptcy "was the result of a series of unprecedented adverse events in the financial markets."
2008 financial crisis: Where are they now?
Perkins, in a statement, noted that his Ernst & Young conducted its last audit of Lehman for the fiscal year ended Nov. 30, 2007, more than nine months before the Chapter 11 filing.
"Our opinion indicated that Lehman's financial statements for that year were fairly presented in accordance with generally accepted accounting principles [GAAP] and we remain of that view," he said.
Fuld was defended by his attorney, Hynes, who said the ex-Lehman chief "throughout his career faithfully and diligently worked in the interests of Lehman and its stakeholders."
In congressional testimony on Oct. 6, 2008, Fuld said, "I wake up every single night thinking, 'What could I have done differently?' "
Lehman ex-CFO Callan under new scrutiny
Buffett vents on financial fat cats
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text:
<New banking app for international students in US launched
No-deal Brexit would harm UK property prices: report>
Quebec on target to significantly reduce immigration
David Fulleron September 3, 2019 /Comments closed
The Government of Quebec is on target to meet its stated goal of reducing immigration to the province by 20 per cent.
In the 2018 election campaign the Coalition Avenir Québec (CAQ) promised to reduce immigration by 20 per cent (from about 50,000 to 40,000). In a recent analysis of immigration numbers for the first six months of 2019, carried out by the Canadian Institute of Identities and Migration (CIIM), the Government is on track to keep the promise.
Indeed, the percentage in the reduction of immigrants entering Quebec between January to June 2019 actually exceeded 25 per cent.
Specifically, the report shows that 'economic' (skilled) immigration has been reduced from 14,125 immigrants in the first two quarters of 2018 to 9,565 in the same period in 2019, representing a 32.3 per cent reduction.
Sponsored Families dropped from 5,455 to 4,935, a 9.6 per cent reduction. Resettled refugee and protected person totals dropped from 4,357 to 3,495, a 20.2 per cent reduction. All other forms of immigration dropped from 525 to 205, a 61 per cent reduction.
Quebec has seen a bigger drop in its immigration numbers than any other province in Canada, although Saskatchewan has also seen a 20 per cent decline during this period. British Columbia and Alberta were the only other two provinces to see arrival numbers drop in the first half of 2019 – falling by 6.5 per cent and 5.9 per cent respectively.
In the first six months of this year, 11.25 per cent of all immigrants who arrived in Canada settled in Quebec. In the same period of 2018, Quebec's immigration intake accounted for 16 per cent of the national total.
Article published 3rd September 2019
Tagged: Canada Coalition Avenir Québec Quebec


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"MOTHER OF THE BRIDE" comes as fixed text.
For the woman who has been there for you through thick and thin, both before and after the big day, our Personalised Mother of the Bride Scented Candle - Mr and Mrs is the perfect gift. It will serve as a reminder of the day her little girl tied the knot.
The candle has been expertly filled right here in our workshop, and the luxury glass is reusable. On the front you'll find a full colour label printed using eco-friendly inks that reads, "MOTHER OF THE BRIDE". Thanks to a durable construction the glass can be used as a trinket holder even after the 40 hours of burn time has been enjoyed.
The candle comes in four beautiful scents; Green Tea, Vanilla, Rose or Jasmine. To personalise the front, simply tell us any name of up to 13 characters to be printed above the fixed text.
Below the fixed text, there is also 1 line of 20 characters for you to add extra details about the wedding or a short message of love to thank your mum for always being here for you.


BABY LAUGHS AT FUNNY SOUNDS!!
This cute little fella makes so funny noises that it makes him sound like pterodactyl. Turn the volume up and listen to funny baby making pterodactyl sounds. Funny video of baby sounds like pterodactyl.
Funny BABY & ASMR Sounds! No talk!
WARNING: This is not real! Don't try that at home! I'm a superhero. My superpower is my supernatural belly. I eat everything I want. Please Subscribe ASMR Dinner ► http://bit.ly/SubscribeASMRDinner Subscribe Tingling ASMR Compilation ► http://bit.ly/SubscribeTinglingASMRCompilation Subscribe WEIRD DINNER ► http://bit.ly/SubscribeWeirdDinner Subscribe The Superheroes Real Life Show ► http://bit.ly/SubscribeSuperheroes Subscribe Funny Hero Compilation ► http://bit.ly/SubscscribeFunnyHero Subscribe Nursery Rhymes Fun TV ►http://bit.ly/SubscribeNurseryRhymesFunTV Subscribe ASMR Tik ►http://bit.ly/ASMRTik More videos for you: Eating Squeeze Balls ► http://bit.ly/EatingSqueezeBalls Eating Colored Clay Play Doh Slime Sandwich ► http://bit.ly/EatingClaySandwish Eating My Own Hair ► http://bit.ly/EatingMyOwnHair Eating Pig Sandwich ► http://bit.ly/EatingPigSandwich Eating Fidget Spinners http://bit.ly/EatingFidgetSpinners Eating Baby Ducks ► http://bit.ly/EatingBabyDucks Eating Fabric Fruits ► http://bit.ly/EatingFabricFruits Autonomous sensory meridian response (ASMR) is an experience characterized by a static-like or tingling sensation on the skin that typically begins on the scalp and moves down the back of the neck and upper spine. It has been compared with auditory-tactile synesthesia. Autonomous sensory meridian response (ASMR) signifies the subjective experience of 'low-grade euphoria' characterized by 'a combination of positive feelings, and a distinct static-like tingling sensation on the skin'. It is most commonly triggered by specific acoustic, visual and digital media stimuli, and less commonly by intentional attentional control.


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As-salam alaykom! I'm a native modern Arabic speaker from Iraq with a bachelor's degree in science. I moved to the US in 1999 and was nominated as the poet of the year for 2000 & 2001 for northern America with a VIP number in the library of congress. I have worked with students of all ages and backgrounds, both in private and group settings. I like putting a lot of effort into preparing classes. I enjoy following up with students and assigning quizzes and useful exercises. If you are willing to achieve your goal in learning the Arabic language efficiently please contact Strommen to set up your first class.
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The Bogarts Are Frisco-Bound
There's something anti-Howard Hawks about the way Delmer Daves directs Dark Passage. No longer is Humphrey Bogart hit on by all the beautiful girls, nor does he get the last word (or punch) with a new line of antagonists. Were San Franciscans as hateful and petty as this in 1947? Bogart's Vincent Parry is beset by people who talk too much, speak out of turn, and ask too many questions. Bus station attendants are surly and quarrelsome, the clerk behind a lunch counter shoots off his mouth and puts Bogie in dutch with a suspicious cop. Little of this accommodates the Bogart/Bacall romance and action formula established by Hawks with To Have and Have Not and The Big Sleep. Suddenly, the glamour couple who always quipped above the fray is confronted with harsher reality of post-war noir, Bacall in particular seeming lost. Besieged with aggravations normally visited upon noir brethren Steve Brodie, Dana Andrews, or Farley Granger, the Bogarts' former luck prevailing over Hawksian opponents seems to run aground, and there's only Dark Passage's romantic fade to restore our confidence. To that point, there is Bogart as unrelieved born loser subject to frame-ups and blackmail. He's actor enough to convey everyman despair, but his wife comes off ordinary and minimally competent now that Hawks' protective aura has been removed. It is this level of uncertainty that makes Dark Passage compelling for me. Bogart's post-surgical walk up endless stairs stays in the memory, as does the face procedure itself (I can make you look like a bulldog, or a monkey). Character vignettes abound. People like Tom D'Andrea, Bruce Bennett, Douglas Kennedy, and Clifton Young have nice turns in the spotlight, and Bogart is generous for throwing scenes their way. I'd not forgotten Young's sneering villainy (he's a would-be blackmailer driving the jalopy) since seeing Dark Passage the first time at fourteen. He actually reminded me then of eighth-graders at my school. Was that déjà vu that came of having seen him in Our Gang comedies where he played a character named "Bonedust"? I was intrigued to learn that the kid who brought a Minstrel and Blackface Joke-Book to the classroom in School's Out was the selfsame Clifton (then Bobby) Young who would later bedevil Bogart. I wouldn't have expected him to turn up in a Republic Trucolor western from the (approximate) same period either, but there he is menacing Roy Rogers in Bells Of Coronado. There were multiple appearances in Joe McDoakes comedies as well. Turns out Young came to a tragic end when a cigarette caught his hotel bed on fire in 1951. Amazing how puzzle pieces come together with the help of imdb.
Bogart's hair was starting to fall out when he made Dark Passage. He had to take hormone injections to alleviate it. Bad nutrition and those twin excesses of alcohol and tobacco were blamed, but the star gave up neither. Three of the pictures just previous, Conflict, The Big Sleep, and The Two Mrs. Carrolls, had been shot, then shelved, for as much as two years prior to their release, so to a lot of his fans, Bogart suddenly looked older in Dark Passage. Most of the picture was shot on location in San Francisco, and as the Bogart's off-screen relationship was now legally sanctioned by marriage, they were joined in their hotel suite by press profilers eager to observe, and photograph, their domestic habits. Bogart was riding higher at this point than ever before. Everything he did at Warners made money. Even one he deplored, Conflict, brought back a hatful of profit (two million, which equaled The Big Sleep). The new contract (67 pages long) called for a single picture each year at $200,000 per, plus one outside per annum. Monies earned in 1946 totaled $467,361. No wonder folks assumed Bogart left his family rich when he died in 1957, but according to later Bacall interviews, that wasn't necessarily the case. Overhead then was as now. In Hollywood, it could be ruinous. Bogart had actually wanted to do Dark Passage. The source novel by David Goodis was a downbeat thing about dead end lives, and the central conceit of hiding the star's face for the entire first half was tricky for customers expecting to look at the face they had paid to see. Was Bogart doubled during off camera and shadow shots? I think not, and for two reasons. One are the arms. You see those a lot when he's reaching for blankets, taking straws from Bacall, and whatnot. They're Bogie's alright, hands and arms hirsute and distinctive. Plus, I don't think he'd have left his wife to mercy of stand-ins. He would have wanted to protect her, and besides, Bacall needed all of help she could get. She would acknowledge later the at-home acting lessons Bogart gave her. Remember the scene in The Big Sleep where she's cutting his ropes? Never was Bogart so solicitous of her. Much of that dialogue is ad-libbed. You can tell he's afraid she'll hurt herself. Watch your fingers. Don't cut toward your hand. That must have been an anxious scene for Bogart to get through.
A major Bogart career loss came with the death of producer Mark Hellinger. They had planned to get together on outside pictures the actor envisioned when he signing the new pact with Warners. Bogart admired writers, and Hellinger was a seasoned one. He had worked on newspapers and knew rhythm of the mean streets, coming to WB in the late thirties and earning Bogart's respect by going to the mat with senior producer Hal Wallis, for whom he'd begun as an associate. Hellinger was also a world class drinker and raconteur, all of which further endeared him to the star. His talent lay in judging and packaging talent. Recently back from wartime service, Hellinger demonstrated an unerring eye for new kinds of crime stories that seemed all but revolutionary to post-war Hollywood. The Killers, Brute Force, and Naked City were essentially Warner thrillers taken to a new level of realism. Having produced several of the better Bogarts for Warners, They Drive By Night and High Sierra among them, he would now team with the actor for a series of independent productions. David O. Selznick came on board with partial financing. Bogart would also invest. Various banks agreed to furnish the balance. All these negotiations took place around the time of Dark Passage. Then Mark Hellinger collapsed with the sort heart attacks you get polishing off two quarts a day, and with him went the deals. I've often considered what direction Bogart's future might have taken had the producer lived. We would have likely had vehicles of Naked City and Brute Force quality, rather than Tokyo Joe, Sirocco, and the rest we got. With Hellinger's death, and Treasure Of The Sierra Madre and Key Largo behind him, Bogart went into a bad patch producing for himself with assist from substitute Warners veteran, Robert Lord, who had nowhere near Hellinger's flair (only one of the Santanas, In A Lonely Place, was outstanding). There were but two more associations with John Huston, and none with Howard Hawks. Bogart was largely adrift in the fifties without collaborators worthy of him. Single projects for major directors like Billy Wilder and William Wyler provided little on which to build the sort of creative foundation he had developed with Huston and Hawks. A Bogart/Hellinger teaming might have led to a second wave of classics --- imagine the series of noirs these two might have produced. Fate deprived us of quite a banquet here.
You could say Dark Passage was the last of the vintage Bogart pictures. Treasure Of The Sierra Madre would point more toward character leads, and Key Largo was loftier than what Huston and Bogart had earlier done (Across the Pacific, which I prefer). No more convicts nor dwellings in moral twilight for Bogart. Chain Lightning found him test-piloting in skies soon overpopulated with more conventional leading men, but what did Bogart have in common with William Holden, James Stewart, or John Wayne, and which branch of the service would be so remiss as to send a man of his years aloft? Of all his starring Warner vehicles, Chain Lightning may be the one least mentioned today. I've always liked The Enforcer, but he's the establishment figure crusading against crime here, and would continue doing so in the following year's (1952) Deadline USA. There was now no question as to which side of the law Bogart was on. To see him back in (escaped) prisoner attire was all the more surprising in late-in-the-day The Desperate Hours. These were my youthful introductions to Bogart, for they were sold among syndication packages otherwise salted with color titles to satisfy broadcaster's demand for something other than stale pre-48 groups. Dark Passage came my way by virtue of a backwoods station from Asheville we could barely pick up that probably never heard of color TV. Remember watching movies on local channels? They'd cram features into ninety-minute time frames, then spend a third of that on commercials and "Dialing For Dollars" nonsense. It's a wonder any of us developed an interest in this stuff, let alone maintained it through years of sustained abuse and neglect. I remember one UHF outpost out of Charlotte that simply switched off Treasure Of the Sierra Madre with ten minutes left to go, just so they could move on to an episode of Davey and Goliath. Basking in this era of TCM and DVD privilege, we forget how austere conditions once were. Many among us could fill a book with horror stories of wretched reception, relentless interruption, and jabbering hosts.
posted by John McElwee at 5:59 PM 9 comments
Those Happy Years Watching The Happy Years
Sometimes a good picture can be jinxed by a campaign that refuses to jell --- then there are those left at the starting post as sales personnel devote themselves to more promising stock. Everything fell apart for The Happy Years from the moment it was trade-shown on May 24, 1950. MGM had unveiled Annie Get Your Gun to showmen the day before, excitement building too for Father Of The Bride. These were leviathans that would roll over The Happy Years, and all these years later, it's still on the canvas. We can only guess what went wrong, though trade scribes hinted at the problem. Ads covered with type and cluttered posters, said The Manager's Round Table section of The Motion Picture Herald --- very little illustration, so you have to read to get the point. One-sheets were uninspired, as shown here, and limited to headshots of an unpresupposing cast. What exactly was Metro selling? No one seemed to get a handle on how to exploit The Happy Years. It was based on "beloved" stories that had run in The Saturday Evening Post over the last eleven years, but was Post reader familiarity enough to get back $1.3 million spent on this Technicolor period piece? Costumers were hard enough to merchandise with stars on board (witness The Tall Target), so how do you excite patrons over a boy's prep school at the turn of the century? In the end, I suspect they just gave up. The Happy Years headed double bills with another MGM forfeit, Mystery Street (loss --- $277,000). This is a grand picture and deserved better results, said one manager concluding his dispirited run of The Happy Years. Worthy shows had been dumped before and would be again, but it was sad seeing this one swept under the carpet. As Annie Get Your Gun and Father Of The Bride racked up enormous grosses, The Happy Years withered in the heat of summer playoff and finished with an egregious $680,000 in domestic rentals, plus $179,000 foreign (again, that curse of Americana). A million-dollar loss was recorded in Metro ledgers, and there would be no re-issues, other than a few bookings among the MGM Children's Matinee series of the early seventies where it was re-titled The Adventures Of Young Dink Stover. Those who cared might have seen The Happy Years previously on television, as it had gone into syndication for Fall 1964 with 39 other post-48 Metros. The (very) few prints in circulation among collectors were either heisted from Films, Inc. or some TV station. I've not yet met anyone who didn't like this picture. Occasionally there are sightings on TCM, but otherwise The Happy Years is orphaned. There's never been a video release. I've watched interviews with Dean Stockwell in hopes it would be mentioned, but he'd rather talk about the glories of having done Blue Velvet.
My father went to a boy's school very much like Lawrenceville, the setting of The Happy Years. He particularly enjoyed the picture when we saw it on the old SFM Holiday Network presentation around 1981, but is there anyone left who would understand, even remotely, the student's life he identified with? This was truly a movie for men who'd come of age near the turn of the (past) century. No one born since could comprehend, nor dramatize, that world so well. Producer Carey Wilson, born 1889, was enamoured of the project, having been a faithful reader of the Lawrenceville stories. Chances are he attended a place very much like it. Director William Wellman had been an outstanding athlete in high school, though it's been suggested he never finished. He was born in 1896. These men brought old-world sensibility to The Happy Years. Both were fascinated by the culture of a boy's academy. I've not experienced a place such as Lawrenceville, but details seem authentic. I'd like to think my father's sojourn at the McCallie School in Chattanooga, Tennessee was similar. He boarded there in the late teens. The night we watched The Happy Years, he surprised me when he turned and said at the end, "Now that was really good," a reaction no picture had gotten from him in my memory. Maybe his own experience in that universe of The Happy Years gave insight to its larger truths. It took men of a certain age to appreciate crucial distinction between gerunds and gerundives.
Youthful roles for Dean Stockwell, Darryl Hickman, and Scotty Beckett were nearly exhausted when they did The Happy Years. No longer boys in a cute sense, they were deep into adolescence and complications that implied. Scotty had been arrested the year before for driving drunk. By the time The Happy Years went into production, he was twenty years old and married. The easy charm he projects in the movie was something he had plenty of in real life. It got him (barely) out of tough scrapes over a tumultuous adulthood until his luck ran out with a probable suicide (his third attempt) in 1968. Dean Stockwell was younger --- thirteen at the time The Happy Years was shot. This was his peak period, but late in the post-war day for child players to enter the game. He had the distinction of appearing in two classics released within weeks of each other --- Stars In My Crown and The Happy Years, but kid pictures of the kind MGM routinely turned out during the thirties and forties were disappearing fast, and Stockwell would only have a couple left before withdrawing for several years to wait out puberty. Darryl Hickman was gangly and well past boy parts at eighteen, but he'd been in movies since If I Were King in 1938. He was on a TCM child star panel and gave a good account of himself. I found it hard to believe someone so youthful in appearance and attitude could be seventy-five as of 2006. He has a book, and it has received praise. Also, there's a website. Brother Dwayne's in The Happy Years as well, though I've had no success spotting him. Neophyte Robert Wagner is recognizable, however.
Variety suggested trims. The Happy Years was both leisurely and overlong. It is relaxed as to pacing, but wasn't life itself laid back in waning days of the gay nineties? I'd not vote to remove a moment of those 110 minutes. Was life so idyllic in that final decade of the nineteenth century? MGM certainly implied it was. Patriarch of choice Leon Ames is on hand, his a comforting presence as is the familiar Meet Me In St. Louis house (even against a beach set matte painting). These help The Happy Years seem of a piece with the earlier musical and Metro period pieces gone before. Red Skelton's Excuse My Dust of the following year would utilize the same standing sets. Much of the furniture seen in The Happy Years would be used again here. Celebration of times past would prevail at Fox with Cheaper By The Dozen, and Warner's Booth Tarkington stories accommodated Doris Day's formula for On Moonlight Bay and By The Light Of The Silvery Moon. These revolved around similar period of American history. There must have been a fifties consensus that life in the nineties was simpler (if not preferable). Will we look back on any decade of the twentieth century with as much nostalgia? For a while, it seemed the sixties would reclaim us. American Graffiti ushered in 70's longing for drive-ins and sock hops, but that era seems now like ancient history (as do the seventies themselves). Why would movies embrace the nineteenth century again? Might as well revisit lives of the pharaohs , and that is all a more reason to treasure The Happy Years. We are not going to get pictures the likes of this again. People who could mount them are gone and they did not leave instructions behind.
posted by John McElwee at 8:21 PM 11 comments
The Grand Hotel That Might Have Been
Casting what-ifs are a real waste of time in most cases, but one I would indulge concerns the legendary all-star Grand Hotel and the movie that might have been had MGM gone with their initial choices. Good as the finished product is, I can't help wishing they'd stuck with the line-up as announced (if tentatively) in early trade mentions. There was a lot of interest in this property growing out of the play it was based on, and by December 1931, columnists were speculating on who might fill roles familiar from the stage version. The Hollywood Reporter posted a tentative line-up that month. Clark Gable, Buster Keaton, Jimmy Durante, and George E. Stone suggested something along comedic lines. Was Grand Hotel played more for laughs in its legit presentation? As late as December 28, Gable was "unofficially" tabbed for the project, even as shooting was to start in less than a week. Then there was John Gilbert, who'd eventually be replaced by John Barrymore. How close were these players to roles that would surely have changed the course of their careers, and in the case of Gilbert and Keaton, might possibly save them? What would it have been like to covet a part in a sure-fire major hit --- come so close to the carrot --- then have it snatched but days before production? If nothing else, the saga of Grand Hotel demonstrates how capricious casting decisions could be, and how easily one missed (or gained) opportunity could hasten (or impede) a star's momentum. A single Grand Hotel was worth a dozen ordinary vehicles. No studio (even Metro) was good for more than one or two such specials in any given year. You could coast a long time on a picture big as this …
John Gilbert had cruised on the fabulous success of The Big Parade and other silent favorites, until sound closed the book on his stardom. The lucrative contract he'd signed with Loew's chairman Nicholas Schenck guaranteed three years of top money and starring berths at MGM, but Schenck never dreamed Jack's audience would abandon him so cruelly and suddenly. Animus on Louis Mayer's part foreclosed serious efforts to rehabilitate a faltering image, and by 1930, Gilbert was declared washed up. One great picture might have saved him. There was nothing wrong with his appearance, as the overuse of alcohol had not yet made those inroads, but how could performances in things like West Of Broadway and A Gentleman's Fate seem anything other than dispirited? There were only eight months to go on Gilbert's contract in December 1931, and time was running out on a comeback, if not the actor's health. He suffered with insomnia, bleeding stomach ulcers, and alcoholism that had progressed to a point where one drink made him deathly sick. It was understood early on that Grand Hotel would star John Gilbert, but that was when Metro first invested in the play, and before his last four pictures tanked. Though it too lost money, The Phantom Of Paris (shown here) was actually a major improvement upon previous films, and reviews had not been so generous since Gilbert's silent heyday. Phantom plays well yet, as demonstrated on frequent TCM broadcasts, and he's relaxed and assured at all times. If there was a crisis of confidence, Gilbert had overcome it with this performance. Jack thought he had a friend in Irving Thalberg, and indeed, they enjoyed a congenial social relationship, having known each other since the early twenties, but Thalberg was first and always a company man, and playing bridge with him on Sunday was no guarantee he'd cast you on Monday. Jack would now beg for the opportunity to do Grand Hotel. He kidded of ideal casting as a dissolute baron and faded lover, but few laughed with him. Greta Garbo seems to have wanted Gilbert, but when the prospect of Barrymore was dangled before her, all bets were off and Jack was out. I'd read that disappointment over Grand Hotel ended the star's friendship with Thalberg, but evidence suggests otherwise, for by June of 1932, Gilbert was starring in a story he'd written entitled Downstairs, perhaps consolation for missing Grand Hotel, and far and away his finest work in talkies. The truly crushing blow came with Red Dust, which had been definitely set for Gilbert until Clark Gable's ascent dictated otherwise. As this one didn't go into production until August 1932, it did, in any case, miss the expiration date of Gilbert's contract (July 31). If there was a rupture in the Gilbert/Thalberg relationship, this is probably where it occurred, and yet they were photographed together as late as November of that same year, as shown here (that's Gilbert and new wife Virginia Bruce in a foursome with Norma Shearer and Thalberg).
Clark Gable was actually considered for the Wallace Beery part, less surprising when you consider the brutish roles he'd essayed over the past year when the caveman image was taking shape. A Free Soul suggests Gable would have been ideal in Beery's part. No doubt he'd have made explicit what was merely implied by the relationship between Beery and Joan Crawford in Grand Hotel as we know it. The tension between he and Gilbert over Crawford (or perhaps even Garbo) would have created sparks altogether missing from the more or less placid conflict played out by Barrymore and Beery. Columnist Elizabeth Yeaman posted the news on December 28, 1931 that Gable was "unofficially" set for the film, while Jimmy Starr would announce (within ten days) China Seas as the actor's next starring role (though it would be three years before that one came to fruition). By January 13, Gable was definitely booked for Strange Interlude with Norma Shearer, which was filmed that Spring. Grand Hotel would have been a great role for the rough-edged, early Gable. Imagine that hotel room confrontation between he and Gilbert. The talkie's newest romantic idol bashing in the head of a discarded silent lover --- and with a telephone receiver. Talk about a merger of art with life! Too bad we missed out on it. The demand for Gable was so great that to use him in an all-star feature might have been considered wasteful, and yet he'd be on hand a year later for Night Flight, with its similarly loaded marquee. His screen character would begin to soften after Red Dust (released October 1932), and the hard exterior would receive further massaging in musicals (Dancing Lady), reformation stories (Hold Your Man), and finally, romance comedy (It Happened One Night). Code artisans and studio image-makers chiseled away at Gable the Love Menace and found a lovable scamp underneath; safely (and reliably) marketable over the long haul, but with much of the edge gone forever. Audiences would forget thuggish, almost simian qualities of a pre-code beginner. When Robert Youngson included a particularly nasty clip from Night Nurse in his 1955 Warners compilation short, When The Talkies Were Young, viewers were startled to see their beloved (and by now firmly establishment) icon dressed up in storm trooper-ish chauffeur's uniform and roughing up Barbara Stanwyck. The elapse of so many years, and a virtual disappearance of the films themselves, erased memories of Gable the primitive. Had he been given Grand Hotel, probably the most noted of all early-30's MGM features, they might better have remembered this star in his formative period.
Would Buster Keaton have been spared the fate of Educational and Columbia two-reelers had he played Otto Kringelin (Lionel Barrymore's eventual part) in Grand Hotel? To the end of his life, the comedian maintained he'd have done an efficient job of it, and if you look at Buster's 1954 dramatic debut in The Awakening, an episode of Douglas Fairbanks Jr's anthology series, there's no doubt he was equal to the task of serious emoting. Grand Hotel director Edmund Goulding fired the idea in Keaton when he sent for him in late 1931. I make it a rule to become very serious about the fourth reel or so. That is to make absolutely sure that the audience will really care about what happens to me in the rest of the picture, said the comedian in his 1960 memoir, My Wonderful World Of Slapstick. Sounds like inspired off-casting for a star long dissatisfied with lousy assignments he'd been getting. The only good thing about Sidewalks Of New York and Parlor, Bedroom, and Bath were the profits they were earning. I was sure I could handle such a serious part --- but was the departure so radical? Lionel Barrymore's Kringelin evokes Buster at times (I would have played the part differently. I do not say better, mind you, just differently, said Keaton). Kringelin is the only major character in Grand Hotel that allows for comedy, and Buster could easily have woven some of that into the drama (his timid professor in Speak Easily, shown here, suggests Kringelin, in looks if not manner). Goulding's strong direction and the challenge of work with major talent would no doubt have restored assurance Keaton had lost after those forced marches through poor vehicles. It would appear he lost the role when just cast John Barrymore insisted on brother Lionel as Kringelin. Disappointment over this may have been a major factor in exacerbating Buster's drinking problem, for now there was only the prospect of a revised contract (for but a single year and with terms unfavorable to him) along with an increasingly prominent co-star (Jimmy Durante), whose status was rising even as Keaton's fell. While Grand Hotel triumphed in general release, Buster was fast headed toward career crisis, and no one was surprised when the studio ax fell on February 2, 1933. Whatever future he might have had as a character actor (make that serio-comic star), similar indeed to what Lionel Barrymore enjoyed up to his death in 1954, was now lost to Keaton.
Keaton's absorption with Grand Hotel would continue. An idea for a "travesty" was presented to a polite, but indifferent Thalberg (Aside from Norma Shearer, his wife, I think I was his favorite MGM star, said Buster in later years, but wasn't this merely an echo of John Gilbert's hopeful supposition?). Keaton's lampoon would utilize the standing hotel set and a cast of comedians sending up histrionics from the lately released blockbuster, but his framework for this farce suggested Buster himself had become another Metro pod person. He'd finally play Kringelin, but this time with life-threatening hiccups. Laurel and Hardy would be competing collar-button manufacturers. Polly Moran (in the Crawford role) was penciled in as the object of Hardy's would-be seduction. As if to confirm whatever doubts one might have about his creative judgement, Keaton proposed Jimmy Durante for the John Barrymore role, with Marie Dressler as a strident Garbo substitute. The idea went nowhere, though the comedian would add a postscript decades later when preparing My Wonderful World Of Slapstick. It seems Thalberg did call back, but only after Buster had been sacked from MGM. Grand Mills Hotel was a go if Keaton was willing. Everything might have been different if I had gone back, but was the invitation actually extended? There's reason to believe it wasn't, but perhaps Buster needed something to cling to, even if it was the misguided notion that it was he who rejected Metro this time, and that his million-dollar concept was one they bungled.
Region 2 Round-Up --- Part Two
I knew Anne Of the Indies was in trouble when she had captives walking a plank (and falling to their deaths) during the opening reel of this most enjoyable 20th Fox pirate adventure directed by Jacques Tourneur. Jean Peters would either have to die at the end or be "brought to justice." Distaff pirates require a suspension of disbelief beyond even that customary with pictures of this type, and you could say Peters is no more credible than Maureen O'Hara, Hillary Brooke, Geena Davis, or other members of that rarefied sorority. Very much like The Black Swan, only better, Anne Of the Indies got on and off in less than 80 minutes (at least by the speeded up clock of Region 2 PAL conversion), and took its place near the top of my favorite Tourneurs list (along with his three Lewtons, Canyon Passage, Out Of The Past, Stars In My Crown, and Curse Of The Demon). Offbeat touches include a pirate's wrestling match with a bear, affording us a glimpse of what that legendarily deleted scene from The Wolf Man might have looked like. Fetching Jean Peters seems at all times a high school girl playing at piracy, but who'd want her muscled-up and butchy, as modern-day agenda loyalists would no doubt enact this role? Louis Jourdon's fragility suggests he might be dominated by such an opponent, though the choice he's obliged to make between Jean Peters and Debra Paget would be an enviable, if ultimately frustrating, one. Peters makes good on the promise of duel scenes pictured in ads and posters (a European one shown here). I watched the sword action closely and detected little in the way of doubling. Maybe this actress embraced those obligatory fencing lessons contract players had to take whenever they signed on with big studios. She must surely have considered Anne Of the Indies one of her more rewarding parts, though I can't recall having seen a published interview with Peters after she retired in 1955. Fox memos of the time recognized Anne Of The Indies' appeal to worldwide audiences. Zanuck noted domestic rentals ($1.2 million) that fell short of the negative cost ($1.4), but cited outstanding foreign receipts ($1.5 million) that put the picture into a modest profit of $111,000. He warned of pictures too dependent upon US returns, such as I'd Climb The Highest Mountain, Wait Till The Sun Shines, Nellie, and other Americana subjects, having hard climbs toward breaking even without elements attractive to worldwide markets. Judging by deluxe presentation on the import DVD, Anne Of The Indies has maintained its stature among French viewers (Tourneur's following helps). We seem to have forgotten Annie stateside. With everyone so enraptured by pirates of the Caribbean, I'm surprised Fox hasn't at least released Anne as a bare-bones DVD. Ordering it HERE may indeed be our only recourse for some time to come.
Horror/sci-fi combos were that much tougher to sell by the mid-sixties when Columbia released another two Hammer chillers stateside. Memories of block-round lines for Curse Of Frankenstein in 1957 and Horror Of Dracula in 1958 still inspired confidence that perhaps lightning could strike just once more, but these selfsame monsters were now running loose all over television, and the novelty of watching them spill a little more blood in theatres had long since past. Worse still, fans were beginning to access color horror movies on their TV's, even some of the early (and better) Hammers. Increasingly silly campaigns were adjudged the answer, as shown here with "Black Stamp" giveaways to accompany the combo of Curse Of The Mummy's Tomb and The Gorgon (she had a face only a Mummy could love --- was MAD magazine now composing ad copy?). The stamps reminded me of something included with those nauseating sheets of bubble gum that would snap in two when you opened the pack and proved near impossible to chew (lest you were willing to sacrifice what was left of your baby teeth doing so). The fact stamps were available to the first 10,000 people in line reflected foolhardy optimism on Columbia's part unlikely to be fulfilled at any venue running these two. Our beloved Liberty played the combo (first Saturday after school let out in June 1965), but nixed on Black Stamps, possibly in avoidance of giving them away clear through to 1972 as means of stock dosposal. How refreshing then, to find Curse Of The Mummy's Tomb and The Gorgon departing well from antic salesmanship Columbia inflicted upon them, both being literate and effective chillers. I eagerly await The Gorgon's arrival on DVD (and hope it'll be like the stunner broadcast on Monsters HD last year), but in a meantime, we have Curse Of the Mummy's Tomb just out on Region 2 from the UK. Some aver Hammer reached beyond grasp here, but I admire this ambitious storyline of brother pharaohs' sustained rivalry through centuries. Why not direct as though you were David Lean and this was Lawrence Of Arabia? --- and indeed, Michael Carreras does. Characters are unpredictable, none are sympathetic, and all benefit from seasoned British thesps portraying them. I could wish this mummy weren't encased in a loose-fitting union suit (with all but a buttoned flap on its rear), but Hammer enjoyed not the luxuries of Jack Pierce make-up nor eight-hours necessary to apply it. We were impressed in 1965 by a generous helping of limb-lobbing, but why this emphasis upon hands being severed? Something to do with that ancient curse, as I realized during more recent screenings, but chances are you'll opt for protective mittens, or at the least very long sleeves, after viewing Curse Of The Mummy's Tomb. By way of declining revenue, even Black Stamps weren't enough to prevent tide going out on Hammer horrors. This Mummy drew but $218,000 in domestic rentals, significantly less than Columbia's homegrown shockers. Straight Jacket had pulled $1.7 million. A sci-fi with more promotion backing it, First Men In The Moon, scored $887,000. Even a same-year Hammer they handled, Die! Die! My Darling, took nearly twice the Mummy's haul with $400,000.
Merrill's Marauders was an even then (1962) old-fashioned war movie lacking the sharper edge one expects from renegade director Samuel Fuller. Could Jack Warner have dictated they stick closer to the Objective, Burma model (even to the extent of reusing much of its score)? Credited co-writer and Warner son-in-law Milton Sperling might have subverted Fuller's customarily hard-bitten approach to combat subjects. This was, after all, a bigger budget show, and off-putting realism of a Steel Helmet or Fixed Bayonet sort might prove too unsettling for mainstream audiences Warner was courting. Still, this is a more than satisfying update on Burma, and what a welcome sight that wide screen was after years of having it available (if at all) in cropped versions. Sad that Jeff Chandler didn't get beyond this final performance, dead at only 42 after what I've read was a botched operation. Contract players Ty Hardin, Will Hutchins, and Peter Brown were coming to the end of Warner tenures here. This may be their best big-screen work. Hardin is particularly good as second-in-command. Hutchins told us at an autograph show of being flown to the Philippines location one-way, and when scenes were completed, being cut loose without return passage home. Will was on his own. Such was life in WB stables. Merrill's Marauders represents a last stand for traditional war movies before elephantine excesses (The Longest Day, Battle Of The Bulge) and espionage exotics (Operation Crossbow, The Guns Of Navarone) took hold. If you watched it beside 1956's Attack, you'd think Robert Aldrich's picture came six years later rather than earlier. Were it not for color and scope, Merrill's Marauders would fit nicely with Air Force, Destination Tokyo, and of course, Objective, Burma, for it would seem to have been made within months of these. Milton Sperling's United States Pictures banner had flown over a number of Warner recyclings. Distant Drums (1953) was another remake of Objective, Burma he'd produced, this one set in the Everglades. Ownership of Merrill's Marauders did at least remain with Warners. Most of the other United States negatives passed through various hands and are presently owned by Richard Feiner and Company. Based on the lackluster quality of those released so far on DVD (The Enforcer, Pursued, The Court-Martial Of Billy Mitchell, etc.), I'd say all the elements could use some upgrading.
Process screens are rife in Follow The Boys, Universal's 1944 contribution to the wartime wave of all-star musical revues. We see Donald O'Connor and Peggy Ryan running out to greet what looks to be thousands of GI's at an outdoor camp stage, only to find themselves cut away to a studio mock-up of the location for their number. What a disappointment Universal didn't capture that act as it played to the recruits, though it is nice to finally have something of this team on DVD at last. Were it not for Marlene Dietrich's limited participation, it's unlikely Follow The Boys would have turned up at all. As it is, we get this as one of eighteen Dietrich features contained in a monster box set recently released in the UK (other selections include rarities Desire, Angel, and the Von Sternberg fave, Shanghai Express). One disturbance here is the running time, a mere 106 minutes. The original ran 122, and though I saw it before at that length, I couldn't detect anything missing this time. Universal topliners passed on Follow The Boys, thus no Abbott and Costello or Deanna Durbin. We do glimpse Nigel Bruce among a crowd, but no Rathbone (understandable as he was contracted to MGM, and did his Universal Holmes series on loan-outs). Stars like Gloria Jean, Maria Montez, and Evelyn Ankers are shown in pans across rows of silent onlookers at a pep meeting conducted by leading man George Raft. The Lon Chaney shown here (seated behind Sophie Tucker) says not one word and has but this single shot to represent him in the whole of the film. Do also note Orson Welles seated with similarly mute Noah Beery, Jr., with Turhan Bey behind. Welles is a more vocal participant, and gets in his magician act with Dietrich in support. Interesting to see Orson comparatively thin and robust, a dashing figure in top hat and tails, his sleight-of-hand neutralized somewhat by clunky special effects revealing studio artifice behind his "magic." Highlights like this are interspersed with lackluster vaudeville. There's even an extended dog act presided over by Charles Butterworth. The Andrews Sisters might be anticipated in any Universal show from this period, but again, their act is compromised by an uneasy blend of actual performance and soundstage recreation --- same for Jeannette MacDonald, though she has a nice number in a hospital tent which at least suggests the emotional bond shared by these performers and the servicemen they entertained. Near to the end W.C. Fields saunters into a post canteen to do his pool table routine for what would be the last time. It took Bill just two days to film, despite a schedule allowing for ten. Still, his pacing is slowed. Favored stooge Bill Wolfe walks through unmolested, as if The Great Man had simply forgotten he was there, while subdued laughter from the intercut "audience" is kept to a minimum, possibly on the theory that theatre-goers' mirth would fill the void. One look at Fields' haggard appearance and you know why he couldn't get insured for another feature. Still, his routine is what keeps Follow The Boys on radar for hardcore fans today, and if ever we get it released on Region 1, it'll probably be as part of W.C. Fields --- Volume Three.


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Q: How to handle a docker swarm in secure way(when communication is using a public NIC)? I would connect 3 machines in a docker swarm using my unique and public NIC eth0.
Is the communication among the machines secure?
For joining to a swarm i need a token , so i suppose at least there is a authentication control. But the channel for communication is encrypted?
In addition i read i can add ecryption when i add a docker network.
I suppose these channels are completely separated by control stream so they are 2 concept completely different.
I d like to receive a little clarification about how to secure swarm data&control streams

A: Docker swarm controls streams encrypted by default. You can encrypt also data using network encryption.

redpajama_set_name: RedPajamaStackExchange


I'm surprise that someone met the same thing and has reply here.. guess we're not alone huh?
Well it was too bad that he can only withdraw maximum 1/3 of his EPF savings.
I did some research... and saw in some posts mentioning there's way to withdraw 100% of EPF savings as EPF cannot be taken away by creditor or banker.. because if they take the EPF, not different of forcing the old and retired bankrupt to "wait for death"..
One more thing is that let's say he did not take the EPF till (touch wood) "pass away one day", will my mom get 100% of it or the creditor or banker will come for it as well?
If there is a beneficiary assigned, Jabatan Insolvensi Malaysia (JIM) or any creditor cannot touch the EPF money as EPF will directly bank-in to beneficiary's account.
If no beneficiary is assigned, the EPF money will become part of the estate, which will be very messy as the entire estate will be owned by JIM. It is up to JIM to distribute the funds to creditors.
Life after bankruptcy or retirement will be as usual. Not the end of the world.
A bankrupt can still work for a living with some restrictions. Can drive a taxi, underemployment, self-employed, be a hawker, school bus, van or private driver, etc, etc.
Remember, stress can kill, trigger off illness, so don't be over-stressed by what is happening.. It is not the end of the world, most important is you keep the family together and be happy, I lost 2 "family value life" because of bankruptcy issues.
Being poor is worse than being a bankrupt.
Dear "Worried of my dad"
Have your father attended any court case yet? What are the latest development? How old are you to go thru all these stresses?
Repost and you "may" get more advices.
1.Your hubby can only get 1/3 of his EPF savings, why? Confirmed by EPF Board? Or other reason?
2. How long is he under bankruptcy? When did he withdraw his EPF savings?
3. When is his withdrawal?... recently or few years ago?
Answer: Took all out from Akaun 2.
Answer: Bankrupt 2006. Took 2013.
Answer: 2013 (50 years old).
I am 23 now. I was forced to stop studying and have to work since my father's business had closed down. Thank you for your concern.
Nope.. it is already one year now. He is still waiting to attend court. His business has been closed down and we had surrendered his car.
Now we are worrying about the house. My mom wants to keep the house. We managed to borrow some from relative to keep the house. Just that we are no sure what to do. We went to Jabatan Insolvensi 3 times and no result. They asked us to either book a time or said they could give us the approval letter for us to negotiate with bank.


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SHK -Ltd
Set to start game 2 of 6439644804 world
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Atlanta townhomes for sale offer a great alternative to buying a single family home because they're more affordable, and the amount of maintenance required is much less than that of a stand-alone house.
Townhouses are also perfect for buyers who dislike having neighbors living above or below them, potentially disturbing their peace and quiet. They're a much better alternative than continuing to live in an apartment over the long-term.
Townhomes in Atlanta also offer much more privacy and living space than either apartments or condos, and many also feature swimming pools and community fitness rooms available for use by all residents of the townhouse complex. They are the perfect size for a young couple just starting out, or those who've recently become empty nesters.
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Learn more about our Executive Director!
1. What does a day as ED look like?
As vague as this sounds, it depends on the day and the size of the organization. Some days it's about cultivating donors, some days it's about building programming, and sometimes, because we inhabit an old building, it's about plumbing. I th ink for every organization, it is a careful balance of thinking and planning for both present and future and to consider how we can take steps now to ensure we are living our greatest potential in 5 or 10 years. Much of my day is spent in connecting with people and hearing how TPS can work best for this community. We have a unique moment to refocus our mission and vision, analyze what's working and what's not, and have our membership and stakeholders help us grow the organization into a meaningful part of the theatrical ecosystem of the region.
2. What was the first play you ever saw?
My mom was really good about getting my brother and I out to see plays and visit museums when we were kids, so it was probably something at the local Fine Arts Center in Colorado Spring. However, the first play I remember that made me realize this was the community I wanted to belong to was Rent when I was 16. We had a chance to see it as part of a school trip right after it opened on Broadway. The band was on stage (always love this), and the abstract set was a new and exciting opportunity for storytelling concept I hadn't seen before. The show swept me away.
3. You've been here for almost a year. What are you most proud of?
We have built such a great team. It is always such a pleasure to be in the office and know that the staff and board are committed to the community and working as a trusted and cohesive team. I am really proud that the office environment is one of openness and honesty and that we've created a good rhythm in a fairly short time of knowing each other.
4. What are you excited to tackle next?
Too many things, I'm just trying to focus on stabilizing and getting us a new website which will make many of our current processes, much easier.
5. What are some things people might not know about you?
I'm a pretty decent cook and my love language is food which means you can almost always assume there will be treats involved in public gatherings. (Like the Public Membership Meeting March 18th!) I LOVE a good pun and get really irritated by bad ones (ask anyone on staff about that infamous calendar page). I especially love when people sneak them into official communications. You will always win my heart with a punny subject line, promotional email or a good kid joke…like this one… What did the 0 say to the 8? – Nice belt.


The current generation wants their data to be safe. No matter whether you store sensitive data for your business, or you simply have movies and videos, no one wants to wake up in the morning and realize that their data is gone forever. Online data backup is a technique of offsite data storage in which folders and files of a hard drive are frequently backed up on a remote server or computer with a network connection. Your data is of supreme significance.
The reason behind online backup is effortless and clear-cut: to protect the information (business data or personal) from the risk of loss related with theft, hacking, fire or any other kind of technological failure. Due to the nature of ever-changing online threats, it's impractical to promise that your data will never be hacked or ruined. The only way to protect your data is to regularly check for backup so that you can fully recover that particular data in the event of a catastrophe. Online data backup service can also be coined as cloud backup services. The most important part of online backup service is to prevent loss of your vital data by ensuring backups are taken frequently and on a regular basis.
A prime factor in your backup solution is the remote storage. Backing up your data and storing it on the same disk as your original data can be an act of senselessness. Off-site backups will remain feasible even if you're key server is negotiated, allowing you to fully recover your data.
For extra protection, your backups should be stored on RAID arrays. Allocating your data across two or more drives in a RAID array allows for better presentation, dependability and larger data collections in your backup solution. This can also help and protect your stored data from the failure of a sole hardware.
The act of protection doesn't end with an off-site data protection. It is not at all sufficient and a simple way to recover your data in an off-site location. Encrypting your backup files is a crucial step in data security. Backup encryption during storage guarantees that your data will be accurately stored in the way you expected and in the event you need to recover it.
On the flip side, the above mentioned benefits share few hindrances as well. The most significant matter with making your backups online is an act of total reliability on an internet connection. Creating the first full backup can occasionally take few days, and while the download speed is frequently higher than upload speed it can still take a substantial amount of time to download your backup. But just to be double sure and to stay stress-free, make sure to set a very strong password on your account, as the weediest link in the security chain is always the user.


Love wine? Love clean energy? This event is for you!
involved. Enjoy two complimentary wine tastings as you mingle with others who share your concern for the environment. If you want to pay $5 you can get a souvenir glass for 6 wine tastings, and you can keep the glass.
protect the environment and public health.