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2 killed, 2 injured in Montgomery shooting police call 'drug related'
All four shooting victims were adult males, police said.
2 killed, 2 injured in Montgomery shooting police call 'drug related' All four shooting victims were adult males, police said. Check out this story on montgomeryadvertiser.com: https://www.montgomeryadvertiser.com/story/news/crime/2019/12/04/two-killed-montgomery-birchwood-apartments-shooting/2616158001/
Melissa Brown and Krista Johnson, Montgomery Advertiser Published 10:29 p.m. CT Dec. 4, 2019 | Updated 10:34 p.m. CT Dec. 4, 2019
Four shot at Montgomery apartment complex Wednesday night. (Photo: MicroStockHub, Getty Images/iStockphoto)
Two people were killed and two more injured in a Montgomery apartment complex shooting that police say appears to be "drug related."
Authorities responded to the 500 block of Eastdale Road South around 8:45 Wednesday, MPD Capt. Regina Duckett said in an emailed statement.
Four men were shot in the incident, with two pronounced dead at the scene. A third man, in "life threatening condition," was taken to the hospital.
A fourth shooting victim, also an adult male, later arrived at the hospital with a non-life threatening gunshot wound.
Contact Montgomery Advertiser reporter Melissa Brown at 334-240-0132 or mabrown@gannett.com.
Read or Share this story: https://www.montgomeryadvertiser.com/story/news/crime/2019/12/04/two-killed-montgomery-birchwood-apartments-shooting/2616158001/
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Category: Paul Douglas
Quote of the Day! (1952) if you want to play with matches that's your business
Directed by Phil Karlson with a screenplay by Ted Sherdeman, Eugene Ling and James Poe. Based on the novel by Sam Fuller. With a score by the prolific George Dunning and gritty cinematography by Burnett Guffey (All the Kings Men 1949, From Here to Eternity 1953, Birdman of Alcatraz 1962, Bonnie and Clyde 1967).
Broderick Crawford is the new editor Mark Chapman of a New York newspaper who manages to grow the circulation of the ailing paper. But he sacrifices morality when it comes to increasing the range of his audience. He winds up turning the newspaper into a trashy tabloid rag, "pandering to the passions of the base moron." John Derek plays top reporter Steve McCleary and Harry Morgan is wonderful as a wise cracking photographer Biddle, both who are chasing down a sensational front page grabber about a lurid murder. At the center is a Lonely Hearts Club dance sponsored by Chapman's wife (Rosemary DeCamp) whom he deserted years ago. When Charlotte Grant (DeCamp) threatens to cause Chapman trouble in a fit of rage he accidentally kills her. He stages her death to look like she slipped in the bathtub, hitting her head on the faucet. McCleary senses something isn't right and convinces the cops that it's a case of murder. In order to avoid getting caught Chapman must plan to kill again to cover his tracks, so he enlists McCleary hoping to divert his attentions away from the truth. The film also co-stars Donna Reed as McCleary's more traditional colleague, Henry O'Neill, and a cast of great character actors.
Biddle: "You know that wasn't a bad looking dame. Too bad the guy used an axe on her head. Spoiled some pretty pictures for me."
Steve McCleary "Very rare items. Pictures of a dame with her mouth shut."
CLASH BY NIGHT (1952)
Directed by Fritz Lang with a screenplay by Alfred Hayes based on the play by Clifford Odet. The film stars Barbara Stanwyck as Mae Doyle D'Amato, Paul Douglas as Jerry D'Amato Robert Ryan as the volcanic Earl Pfeiffer, Marilyn Monroe as Peggy, J. Carrol Naish as Uncle Vince.
Clash By Night is a moody piece of noir with Barbara Stanwyck playing the world weary and cynical Mae Doyle, who returns home to her fishing community after her disillusionment living in the city. "Home is where you come when you run out of places." Fisherman Paul Douglas is the kindhearted lug who winds up falling for Mae though he knows she's filled with a fiery discontentment. Once Jerry introduces Mae to his friend Earl, an alienated woman-hater, the sexual tension develops. Earl spends his time getting drunk and obsessing about his stripper wife. At first Mae feels an instant aversion toward the gruff misogynist. Escaping the gravitational pull by the sexual attraction she feels with the dangerous Earl pushes her closer to marrying the clueless Jerry who is confounded by his sudden good fortune. Unfortunately this does not keep Earl away from Mae as he pursues her, who is by now disenchanted with playing the dutiful housewife and mother. Stanwyck is powerful as the unfaithful but guilt-ridden Mae. The film co-stars Marilyn Monroe as Peggy who idolizes Mae's independent streak. J. Carrol Naish plays Paul Douglas' no good Uncle Vince who mooches off his nephew. More of a dark Soap Opera than noir for it's lack of crime, the film's moodiness and gloomy edginess holds for me a place for Clash By Night in the noir cannon.
Mae Doyle D'Amato: "What do you want,Joe, my life's history? Here is is in four words: Big ideas, small results."
Peggy: "Weren't you ever in love, Mae?"
Mae Doyle: "Once."
Peggy: "Where?"
Mae Doyle: "Saint Paul. He was big too, like Jerry. I'll say one thing. He knew how to handle women."
Peggy: "Is that what you want from a man?"
Mae Doyle: "Confidence! I want a man to give me confidence. Somebody to fight off the blizzards and floods! Somebody to beat off the world when it tries to swallow you up! Me and my ideas."
DON'T BOTHER TO KNOCK (1952)
Directed by British horror maestro Roy Ward Baker he brings a taut psychological spring waiting to be uncoiled. With a screen play by Daniel Taradash based on the novel by Charlotte Armstrong. Cinematography by Lucien Ballard (The Killing 1956, The Wild Bunch 1969, The Getaway 1972) who creates closed in frames and a sense of paranoia and claustrophobic dread.
Marilyn Monroe is quite revelatory as Nell Forbes a very disturbed young woman who lives in a fantasy world and is a dangerous psychotic staying in a New York City hotel. Elisha Cook Jr. is the hotel elevator operator who is keeping an eye on his mental patient sister and tries to keep her out of trouble. He recommends that she babysit Jim Backus and Lurene Tuttle's daughter. This turns out to be a very very bad idea!
In the mean time Richard Widmark is Jed Towers the hard-hearted airline pilot who has just been dumped by his torch singer girlfriend (Anne Bancroft). Towers sees Nell through the window and gets the idea that the two can get together and share a drink. When Nell starts having delusions that Jed is her dead boyfriend, he realizes that something is wrong with this beautiful waif.
Jed Towers: "Are you the girl in 809?"
Nell Forbes: "Why, yes. Who's this?"
Jed Towers: "I'm the guy in 821. Across the court. Can I ask you a question?"
Nell Forbes: "I don't know. I suppose so. Are you sure you want me?"
Jed Towers: "Yeah. You're the one I want, alright. Are you doing anything you couldn't be doing better with somebody else?"
Nell Forbes: "I guess I'll have to hang up!"
Jed Towers: "Why? You cant get hurt on the telephone."
Nell Forbes: "Who are you?"
Jed Towers: "I told you. The man across the way. A lonely soul"
Nell Forbes: "You sound peculiar."
Jed Towers: "I'm not peculiar. I'm just frustrated. I got a bottle of rye. And as I was saying, what are you doing?"
Jed Towers: "You and your wife fight, argue all the time?"
Joe the Bartender: "Some of the time she sleeps."
THE NARROW MARGIN (1952)
Directed by Richard Fleischer with a screenplay by Earl Felton from a story by Martin Goldsmith and Jack Leonard. With the polished, compelling and claustrophobic cinematography by George E. Diskant. (They Live By Night 1948, On Dangerous Ground 1951).
Charles McGraw plays the tough Det. Sgt. Walter Brown who is assigned to protect a mobster's widow Marie Windsor as Mrs. Frankie Neall, who is traveling by train from Chicago to Los Angeles, while the vicious assassins try with fervor to take Frankie Neall's wife out of commission so she can't testify. Aboard the train is Jacqueline White as Ann Sinclair who Detective Brown fears will be mistaken for mobster's widow.
The sarcastic Windsor and rough edged McGraw possess there usual grit and there's a memorable scene where the corpulent actor Paul Maxey is blocking the train's passageway he comments amiably that "Nobody loves a fat man except his grocer and his tailor."
Det Sgt Gus Forbes: "What kind of a dish?"
Det Sgt Walter Brown: "Sixty-cent special. Cheap. Flashy. Strictly poison under the gravy."
Walter Brown: "Sister, I've known some pretty hard cases in my time; you make 'em all look like putty. You're not talking about a sack of gumdrops that's gonna be smashed – you're talking about a dame's life! You may think it's a funny idea for a woman with a kid to stop a bullet for you, only I'm not laughing!"
Mrs Neall: "Where do you get off, being so superior? Why shouldn't I take advantage of her – I want to live! If you had to step on someone to get something you wanted real bad, would you think twice about it?"
Walter Brown: "Shut up!"
Mrs Neall: "In a pig's eye you would! You're no different from me."
Mrs Neall: "Not till I tell you something, you cheap badge-pusher! When we started on this safari, you made it plenty clear I was just a job, and no joy in it, remember?"
Walter Brown: "Yeah, and it still goes, double!"
Mrs Neall: "Okay, keep it that way. I don't care whether you dreamed up this gag or not; you're going right along with it, so don't go soft on me. And once you handed out a line about poor Forbes getting killed, 'cause it was his duty. Well, it's your duty too! Even if this dame gets murdered."
Walter Brown: "You make me sick to my stomach."
Mrs Neall: "Well, use your own sink. And let me know when the target practice starts! "
This is your EverLovin' Joey, just sayin' in a noir world– if you play with matches you're liable to get burned!
Posted on January 14, 2020 January 14, 2020 by monstergirlPosted in Barbara Stanwyck, Broderick Crawford, Charles McGraw, Clash By Night 1952, Don't Bother To Knock 1952, Donna Reed, John Derek, Marie Windsor, Marilyn Monroe, Paul Douglas, Quote of The Day!, Richard Widmark, Robert Ryan, Scandal Sheet (1952), The Narrow Margin 1952, Trailers5 Comments
Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir
In honor of the 40th anniversary of Robert Ryan's death July 11, 1973 with a special nod to Karen & The Dark Pages for their spectacular tribute to this incredibly real man!
"Ryan was unfailingly powerful, investing his tormented characters with a brooding intensity that suggests coiled depth. Cut off from the world by the strength of their 'feelings' his characters seem to be in the grip of torrential inner forces. They are true loners. Ryan's work has none of the masked, stylized aura of much noir acting. He performs with emotional fullness that creates substantial, complex characters rather than icons." –Foster Hirsch-FILM NOIR: The Darker Side of the Screen
Clearly Robert Ryan's infinite presence in film and his numerous complex characters manifest an embracing universal 'internal conflict' of masculinity. I tribute certain roles the actor inhabited during his striking career. Though he was cast more often in the part as the imposing heavy, the depth and breadth of Ryan's skill with his rough-hewn good looks should have landed him more roles as a lead male capable of such penetrating levels of emotion. He had a depth that suggests a scarcely hidden intensity smoldering at the surface.
Robert Ryan as Montgomery in Edward Dmytryk's Crossfire 1947
Robert Ryan in Act of Violence '48
A critic for the New York Times reviewing Act of Violence (1948) wrote about Robert Ryan's persona as the madly driven veteran bent on revenge, Joe Parkson calling him "infernally taut."
Frank Krutnik discusses 'Masculinity and it's discontents' in his book In A Lonely Street, "In order to make the representation of masculinity in the noir thriller, there follows a schematic run-through of Freudian work on the determination of masculine identity." Claiming Freud's work can be co-opted into film with an emphasis of it's relevance to analysis of the cultural machinery of patriarchy." He discusses patriarchal culture which relies heavily on the maintenance of a gender-structured 'disequilibrium' with it's roots in the myth of the Oedipal Complex. Involving not only the power-based hierarchy of male service to masculine power but the established normative gender values which inform both the male and female figure.
Act of Violence Robert Ryan as Joe Parkson co-starring Janet Leigh
Many of the characters in Ryan's noir world are informed by a cultural 'determinacy of the phallus' that authorizes toughness and strips the limits of desire as an obligation to masculine identity. Patriarchal power structure predetermines a fixed and limited role that creates a destiny of submission and impotence in Ryan's characters. But within the framework of these extreme male figures lies an intricate conflict of varying degrees of vulnerability and fragility.
Ryan manifests this duality within hyper-masculine characters. Outwardly physical, confrontational, and hostile, Ryan is a master at playing men who suffer from alienation and inferiority surrounding their own 'maleness' and self-worth. He was never just a dark noir brute or anti-hero but a complex man actualized through layers of powerful dramatic interpretation. His performances suggest a friction of subjugated masculinity bubbling within.
Ryan as Earl Pfeiffer and Barbara Stanwyck in Fritz Lang's Clash By Night
The trajectory of the male through the Oedipus Complex encompasses the male subjectivity which is a principle issue in the noir 'tough-thriller.' The 'existential thematic' link to the Oedipus myth concerns questions of male desire and identity as they relate to the overarching law of existing patriarchal culture substituted for the original fearsome 'divinity.' This element is one of the driving psychological themes underlying in any good classic film noir.
In this post I put my focus primarily on Ryan's characters within the framework of each film and while I discuss the relationship between him and the central players I do not go as in depth as I usually do discussing his co-stars or plot design.
I apply this thematic representation to much of the roles engendered in the films of Robert Ryans' that I've chosen to discuss here. A patriarchal power structure establishes the tragedy of man's destiny, a fixed and limited role in the character's own destiny as there is a predominant power that threatens them into submission and sheds light on their own impotence. So many of the noir characters in a Robert Ryan noir world are shaped by a cultural authority structured through 'determinacy of the phallus' that authorizes toughness in the male identity that strips away the limits of desire, as an obligation to 'masculine identity.'
Ryan's stoic boxer Stoker in Robert Wise's The Set Up
I'm focusing on particular Ryan's roles within a noir context that depict archetypal hyper-masculine tropes and the problematic strife within those characters. Whether Ryan is playing the deeply flawed hero or the tormented noir misfit, his characters are afflicted with an inherent duality of virility and vulnerability, an inner turmoil, alienation, persecution and masochism. It's a territorial burden that Robert Ryan so effortlessly explores.
These films show Ryan's trajectory through forces of menacing restraint and poignant self-expression. Within a noir landscape, the schism of stark virility and tenuous masculinity exposes the complexity of alienation, masochism and frailty. Robert Ryan's performances are a uniquely fierce and formidable power.
I'm discussing: The Woman On the Beach (1947) haunted & emasculated coastguardsman Lt. Scott Burnett, Caught (1949) neurotic millionaire Smith Ohlrig, The Set- Up (1949) noble over- the-hill boxer Bill 'Stoker' Thompson, Born To Be Bad (1950) misanthropic & masochistic novelist Nick Bradley, Clash by Night (1952) cynical misogynist projectionist Earl Pfeiffer, Beware, My Lovely (1952) morose psychotic vagrant handyman Howard Wilton,On Dangerous Ground (1952) unstable, alienated violent cop Jim Wilson, Odds Against Tomorrow (1959) racist persecuted ex-con Earle Slater.
Within the framework of these 'extreme' male figures lies an intricate conflict with varying degrees of vulnerability & fragility within the male psyche. The narratives don't necessarily flesh out this conflict plainly, but Ryan's performances certainly suggest and inform us about the friction of this subjugated theme bubbling to the surface as he manifests the duality within his hyper-masculine characters. Robert Ryan was a master at playing men who suffer from alienation and inferiority surrounding their own 'maleness' and self-worth.
Ryan is never just a dark noir 'brute' or anti-hero but moreover a complex male who is actualized through layers of powerful dramatic interpretation. A complexity of stark virility and 'tenuous maleness' as the narrative witnesses Ryan's trajectory transforming him through various dynamic forces of menacing restraint and poignant self-expression. Outwardly physical, confrontational, hostile and ultimately masculine, and the schism that is inwardly emotional, alienated, self deprecating, masochistic and fragile within the film noir landscape. Robert Ryan's performances still maintain a uniquely fierce and formidable aesthetic of the 'suffering-marginalized man.'
Continue reading "Hyper-Masculinity/Hidden Frailty: The Robert Ryan Aesthetic in Film Noir" →
Posted on July 11, 2013 December 12, 2014 by monstergirlPosted in A.I Bezzerides- screenplay, Audrey Totter, Barbara Belle Geddes, Barbara Stanwyck, Bernard Herrmann, Born to be Bad '50, Caught 1949, Clash By Night 1952, Classic Film Noir, Clifford Odets, Collier Young, Fritz Lang, George Diskant-cinematography, George Tobias, Gloria Grahame, Harry Horner, Jean Renoir, Joan Bennett, Joseph C. Brun-cinematography, Lee Garmes-Cinematography, Leo Tover-cinematography, man vs man, Mell Dinelli-Screenplay, melodrama, men in peril, Milton Krasner-Cinematography, Nelson Gidding, Nicholas Ray, Nick Musuraca-Cinematography, paranoia, Paul Douglas, Percy Helton, psycho-sexual thriller, psychological thriller, Robert Ryan, Robert Wise, Shelley Winters, Suspense, The Dark Pages, The Set Up 1949, The Woman on the Beach 1947, William McGivern-screenplay4 Comments
the clip joint- Fourteen Hours (1951)
FOURTEEN HOURS (1951)
Directer Henry Hathaway's (The Dark Corner 1946) taut film noir, about a desperately unhappy man who threatens to commit suicide by standing on the ledge of a high-rise building for 14 hours.
With an all star cast- Paul Douglas, Richard Basehart, Barbara Bel Geddes, Debra Paget, Agnes Moorehead, Jeffrey Hunter, Howard Da Silva, Grace Kelly, Martin Gabel and Jeff Corey.
"From the edge of the ledge he defied them all!"
Don't jump off now…MonsterGirl, helping you down off the ledge
Posted on January 9, 2013 January 14, 2013 by monstergirlPosted in Agnes Moorehead, Barbara Belle Geddes, Fourteen Hours 1951, Henry Hathaway, Jeffrey Hunter, Martin Gabel, Paul Douglas, the clip joint7 Comments
Panic In The Streets:Elia Kazan's Socio-Noir A Plague of Immigrants
Panic In The Streets – Directed by Elia Kazan who sees the world of film through a Socio-Noir lens.
Noir has it's socio-political roots in post war Europe, and was strongly influenced by German Expressionism. In America the post-war atmosphere engendered a realism which manifested in the noir film as well as the crime/police drama with a documentary sensibility.
Kazan himself an immigrant is one of the great American directors well known for such seminal films as A Streetcar Named Desire, A Face in The Crowd, On The Waterfront and Boomerang
Starring Richard Widmark as Lt. Cmdr Clinton Reed M.D. naval officer and family man, Paul Douglas (Douglas gave his best performance in Fritz Lang's Clash By Night, perhaps one of my all time favorite noir films) as Captain Tom Warren. Barbara Bel Geddes as Clint's wife Nancy (also in a great episode of Alfred Hitchcock Presents Lamb to The Slaughter) and the always great Jack Palance as the nefarious Blackie. Also co stars the wonderful Zero Mostel as Raymond Fitch, Blackie's slovenly flunkie.
Elia Kazan's sociological perspective reveals to us the human condition in a naturalistic style. His films elucidate the way in which the collective soul reacts to an existing situation. Kazan was part of the movement of the New Realism, which bared witness to the state of paralysis of a post World War II identity and shed light on the stunted psychological elements of that current time.
In Panic In the Streets Kazan's opening shot, we are plunged into a world of immigrants and trains. The trains cut through the grimy metallic city nightscapes. Here, New Orleans is as mysterious as its inhabitants. New Orleans, the seaport shipping city, is filled with lowlifes and a sense of desolation. Imports/exports, and the working class immigrants who suffer and toil for their daily bread and muddle their way through life in the slums, and row houses, on the streets and in local bars. They are an anonymous, shabby yet tenacious community of otherness existing but not quite persevering. The aggregate disdain for authority and the mistrust of the surrounding influences that form the power structures that control and look upon them as a subservient class.
There is a commanding scene in a diner,Clint stops in for a coffee and the people sitting at the counter look isolated and sullen. Dirty and sickly and down trodden. They all have cracked faces. There is a photographic quality as if capturing the weathered souls of the Okies in The Grapes of Wrath.
What I call Socio-Noir is present in particular for Panic In the Streets. The film works as much as social commentary as it does dark tale of crime drama, with protagonists, anti-heroes and femme fatales. Panic in The Streets is in keeping with the police documentary moral where the hero, that of Lt Clint Reed M.D. sets out on a righteous path as savior. He is incorruptible and courageous.
Along with the trains cutting through the grungy metallic night in the city and it's din, the film creates the unwashed environment and the oily screechy noises of movement. struggling people trying to survive. Desperate criminal elements abound amidst the sounds of blaring ship horns coming in to dock. The city is an alive filth stained entity.
There is evidence of Kazan's attitude crystallized when dialogue towards the end refers to community and what that truly means. Kazan shows us city scapes and panoramic views to evoke how people can be swallowed up by the enormity of urbanization. An urbanized society split by class and race.
The people in these city settings doing their unnamed tediums, rituals, sitting solemnly at bars, sitting outside the building on steps and street corners. These are people outside of society as the cinematography would frame them, Living together, collections of tired faces, ethnicities, class distinctions. The working class, the bureaucrats, the law enforcers and the riffraff feed off the weaker of the herd.
There is an extreme juxtaposition of the clean lily white suburbia that Richard Widmark's character Lt Reed, lives in, to the filthy environmental mechanisms of the inner city dweller. Reed comes home to a freshly scrubbed house, a refined and virtuous wife in a pristine neighborhood, the idealism of post World War II America. With all the amenities that are afforded the white collar social class.
Even Paul Douglas' hardened cop Capt Warren, at first feels stand offish about the naval officer Dr Reed invading his territory. There is an obvious hierarchy amongst who serves the community. Questions of rank of the military, and education background amongst the civil servants and professionals.
Captain Warren's dynamic of feeling threatened by the authority of a possible Naval Academy Elite and the hard working class cop on the beat. The struggle of power between the two coming to terms with working with each other.
Panic In The Streets is less about the pneumonic plague and more about the way people are reacting to each other around the situation. It is the catalyst for them to expose their inner demons, and fears. Mistrusts and paranoia. The need for self preservation. Blackie's character is a very paranoid personality, that symbolizes the mistrust of a society that would cheat him out of what he perceives to be rightfully his.
The story begins one night in the slums, when the ruthless criminal and paranoid Blackie aided by his miscreant cohorts kill Poldi's illegal immigrant cousin who Blackie believes cheated at cards because he won too much money. Once again the angular rock jawed Jack Palance projects himself as imposing Minotaur who holds sway over his subordinated companions. Within this community there are hierarchical sub structures set up in order for the vicious opportunistic Blackie to maintain survival and control.
What wasn't known at the time of Poldi's cousin's murder was that he was already dying of the plague by the time his body was dumped like garbage.
The next morning on the docks a child shows the cops where the dead body is. Lt Dr Clint Reed of the Public Health Service confirms that the dead man had pneumonic plague. In order to prevent an epidemic of catastrophic proportions, Clint and Capt. Warren, must hunt down the killers, and inoculate anyone who came in contact with them all in the span of 48 hours. This they must struggle with under secrecy, holding the news agency at bay as not to panic the public, chase off the carriers of the plague and thus create chaos in the streets. They are also met with resistance and suspicion by the very community, a melting pot of ethnicity they are trying to help.
We see dock workers and the ships populated by foreigners. We hear a comment made about the dead man being a foreigner after they bring the body on a gurney through the back hospital entrance. Kazan uses a semi-documentary style, constructing a neo-urban naturalistic environment. Framing the story on a mis en scene proscenium stage. We see real people going about their daily lives, along the fault lines of the surrounding class and ethnic differences in the community.
The two medical examiners are more concerned about where and what to eat for lunch, while there's a dead man lying on the table. For them it's business as usual, they show no empathy.
The city has taken a life, and these two medical examiners are just doing a job, while the only thought is about food and getting their needs met as a priority. After discussing the sexy waitress that one has his sights on, one of the guys says that it might take longer, than he expected. Another man comes in and asks "is that the foreigner that they brought in?" Again, emphasis on otherizing this human being.
The examiner named Cleaver orders the less attentive man to get out. He realizes something doesn't look right with the body. Then Clint Reed is called in to look at slides. Photographs are snapped. He's asked who else has come in contact with the body? He wants everyone inoculated. The FBI doesn't have any info on the man. But obviously he was carrying something infectious. He also wants to know if it was the bullet or the infection that killed the foreigner.
Kazan himself a Turkish immigrant used a lot of social commentary on the American Dream, the people who live outside the context of that framework and how foreigners were treated here in the U.S. when after World War II the fear of foreigners was rampant. In Panic in The Streets they carry the plague. They are dirty and suspicious. They represent a dangerous element.
Clint is now sitting around a table of suits. He is relating a tale about a woman in 1924 who was carrying a disease that killed 26 people, who died suddenly and horribly from an outbreak. The disease was found to be pneumonic plague, a pulmonary form of the black death, of the middle ages.
One of the men sitting at the table is asking "who is he" about Lt. Clint Reed. Reed asserts himself with authority in this room of skeptics. "One of the jobs of this department is to keep plagues out of this country. This kind of plague can be spread easily like the common cold. Through sneezing"
"The committee is asking why are you telling us this." "Because this morning the police found a man who was infected with this disease." "Our reports show the man died of 2 bullet wounds" "Regardless of what the police surgeon said, he would have died within 12 hours."
Paul Douglas as Capt. Warren is at the table. He's arguing that he did die from 2 bullet holes. The mayor and the other men around the table want them to check but Lt Clint Reed tells them that he had the body destroyed. Cremated as not to spread the infection. The men seem outraged. There is a power struggle going on about who is in control of this situation. Panic is very much a film about control.
Everyone has been isolated and inoculated but there's still one man "The man who killed him" who ever dumped him might be walking around with incipient plague at this moment. Capt. Warren exudes his disdain and is being stubborn, he doesn't feel that there's going to be a problem. But Lt. Reed insists "We have 48 hours. If the killer is incubating the plague then time will be running out. before it spreads amongst the city. You'll have the makings of an epidemic".
He burned all the dead man's possessions because they were contaminated too, so they don't have an identity on this man. The commissioner is saying that the police department can't be held responsible for it. Captain Warren is highly skeptical and the commissioner only concerned about his own accountability. They can't find an unnamed man in 48 hours. The commissioner doesn't believe Dr Reed and acts like he's making a big deal out of it. He tells the mayor, if you want to believe him then give the story to the press. Then Dr Reed says "I may be an alarmist. but I've seen this disease work and it can spread all over the entire country and the result would be worse than anything you could ever imagine". Reed implores them that the key to the whole thing lies here, now and what they decide to do with the next 48 hours will be crucial. They ask Lt Reed "What can we do?"
Reed says "find this man" and so the plot becomes focused on finding Blackie before he can spread certain catastrophic disease. They all leave saying that they will give Reed their full co operation, but Captain Warren remains behind with his hand on his chin while Lt Reed remains seated at the table.
Warren asks Reed "an Annapolis Man?" he answers NO, Why? Warren says " no reason" but he's got a quizzical look on his face. His question of whether Reed went to the elite military school shows the rift between the two Warren says "now I'd start worrying what you're going to do when we don't turn up your boy" mentions again, he doesn't want him to think he's one of the sailors in his navy. Again we start to see some kind of class battle, distinction between the two men.
Outside in the hallway, a reporter starts snooping, but they brush him off. Shades of trouble to come about the right of the press to full disclosure and the responsibility these people have to the public's safety. What is good for them. Again we see a paradigm of hierarchy at work.
At the police station Mostel's character Fitch who is no stranger to the police is being questioned. He says "You can't do this to me I'm a US citizen, I got rights." Here again is the assertion of the foreigner being alien and the paranoia of the American people that their rights will be taken away by the people in positions of power, the U.S. Government and most especially the foreign element.
They shove the photo of the dead guy at Fitch. He says he hasn't seen that guy. "Where were you last night"? "I was visiting my mother in law she was wrestling semi finalist", Cop interrupts "Where were you fat boy? I think you're a constitutional liar" Again, the patriotic ethnocentric zeitgeist is evoked during the exchange.
Capt.Warren is back at the morgue with Lt Reed~ they think he might have been Armenian, Czech or mixed blood. Reed tells them to notify the immigration authorities immediately. They find traces of rust, fish and shrimp on him which shows that he might have come in on a boat. Warren still annoyed at Reed, says "unless he walked through a fish market, bought 5 pounds of shrimp and brushed against a freshly painted fire escape." Warren is still so resistant to help Reed, and doesn't want his company or input at all. Reed insists that Warren get inoculated like everyone else.
Reed gets to assert his manliness by making Warren take his shot, because he told the commissioner, and Warren just got through telling the other cop in the room why the boys had to take their shots when they were complaining and Warren barks "because the commissioner said so" Reed says " roll it up" makes him roll up his sleeves. Again, the film asserts that control is an underlying issue at play. The dynamic between these two men going head to head is building and you can tell that Warren comes across like a strong willed Bull Mastif but we sense that he is a decent man with principals of his own. "Half the two bit criminals in town are in the precinct. Sneak thieves, wife beaters and pick pockets. It isn't going to work though". Reed gets mad. "Why are you doing it this way then if it isn't going to work? Warren tells him that he's rounding up all the usual suspects because it's the only way he can make progress in finding the dead man's identity. Warren then accuses Reed of making this case a big issue jut to make a name for himself.
Reed asks Warren to come have coffee across the street. Now in the diner. "Look Captain do you have a family, are you married?" "No, my wife died 8 years ago". We start to get a closer look inside this man Warren.Kazan loves to build his characters, to unfold them like an artichoke heart, peeling away the layers, until we see the core. Reed is trying to appeal to Warren's human side, the family man.
"The doctors said it was neuralgia but it was a brain tumor."This reveals a bit more of the picture as to Warren's mistrust of doctors. Reed replies "You don't think much of me as a doctor do you"Warren shoots back "you keep asking questions you finally get answers. NO." So we see Warren not only has a dislike for military snobs, but a mistrust of doctors as well. Reed's just a plain working class slob, a cop who is trying to sort through the trash of human debris that he comes across. Warren again says "Civil Service, you get a pension, what do you make?" Reed says it runs about the same as a police
Captain. Warren frowns, he looks like he took a hit."Look this man obviously came off a boat, he was obviously smuggled into the country. They probably don't want to talk to the police, they've been coming the docks and the streets but no one is talking"."Maybe they want to talk to their mothers" Warren says, then Reed "Offer them a reward, promise them immunity for information. Bring in another set of experts from Washington to help me out. Well you could use it." "You'll never see the day" says Warren glaring proudly. Reed gets frustrated. "I'm not gonna wait til the facts penetrate that thick skull of yours, there just isn't that much time"
Now at a dingy laundromat Fitch runs, up to a woman, his wife, who says "Blackie makes you tag around like a dog on a leash. He's a big goon." "He pays me." Fitch asks if his bags are packed. She says "why don't you stand up to him sometime? Why don't you tell him off."He says "Angie will you shut up! Why don't you go inside." She says she doesn't want to be alone with that big Ape Blackie,
Fitch calls out "he's coming down the stairs." He doesn't want Angie hanging around. He doesn't like a smart cracking dame. He yells at her to get away from the washing machines. Fitch keeps insisting to Blackie that they should leave the city, they're picking everybody up. He wants to know why Poldi hasn't shown.Fitch tells him"He's got a date with a dame". Concerned Blackie says "Where'd he get the doe? You know I got a hunch about him. They're not gonna pick me up. You see those machines. That's business. Legitimate even. they aint gonna pick up a legitimate business man."
Blackie begins to rant. Argues, Fitch tells him that they're picking up legitimates. "They're picking everybody up. "Why, why are they picking everybody up Fitch why? You don't know. You got a high school education you're a smart fella. This guy Kolchak (the dead man) is just a floater. He gets off a boat, gets very unsocial, even pulls a knife that he's gonna use on Poldi. So they turn the town upside down for one crumb. They got every cop in town huffin and puffin, trying to find out who he is. Why are they doing it?"
Fitch says he doesn't know. "Well I'll figure it out for you. I got a hunch he brung something in. I got a hunch he brung something in and they're looking for it." Blackie's alienation is beginning to grow, he suspects he is being cheated out of something big, that rightfully should be his. This man is filled with Egomania. Classic anti-social behavior. He continues his rant.
"Only he aint got it, and you know why. Cause friend Poldi's got it." Fitch comes back at him "Poldi do you think he'd do something like that. He's his cousin aint he. (the dead man) "I told you I had a hunch about that guy." Blackie snorts back. Fitch sweating says "look Poldi is a nice guy he wouldn't do something like that."
Poldi is trying to put something over on me, I saved his life and that's how he repays me. There's paranoia growing in this man Blackie, big dark and brooding. He tells Fitch there's one thing he don't like, Fitch says "sure Blackie" "it's somebody trying to put something over on me. I never liked it"
Now there is a long shot of Blackie sitting at the counter, framed by the landscape, the atmosphere of alienation. He is in black a quiet powder ceg and Fitch l in the backdrop going out the door looking so small and insignificant. The shot frames how the power is manifested by Palance's character and Mostel is just a perifery character powerless and subordinate. Again we hear train whistles. Trains, symbolize the ever changing movement, the transients of urban city life. We now see Blackie all alone in the cluttered unattractive room. Sitting alone. A man with thoughts on his mind, Paranoid, greedy and angry.
A Sea plane lands. We see the Nile Queen. The captain of the Nile Queen denies that the man could have been on his ship. "I'm not calling you a liar, I'm calling you a fool. Most of your crew will be dead." The captain won't listen. Warren and Clint look over the people on board. They look away. There's almost 200 "rats" on the ship. He yells "see, you might be carrying plague." Rats possibly a double entendre.
The captain yells for the men to get back to work. but the crew says they want to hear what Clint Reed has to say. "Never mind what he says." But the crew resist and fights ensue. Chaos. "Break out the weapons. You're inciting my men to mutiny. I'm the master here." Again the prevailing hegemony in this film is exposed yet again. An Asian man says, one of the cooks is down with fever. "Right now I want to put everyone in quarantine." They inoculate them. "They got on in Iran. They just dumped him over the side."
Another Asian cabin boy brings the men food. "They ever talk about anything else. They want a shish kabob. He asks what it is. "Lamb on a stick, some of the Greek and Armenian restaurants serve it." Warren hoped they had a lead to the eats place where the illegal immigrants who got smuggled on board would have gone to get food. Athena Cafe they've covered 11 joints and no luck.
At the Athena Cafe, the diner owner's wife says to her husband in the back kitchen, about Kolchak that Poldi brought him. She says he was contagious but tell Warren and Reed that we know nothin. "I got a headache". Although the man wants to tell them who Kolchak was, he does not.
Warren and Reed get into the car. Blackie comes up along the street. A midget tells him they found Poldi. He gives the little man money and rubs his head like a child. Blackie goes inside, Fitch says "I found him." Blackie says what's that smell. Have you been trying that stuff on your head again Fitch? Blackie takes a piece of food, asks if it's been touched yet. Ironically Blackie's paranoia extends to his being a germaphobe as well. The food had been touched by a foreigner.
Now it's nighttime and the cops find a very sick person in the emergency, a high fever case. The cops call out to Captain and Reed. Another woman sick fever case. The Athena owner's wife. They run up the stairs of the tenement, it's too late- she is dead. They have to quarantine the whole apartment. "Dr put down on death certificate tentative pneumonia. that'll have to do for now. Clothes will have to be burned". All of a sudden the Greek owner comes in and calls for Rita. asks for his wife. Reed looks disturbed. "Where is she." "What you do. I can't let you go in there". "Your wife is dead" "She can't be, you lie. She said she just don't feel good."
"Remember me Matharis. We showed you a picture. If you told us the truth the chance your wife alive." "Poldi brought him. Kolchak. Gloria Hotel. Find Poldi" They run down the stairs. Tell the police to get a list of people in the food place. Nobody in or out and then they speed away to the
Gloria Hotel, the reporter Neff hears them and goes after them. They ask to be taken to Poldi's room.
Neff confronts them. Why wasn't this story released to the press? "I figure you guys running around town, he probably had small pox or cholera" Reed reasons with him. Tells him it's plague. "We can't let you have the story." "With the chance of an epidemic. You guys are crazy. You've wasted a day. I represent the public. No two bit civil servant." Reed says "There's a chance we can contain it." Warren tells the cop to take Neff into custody, and luckily finds out the editor doesn't have the story yet,Reed asks the police officers on the scene if Neff can make trouble, they said Warren would be lucky to get a job mopping floors.
By now, we have a sense of how foreigners are dirty, mistrustful and alien to us, even when the one cop jokes about liking shish kabob. The foods are unfamiliar. The foreigners don't trust the Americans, cops ,doctors, and visa versa, This film shows the disconnect and separation of immigrants and the America they live in.
Reed goes home for a bit to get some rest, and is met by his wife. "Don't come any closer. Another contagion case. Another uniform to be decontaminated." "You didn't catch it yourself hon, you look a little beat." "Yeah I look so good normally." He blows up at her. He spent the money for the cleaner's bill on the reward money." When ever your tired you think I'm scolding." "I spent it on something for the dept. You can put in a voucher No one has figured how to get money back from the us gov. I have to go out again, Gruffs, Just get me some coffee." He looks at a piece of furniture being refinished in his yard and taps it. Like this is part of his real life before this filthy mess.This belongs to his clean life.
He didn't call his wife last night. "It's a plague case." "Here in New Orleans? At least they have you, you've been through it.""Now look hon, let's not be little miss sunshine." "We went thru it in California." "Whats eating you?" "I'm tired and fed up" "Stick around, just afraid if I lye down I'll fall asleep. If I fall asleep I'm dead. Just don't let me fall asleep. Today I took a perfectly nice guy, a cop not particularly bright, but what do I do, I push him around, make a lot of smart cracks about him. And I tell him off all day long. He winds up proving he's 4 times the man I am. I do the same thing to you. Why do I do that?"
"Capt, Warren meets Reed on the corner. Reed tells the mayor that Warren arrested the reporter Neff on his orders. Someone starts talking about how a woman died last night in their own community. Reed yells, "Community. what community, do you think you're living in the middle ages.
If they alert the media the man carrying the plague will leave." All these men in power are only concerned about their portion of the responsibility. "Anybody that leaves here can be in any city within 10 hours. I can leave here today and be in Africa tomorrow and what ever disease I had would go right with me" The mayor says "I know that"~"Well think about it when you're talking about communities we're all in the community , the same one." Reed who is finally smiling asks Warren for a cigarette and says "Take the pack." He finally sees Reed as a regular guy fighting the same bureaucracy he does. This comment about community, I suspect is Kazan injecting his point of view about the universal ideal of what community truly means into the film.
The chief couldn't hold Neff, and admits that he agrees with Reed but he couldn't stop him. They'll have 4 hours before it hits the papers. and Neff can color the story any way he wants. One of the other cops says he will be in the morning but he has to be honest he's taking his wife and kids up to the grandmothers they'll be safer there. Reed says as he turns away, "well here we go"" Don't misunderstand he'll be there, Oh sure he will, never the less here we go, kids are kids." "Tell you the truth I'm scared to death I want to call Washington and get some help here."
Next morning, church bells are ringing, and the old woman Poldi's mother and the midget are walking. The midget brings Poldi's mama, and introduces her to Blackie. He speaks in his unceous manner "Yes I heard he was sick but I couldn't find him mama." "No he's dying. I'm gonna send for a doctor, neighbors already sent." "No mama this is my doctor he's the best. Fitch is helping Poldi drink water. Blackie walks in. I didn't want to leave Poldi,. I was gonna get ya, but he's so sick.
A nurse comes in. She yells at Blackie. This man has to go to hospital. Blackie says he aint going. High fever. rapid pulse. The nurse tries to convince Blackies doctor that he need to be in the hospital Fitch says I had an aunt once went in never came out. The doctor says "I know these people, they are very superstitious." Again otherizing them as alien and strange in their ways.
They start to move Blackie down the stairs when Lt.Clint Reed confronts them saying he wants to talk to Poldi. Blackie violently flings Poldi and the mattress off the stairs as if it were mere garbage and runs away with Fitch as we hear the police sirens closing in.
Kazan proliferates his films with a proto-naturalistic style within the environments he shoots. Richard Widmark displays an inward discontent while Paul Douglas has a more restrained anger and hardboiled everyman quality. This heterogenous chemistry between the two actors fuels the film and is as potent as their mission to hunt down the plague carrying killers from every coastline dump and cheap rooming house.
Jack Palance, whose strong saturnine looks often putting him in the role as villain is marvelous as the unmerciful Blackie under Kazan's directing. The verite of the more grittier moments feel as if we are watching the actors up close on a stage. I'm reminded of Street Car and how much I felt like I was in the room with Blanche when Stanley taunts her ruthlessly.
The narrative is sharp and driving and the tautness of the plot at times sensational, is tense during the investigative process when Warren and Reed interview people from the film's collection of characters some, brutish misogynists,gruff dock laborers, cliched grinning Chinese ship cooks, worn out street dames and superstitious immigrants who are still living outside of the conventions of the American experience.
At the end Reed returns to his home, back in the neat world that he inhabits with his untainted family, to live out the American dream once again.
Posted on January 14, 2011 November 22, 2012 by monstergirlPosted in 1960s, Alfred Newman, Barbara Belle Geddes, Classic Film Noir, Directors and Filmmakers, Elia Kazan, Jack Palance, Paul Douglas, Richard Widmark, Suspense, The Director's Lounge, UbiquityTagged Elia Kazan Jack Palance, immigrants, mis en scene, Panic In The Streets, Paul Douglas, pneumonic plague, police drama, Richard Widmark Barbara Bel Geddes. 2 Comments

redpajama_set_name: RedPajamaCommonCrawl


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Sunday 7:45, 9, 11:15 am and Saturday Celtic Service 5:30 pm· Details
101 Airlie Road, Wilmington, NC 28403 · 910-256-3034 · Prayer Request Give
St. Andrew's on the Sound
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101 Airlie Road · Wilmington, NC 28403
101 Airlie Road
Welcome to St. Andrew's On-the-Sound! What We Believe Children & Families Directions
Our name says a lot about us: St. Andrew's On-the-Sound. While not overlooking Wrightsville Sound, we are close enough to the beach that our basic attitude is pretty laid back. We can't help but feel that we track a little sand into the church whenever we enter. Our worship is traditional, but relaxed; our focus is on living our faith as God's family in this place. Young families with kids, retirees, and folks in between find a comfortable home here.
Bring your faith and your doubts, your experience and your questions, and, above all, your hopes. There is comfort and joy in our community as share in worship, fellowship, learning, and service.
Plan Your Visit FAQs
Our namesake, St. Andrew was the first evangelist and came to Jesus trusting him as his teacher. Andrew wanted to learn, to know God, and to understand Jesus as Messiah.
We gather together in worship as we rejoice, pray, and contemplate the wonder of God. Our worship is best described as traditional and relaxed. Please do not worry about what to wear and when to stand up; after all Jesus wore sandals and we do too.
At St. Andrew's On-the-Sound we do not tell you what to believe. You are invited into the journey at whatever place you are in your life. We are all sharing this journey together.
This church is known as one of the most family-friendly churches around!
Your presence is a gift to St. Andrew's and we are honored to welcome the wiggling and noises children share in worship. Please know you are welcome, come and be comfortable.
"Jesus reached for a little child, placed him among the Twelve, and embraced him. Then Jesus said, "Whoever welcomes one of these children in my name welcomes me; and whomever welcomes me isn't actually welcoming me but rather the one who sent me."
Mark 9:36-37 (CEB)
We are located on the way to Wrightsville Beach at the corner of Airlie Road and Military Cutoff Road/Oleander Drive, next to Airlie Gardens.
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"For where your treasure is, there your heart will be also" (Matthew 6:21). We could as easily translate this as "where your money is…" and not miss the mark. When we give to support St. Andrew's On-the-Sound we are helping to secure a place where our hearts feel at home. Everything we are as a loving community, our worship, our study, our service, and our play is founded on what we give together.
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We are rediscovering what it is like for "two or three to gather" and we are rediscovering what it is to worship, study, and play together. We are grateful for those who support this church by their presence Sunday to Sunday, and we invite others to join us again. One of the sentiments I hear most often these days is, "It's better when we're together."
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You have been provided with a paper copy of this Notice of Privacy Practices. If you would like to have a more detailed explanation of these rights or if you would like to exercise one or more of these rights, please contact our HIPAA Compliance Officer at (847)867-5202.
We may provide your health Information to other health care professionals, including doctors, nurses and technicians, for purposes of providing you with care.
Our billing department may access your information and send relevant parts to insurance companies to allow us to be paid for the services we render to you.
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DOD Takes Step in Capturing Actionable Data from Wearables
June 6, 2022 Share:
Today, the government and public sector must be as proficient as never before with their network, manpower, and more. This awareness came as a result of different situations that occurred during the Covid-19 pandemic. The way to accomplish this proficiency is by using top-notch IoT integration and wearables.
The Department of Defense (DOD) is aware of this. Thus, the DOD is taking steps to capture actionable data from wearables. It is successfully taking steps with the assistance of a top-notch software company.
The data-sharing effort of the Defense Department arose during the Covid-19 pandemic. This data-sharing effort includes contact tracing, which makes meaningful use of "internet of things" data for military health care.
What is IoT (Internet of Things)?
The IoT includes a structure of interrelated computing devices, digital machines, mechanical machines, animals, objects, or people. All these interrelations are offered unique identifiers (UIDs) and the capability to transmit data over a network. Furthermore, these offerings don't require human-to-computer or human-to-human interaction.
A thing on the IoT may be a farm animal with a biochip transponder. It may also be an individual with a heart monitor implant, or any other man-made or natural object. These things can be assigned an Internet Protocol (IP) address and can transmit data over a network.
As previously mentioned, the DOD is working with a top-notch software company. The Department of Defense is working with a proven leader in the software industry called Software AG Government Solutions. The DOD is using a solution from Software AG Government Solutions called the Cumulocity IoT.
Cumulocity IoT simplifies, streamlines, and solves problems. With this product, organizations will gain a simplified IoT architecture where you can choose the best components for your organization. You will also get device management, IoT integration, and IoT analytics that cover advanced streaming, condition monitoring, time-series data, and predictive data.
Additionally, it is known as Cumulocity IoT Edge due to its ability to process data near to the source for quicker results and for triggering an instant response. You will have all these capabilities and more without requiring technical expertise.
The Defense Healthcare Management Systems effort — the Joint Deployable Personal Proximity Solution (JDPPS) — also leverages an IOT data hub from Software AG Government Solutions called Cumulocity. It was used first to help the department track the health of COVID patients whose symptoms and longer-term complications were still in the process of being fully understood.
"The JDPPS solution arose out of what's called a Joint Emergent Operational Need (JEON) for the Joint Chiefs of Staff," SoftwareAG Government Solutions Strategic Account Executive Kirk Skeeles told GovCIO Media & Research. "It was a proximity-logging solution in the height of the pandemic, and with that they wanted to develop a solution for them to use across DOD that could minimize the heavy burden of interview-based contact tracing."
Under the project, Software AG Government Solutions has been gathering data from military personnel wearables and offloading that information onto an anchor. That information is then sent to the Cumulocity platform where it is processed and sent to its destination, where it could then be further used in the department, such as in electronic health records, for example.
The company recently obtained an authorization to operate(ATO) for Cumulocity.
The platform provides self-service tools and a configuration-driven approach to support further innovation around wearable data, enhance customer experience and streamline operations across enterprises.
"[DHMS] liked what they saw with Cumulocity … to be able to handle multiple types of devices and to be able to provide a solution not just for the instant need that they had, but for many solutions to build upon. The idea was to create a secure edge platform that could be added upon going forward," Skeeles said.
IOT devices have proliferated in both the private and public health sectors to aid in remote patient monitoring and collect meaningful health data for long-term health care. Devices like heart monitors and pacemakers, for example, collect and send patient health statistics over various networks to health care providers for monitoring, analysis and remote configuration.
But managing an IOT ecosystem requires a secure approach to managing data at the edge and efficient processes for developing further applications to process and analyze that data.
With Cumulocity and its ATO, the department has the capability to expand its data ecosystem to manage more wearables, sensors and medical devices in other applications where IOT and wearable data is being used.
Cumulocity provides a framework for management and control of devices, sensors or data sources and serves as the "central hub" that houses data and devices so organizations do not have to go through additional certifications.
"In the government, cyber is at the forefront," Skeeles said. "Cumulocity … already has that authority to operate within the network. … In doing that, that shortens the cycle to be able to speed innovation. Then, all you need to do is that last mile from the device to Cumulocity, and then everything else has already been taken care of through the security process."
"There's a lot of information that can be captured at the edge, but in order to send all that back to a central processing location, such as a cloud infrastructure or even a data center, the amount of bandwidth that chews up and the time that it takes to do that can be prohibitive," Skeeles said.
"I do think it can be a good springboard for innovation for government to build upon what we've done. The speed at which all of this took place was all within about a year," Skeeles said. "That was because of the partnership … [with] the government. They provided excellent support in helping us break down barriers and get through the hurdles."
Cumulocity has the option to run on the cloud or at the edge, which creates a much more flexible solution. With Cumulocity and its ATO, the department has the capability to expand its data ecosystem. And as a result, the ecosystem will manage more wearables, sensors, and medical devices.
Moving forward, Software AG Government Solutions sees Cumulocity as a bridge to help agencies deliver better and more secure data solutions at scale. And furthermore, this software company is more than willing to assist you as well.
For more information on what this company can do for you, contact Software AG Government Solutions today. It doesn't matter whether you need a top-notch solution for IoT government or the public sector. With their Cumulocity IoT solutions, you won't go wrong. So, contact this growth-oriented software company now!
Article via Government CIO Media & Research can be found here.
7 Things Users Want from an IoT Platform
When it comes to the Internet of Things, users want it all: A platform that can support every step of their IoT development lifecycle. And, it seems a platform like that…
An Ultimate Guide to IoT for Government
Late last year, the Internet of Things Cybersecurity Improvement Act of 2020 bill was signed into law, which intends to raise awareness and harden security for the many devices —…
Cumulocity IoT – Government IoT Integration Platform
Don't overcomplicate IoT. Put Internet of Things innovations to work faster with Cumulocity IoT, our carrier-grade, self-service IoT platform that connects any "thing."


The Entrance Alert is a battery-operated 95dB alarm designed to detect unwanted entry. It can be easily attached to a window or door with mounting tape. The alarm sounds when contact is broken, and then automatically resets after 45 seconds. An on/off switch allows use only when necessary. The Entrance Alert Alarm package also Includes mounting tape and battery.


As customers or trade allies fill out an incentive application, they often get stuck on one common question: "What is the primary heating system?" This seemingly easy question may be more complex than expected, and the answer will determine customer eligibility for certain incentives.
The Home Retrofit Specifications Manual defines primary heating system as "the main heating equipment that is permanently installed and designed to provide the majority of heat inside a home, regardless of use or condition". This definition can help you decide if the customer may be eligible for incentives.
Home Retrofit incentives are only available for homes with an electric or natural gas primary heating system with fuel provided by Portland General Electric, Pacific Power, NW Natural, Cascade Natural Gas, or Avista. By answering the primary heating system question early in the process, you'll avoid confusion and possible customer complaints about available incentives.
If you have any questions on how to identify the primary heating system, or how to fill out applications, please reach out to the Residential trade ally team at 1.866.365.3526.


More and more people prefer having a trip in hiking. So taking a outdoor shop online with you in the woods or forests can save your life in critical time. Selecting a fantastic survival equipment is not the question in our shop. The storage options provided by us are the best made and the latest model. Firstly, the multi-function dive gear storage would bring you a lot of useful function. It is invented to help you when you stay outside at anywhere you want. Furthermore,a delicate camping equipments can make your going out more convenient. Stop hesitating now and buy some survival equipment list immediately.


Titles - Beyond the Frontier produced by NFB, NFB520747 | McIntyre Media Inc.
Beyond the Frontier documents three approaches to Arctic oil exploration, including Esso Resources' artificial island technology and Dome's ice-island construction. This film gives an impression of what it is like to be on a drill ship in McKinley Bay, fighting a storm on an artificial island thirty km off Tuktoyaktuk, and building an ice island 2800 km north of Edmonton.


A woman of Lautoka has been convicted today by High Court Judge, Justice Aruna Aluthge of one count of receiving and one count of money laundering.
Preetika Lata between the 14th of February, 2013 and 14th of May, 2014 in Lautoka dishonestly received more than $200,000.
The assessors unanimously found Lata guilty on both counts as charged.
The Judge said the explanations given by the accused to deny her knowledge about the illegal transactions and the deposits into her accounts are completely unacceptable.
The judge said there is no dispute about the physical element of each offence.
The accused agreed that her two bank accounts had received stolen money from FSC during the period in question.
A date of the sentencing is yet to be decided.


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Платице́риум анго́льский () — вид папоротников семейства Многоножковые.

Высокодекоративный вид. Культивируется в тёплых оранжереях и комнатах.

Синонимы
По данным Missouri Botanical Garden:
 Alcicornium angolense Underw.
 Platycerium elephantotis Schweinf.

Биологическое описание
Листья двух типов, спороносные и стерильные.

Спороносные листья в верхней части расширяющиеся, не рассечённые, в нижней части треугольно—клиновидные, тускло-оранжевоопушённые. Спорангии расположены поперечно по всей ширине нижней части листа.

Стерильные листья цельнокрайные, отогнутые верхней частью назад.

Ареал, экологические особенности
Экваториальная Африка.

Эпифит.

В культуре
Посадка на блок или на прорезанный сбоку пластиковый цветочный горшок, который со временем окутывается стерильными листьями.

Температура: 18—24 °C.

Относительная влажность воздуха: не менее 65 %.

Освещение: не менее 30 % от прямого солнечного света.

Период покоя с поздней осени по весну.

Во избежание риска появления бактериальных и грибковых инфекций рекомендуется просушка субстрата между поливами.

Примечания

Литература
 Сааков С. Г. Оранжерейные и комнатные растения и уход за ними. Л.: Наука, 1983. — С. 525.

Ссылки
 Платицериум ангольский на сайте Tropicos.org. Missouri Botanical Garden
 Фотографии Платицериум ангольский на сайте flickr.com

Многоножковые
Флора Африки
Комнатные растения

redpajama_set_name: RedPajamaWikipedia


text:
Home Marketing Benefits of buying Facebook likes
Benefits of buying Facebook likes
by Jajce d Muckic May 29, 2019
For people who are not selling their products or promoting their companies online, buying likes on social media sounds ridicules. They just don't understand how it can affect one's business. However, people who are trying to break into a market comprehend the importance of it. If you are interested in learning some notable benefits of buying Facebook like, keep reading this text.
Marketing experts have acknowledged the importance of social media, years ago, and they are now being used as a marketing tool. Due to the extensive use of social media, especially Facebook, they present great platforms for advertising different kinds of products and services.
If you are interested in learning more about buying Facebook likes and how it all works, click here and get all the information you need.
source:videohive.net
First of all, with buying Facebook likes your page is gaining popularity in a short period of time. As you know, the algorithm tracks what people search on this platform, so your page will pop up more often in suggested pages. This way you will increase the visibility of your page. No matter how interesting and appealing your posts are if there are no comments and like, the page will not appear on users' newsfeed. By increasing the number of people who regularly read your updates you are boosting the recognition of the page.
Furthermore, by gaining more followers, you are optimizing ranking on the search engine. When people look for a certain item you offer, and they type the keyword into the search engine your page will pop up among the first and this is all because of thousands of likes.
By buying likes, you will be reaching a large number of people. No, we are not talking only about people who actually follow the page, but also about their friends. When people engage in your content, like it and leave comments, all those posts will appear in their friends' newsfeed. This is another great way in which Facebook algorithm works. It does not only show users what they might be interested in, but it also shows them pages their friends like. It further spreads like a spider web and in the end, you will get more fans and people who are interested in your service.
Moreover, a large number of likes, we are talking about thousands of them, will validate your page and ensure the quality of the products. It is in human's nature to always turn to companies that have established a fan base. Your likers don't even have to advertise your products to their friends and other people. When a person finds your page and sees thousands of likes, as well as positive comments and reviews, they are more likely to consider and eventually buy your product.
source:marketingland.com
Since Facebook now allows you to connect your page with any other website, and vice versa, you are not restricted only to people with Facebook accounts, but you can reach a wider audience of potential clients on other social media platforms and webpages.
All in all, buying Facebook like is a great way of raising the awareness of your brand and establishing your place under the sun.
Facebookfacebook likesocial media
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text:
Once Upon a Deadpool
Once Upon a Deadpool DVD and Blu-ray release date not announced and available on Digital HD from Amazon Video and iTunes on January 15, 2019.
imdb: NA
$6.1 mil
In a kid-friendly take on the second film in the Deadpool franchise, Once Upon a Deadpool pays homage to film classic The Princess Bride by bringing back Fred Savage to enjoy the events of Deadpool 2 as a bedtime story. Set in Fred's eighties-era bedroom, the tale is told by Deadpool himself, a sarcastic mercenary who bacome a superhero, and his attempt to save a boy from a time-traveling villain. To aid him in the battle, Deadpool assembles a group of fellow mutant fighters, some of whom were introduced in the first film.
Digital HD
DVDs Release Dates is the best source to find out when does Once Upon a Deadpool come out on DVD and Blu-ray. Dates do change so check back often as the release approaches.


text:
Exclusive Jorge Lorenzo Q&A: 2021 Ducati MotoGP return "almost happened"
Oriol Puigdemont
15 September 2020, 4:52 am ·8-min read
Lorenzo Q&A: 2021 Ducati return
Jorge Lorenzo has revealed in an exclusive interview with Autosport that a return to MotoGP with Ducati in 2021 "almost happened".
Lorenzo retired at the end of a difficult 2019 campaign on the Honda and took and the role of official Yamaha test riders in the winter.
However, with the uncertainty surrounding Andrea Dovizioso's Ducati future - and his subsequent announcement of leaving of the team at the end of the year - Lorenzo became linked with a return to the Italian manufacturer, with whom he raced and won three grands prix from 2017-2018.
In a wide ranging world exclusive interview, three-time MotoGP world champion Lorenzo reveals exactly what happened with Ducati and what ultimately led him to changing his mind, as well as his views on Dovizioso's decision and the current state of the 2020 championship.
Autosport: What is your typical day like right now? It looks like you are enjoying life after racing.
Jorge Lorenzo: "I am very happy. I have all the time in the world to do practically whatever I am interested in. When I'm at home I keep a routine to stay in shape - I train in the morning and then have the afternoons free to study, plan my future or simply have fun.
AS: Some sportsmen find that after retirement they feel there's a gap that they struggle to fill. Have you had this feeling?
JL: "I am not going to deny it: at certain times I have missed racing a little bit. The feeling of winning, which is unique and impossible to replicate, or the celebrations with the team after a great result. These are the things I miss the most. Other things, like injuries or the nerves on a Sunday morning before the race, I don't miss at all.
"We all have to accept that we can't have everything in life and I arrived at a point when, after all I had achieved, the negatives outweighed the positives. That's why I decided that it was time to start enjoying everything I had worked for.
AS: There has been a lot said, and written, about a hypothetical return with Ducati. How seriously were you actually considering that?
JL: It was a very real possibility and it almost happened.
AS: Ducati insist that you offered yourself to them, that you said you wanted to come back in 2021, come what may...
JL: "It wasn't exactly like that. During lockdown, I had a call from Gigi Dall'Igna [General Manager, Ducati Corse] to wish me a happy birthday. We talked about personal matters, family and things like that, and at the end of the conversation I asked him, out of curiosity, about the future of the team and the riders.
"Shortly after, Michele Pirro sent me a message - half joking, half serious - asking if I wanted to go back to Ducati. Between the call from Gigi and the message from Michele I figured there was a certain level of interest from Ducati, and I started to consider the idea of racing again.
"Maybe it was being locked down for those few months, or because I was missing that winning feeling, but the phone call triggered the thought in my head about making a comeback. We started negotiations, but the closer we got to signing, the more the factors that forced me to retire gained weight.
"After several days of deliberation, I regrettably had to say no to Gigi. I felt really bad and I am still very sorry now, because I put him in an awkward position with the factory and I could have avoided it.
"If I had been certain from the start then I wouldn't even have gone into negotiations. The truth is that I will always be thankful for the faith shown in me, but at that moment I felt that I needed to think purely about myself, and I came to the conclusion that being a motorcycle racer did not stack up for me anymore.
AS: So do you think that you will ever go back?
JL: "The chance of that happening decreases with every year that passes. Honestly, having taken such a difficult decision, I think I can say my racing career is over, although I would like to stay involved in the sport in some way.
During the San Marino Grand Prix weekend, both Valentino Rossi and Fabio Quartararo questioned why Yamaha had done no testing with Lorenzo at Misano this year to understand the new track surface. Lorenzo gives his view on the story, and hints at interest from rival manufacturers to join its test programme next year.
AS: Last weekend both Quartararo and Rossi said that they can't understand why Yamaha are not using you more as a test rider. What is the reason?
JL: "According to what Yamaha have told me, the situation with coronavirus creates logistical problems for their personnel travelling from Japan. It is a real shame I have not been able to bring my experience to the project.
AS: Are you interested in renewing your contract as a test rider?
JL: That's my priority. I hope Yamaha still want me and that there is still the desire to create a testing team that can help improve the bike. I think that with my experience and feel, I can bring a lot.
AS: Have you been approached by any other factories about your situation?
JL "Yes.
AS: Can you be more specific?
JL: "I would prefer not to name names.
AS: In your opinion, why is MotoGP proving to be so unpredictable and inconsistent this season?
JL: "I think Dorna have done a magnificent job with the rules in recent years, which has created more parity between the manufacturers. That much is evident from the lap times and from the distribution of victories. Also, it is clear that the strongest rider not being on the grid has had an impact on the mindset of the others. Marc's absence has made other riders believe that they have a genuine chance to be World Champion.
Honda has endured a miserable 2020 campaign, with its star riders in Marc Marquez and Cal Crutchlow blighted by injury, and no Honda rider taking to the podium so far after six races. Many believe this year is proof that Honda needs to change bike philosophy. But Lorenzo doesn't see this happening any time soon, so long as Marquez continues to win championships.
AS: In your experience, do you think Marquez would be as susceptible as the others to this inconsistency?
JL: "I think it would have depended on how competitive his bike was at the different circuits, even though at the moment there is no doubt that he is still the strongest and most complete rider on the grid. I am sure he would be winning races and fighting for the title.
AS: Do you think that Honda's current troubles highlight the need for a conceptual rethink of their bike? This is something you yourself requested.
JL: "I don't think Honda's priority when they signed me was to make an easier bike, although if I had stayed there I am sure we would have achieved it. The truth is that Marquez has an inimitable style and with every year that passes the bike adapts more and more closely to his style and further away from the rest of the factory riders. As people we only tend to look for drastic solutions when the situation is critical, and whilst ever Marc continues winning titles for Honda, I don't think the factory will look to change their approach.
AS: What did you take from Dovizioso's decision to leave Ducati without anything else on the table for 2021?
JL: "I think Dovi and his agent were clear about what conditions they were prepared to accept and what they weren't. Maybe they thought that Ducati would end up conceding, but that didn't happen. The market moved very quickly in the meantime and now he doesn't have many options.
AS: Would you opt for Francesco Bagnaia or Johann Zarco as team-mate to Miller?
JL: "Logically, I have to think that they will go for Pecco, especially after such a great performance at Misano when he wasn't physically at 100%. He has a big future ahead of him and in some ways his riding reminds me of myself, with such very high corner speed and a smooth, elegant style.
AS: Were you surprised when Pol Espargaro signed for HRC?
JL: "I think Pol has always believed that he could do a good job on a Honda and get to a similar level as Marc. I don't think it will be at all easy for him, but then it wouldn't be the first time somebody has surprised me.
AS: Did you expect Maverick Vinales to have made more of the opportunity to take advantage of Márquez's absence?
JL: "A little bit, yes. I was expecting a lot from Maverick before the start of the season because he looked strong at the end of 2019 and also in the preseason tests. It looked like he had found the confidence and the conviction to take that next step. However, that hasn't happened yet and he was also very unlucky in the two races in Austria. He has no shortage of talent or speed, but to win titles you need all the pieces to fit together. Hopefully he can manage it.
AS: What did you think when you saw the accidents at Red Bull Ring?
JL: "Episodes like that are a reminder that our sport is still very risky. An accident such as one of those can change your whole life in one second. That's exactly why, once you feel like you have achieved the goals you set yourself, the intelligent thing to do is to seriously evaluate whether or not it is worth the risk.
Get unlimited access to the world's best motorsport journalism with Autosport Plus
Bollywoodshaadis.com·4-min read


SCE employees delivered more than $20,000 worth of toys for foster children to the McKinley Children's Center in San Dimas.
SCE linemen Brad Alvarado and Ken West stop for a selfie after delivering more than $20,000 worth of toys for foster children to the McKinley Children's Center.
SCE employees unload more than $20,000 worth of toys for foster children to the McKinley Children's Center in San Dimas.
SCE crews loaded donated toys into waiting trucks at the McKinley Children's Center in San Dimas.
The holiday season is upon us and Southern California Edison employees want to power a little extra joy for those in need. So crews and staff from several SCE locations, including the Covina and Ontario Service Centers and Pomona Innovation Village office, adopted foster children holiday wish lists and made special deliveries to help brighten the holidays.
More than 200 employees from SCE's Covina Service Center and Pomona Innovation Village office adopted 235 foster children wish lists from the McKinley Children's Center in San Dimas. The employees collected more than $20,000 worth of toys.
"For a lot of our kids, this will be the first time they have a toy or gift under the tree they get to open on Christmas Day, and the generosity of Edison has really made a lot of dreams come true this year," said Anil Vadaparty, CEO of McKinley Children's Center.
A second toy drive led by employees at SCE's Ontario Service Center adopted 142 foster children wish lists from the Specialized Care Foster Family Agency in Rancho Cucamonga. More than 60 employees collected about $25,000 in toys, teddy bears, duffle bags and backpacks.
"It was beyond magical seeing the generosity of our crews that helped fulfill wishes. It will be a Christmas miracle for these kids," said Lori Entzel, an SCE employee giving representative and toy drive organizer in Ontario.
Powering joy and happiness this season. Happy holidays.


New Delhi, (IANS) It was a partly cloudy Monday morning here with the minimum temperature recorded at 25.2 degrees Celsius, season's average, the weather office said.
"The sky will remain partly cloudy throughout the day," an India Meteorological Department officer told IANS.
The maximum temperature was likely to hover around 34 degrees Celsius.
The humidity at 8.30 a.m. was 77 per cent.
Sunday's maximum temperature settled at 34.7 degrees Celsius, season's average, while the minimum temperature was recorded at 26 degree Celsius, a notch above the season's average.


Discussion in 'Mac Basics and Help' started by madssakre, Mar 11, 2009.
I have a danish version of the wireless aluminum keyboard and I'm planning to visit the US and buy a MacBook. I can live with the missing (danish) keys ÆØÅ on the laptop since they present on the wireless keyboard.
Yup, scarily enough, my danish friend did the exact same thing (but with a wired keyboard), and she said it all works.
It might not be practical but for times when you might not have the wireess keyboard with you, you can still kinda do the Æ thingy by holding alt + the apostrophe button. This works on a UK macbook, no idea how it is on the US version. And of course, you can achieve Ø by alt + O.
I'm guessing you already knew this, but meh, hope it helped anyway.


Home Information & support Your stories What are your comfort clothes?
What are your comfort clothes?
The great cartoon above by Rubyetc. - and the fact that it's London Fashion Week this week - got us at Mind thinking about clothes and how they might affect how we feel.
Style can be fun... but let's hear it for the comfort clothes! What do you wear to feel better?
Perhaps it is in fact something really stylish gives you a much-needed confidence boost..? While many of us will find a slightly less elegant assemblage - drawn from an assortment of well-worn t-shirts, cardigans, hoodies, elasticated-waist trousers and general comforting bagginess - is the thing to throw on when we want to hide away from the world for a bit.
This week the media spotlight will be on the latest fashion. Well, here at Mind we're going to give tribute to our old favourites. The question is, will you share a pic of your comfort clothes with us? It doesn't have to be a selfie, you can just snap your favourite ancient t-shirt (or glamorous ballgown) without wearing it.


text:
/**
 * CS 540 HW4 : Perceptron
 * author: priyananda (shenoy@cs.wisc.edu)
 * date: Nov 12 2008
 * random quote:
 */
import java.io.BufferedReader;
import java.io.FileReader;

//single layer perceptron learning
public class Perceptron
{
	public static void main(String[] args)
	{
		if(args.length != 2){
			System.out.println("Argument missing.Format is\njava Perceptron trainingfile alpha");
			System.exit(1);
		}
		Perceptron tron = new Perceptron();
		tron.parse(args[0], Float.parseFloat(args[1]));
		tron.learn();
		tron.print();
	}

	//extracts examples from input file
	private void parse(String fileName, double alp)
	{
		this.alpha = alp;

		try{
			BufferedReader reader = new BufferedReader(new FileReader(fileName));
			int numExamples = Integer.parseInt(reader.readLine());
			int numVars = Integer.parseInt(reader.readLine());

			this.node = new LTU(numVars);
			this.examples = new Example[numExamples];

			String line = null;
			int i = 0;
			while((line = reader.readLine()) != null){
				String [] parts = line.split("\\s+");
				Example ex = new Example(numVars);
				for(int j = 0; j < numVars; ++j)
					ex.variables[j] = Double.parseDouble(parts[j]);
				ex.output = Integer.parseInt(parts[numVars]);
				examples[i++] = ex;
			}
			reader.close();
		}catch(Exception e){
			System.exit(1);
		}
	}
	//learns the weights
	private void learn()
	{
		int c = 0;
		while(true){
			boolean allCorrect = true;
			for(Example ex : examples){
				double actualOutput = node.evaluate(ex.variables);
				if( actualOutput == ex.output )
					continue;
				allCorrect = false;
				double error = ex.output - actualOutput;
				for(int i = 1 ; i < node.weights.length; ++i)
					node.weights[i] += alpha * error * ex.variables[i-1];
				node.weights[0] += alpha * error * -1;
			}
			if(allCorrect)
				break;
		}
	}
	//prints the weights
	private void print()
	{
		for(double w : node.weights)
			System.out.print(w + " ");
		System.out.println("");
	}

	//class to model a single linear threshold function
	private class LTU
	{
		public LTU(int numVars)
		{
			weights = new double[numVars+1];
			for(int i = 0 ; i <= numVars ; ++i)
				weights[i] = 0.0;
		}
		public int evaluate(double variables[])
		{
			double sum = -weights[0];
			for(int i = 0 ; i < variables.length; ++i)
				sum += variables[i] * weights[i+1];
			return sum > 0.0 ? 1 : 0;
		}
		double weights[];
	}
	//class to model an example
	private class Example
	{
		public Example(int numVars)
		{
			variables = new double[numVars];
		}
		double output;
		double variables[];
	}

	private LTU node;
	private double alpha;
	private Example[] examples;
}

redpajama_set_name: RedPajamaGithub


OMX is seeking experienced Project Managers to oversee and deliver marketplace analytics projects for our customers in the defence sector on a part-time / assignment basis. This is an excellent opportunity to establish a relationship as one of our "go to" Project Managers for current and future projects.
To apply, submit your resume in confidence to ops-jobs@theomx.com.
Local and commuter candidates only, please. No phone calls, faxes or drop-ins. Direct applicants only; no recruiters are being retained by OMX at this time.


text:
BUDGET CUTS TO ROW OFFICES?
NUTTER: ELECTED OFFICES SHOULD SHARE THE PAIN
THE CITY'S financial crisis has triggered budget cuts - and big sacrifices - from all Philadelphians.
Mayor Nutter is right to be calling on elected officials populating row offices - independently elected offices separate from the executive branch - to do their part.
Even though cuts are unlikely to come fast enough to help with the city's problems today, we welcome his effort to shine a light on, and possibly squeeze some savings from, these offices. Especially if it becomes part of a broader discussion of reorganizing city government.
Ultimately, City Council, which approves the budgets for these offices, needs to step up and take their oversight seriously.
Independent elected officials include high-profile positions like the district attorney and city controller, as well as lesser-known offices such as the clerk of Quarter Sessions, register of wills, and the city commissioners. All of these offices have a combined budget of more than $200 million.
A small handful responded to Nutter's announcement of the crisis by taking pay cuts. But more is needed.
Now is a perfect time to consider which of these independent elected officials we need. The formulation of row offices was designed in 1951, as part of the creation of the city charter. We're long overdue in revisiting a plan put into place 60 years ago.
A perfect example is the Office of the City Commissioners, responsible for running local elections. Elections in every other county in the state are run by a nonpartisan board staffed by civil servants. Philadelphia should consider moving to a similar system if it would increase efficiency and save money.
We also can't help but point out that many of these offices- like the D.A., register of wills and sheriff- are related to the criminal-justice system. The combined price tag of prisons, courts, and police is nearly $1 billion per year, accounting for 24 percent of all city spending.
The reality is, Nutter can only make noises about the budgets of these offices; he has no authority to require cuts.
That's why it's up to Council - and the rest of us - to keep the pressure on. If an unexamined life is not worth living, an unexamined government is not worth having. For a full list of these row offices, see www.ourmoneyphilly.com. *
Philly resident survey reveals gap between progress and magnitude of city's challenges | Editorial
The Inquirer Editorial Board
Political Cartoon: Afraid of women presidential candidates
Signe Wilkinson
MLK Day of Service dilutes Dr. Martin Luther King's political message | Opinion
Rashad Grove, for the Inquirer
Philly City Council members shared their spring priorities. The Editorial Board is watching. | Editorial


Photographer Asta Skujyte-Razmiene visited Croatia this past summer in hopes of tracking down the Game of Thrones filming locations, and it's safe to say that the trip was a success. "Some places were really easy to find – Dubrovnik, for example, is just like one huge filming set. But other spots (like streets in Split) we found either after a looong search or just stumbled upon by an accident. I want to share the result of our 'scene hunt' hoping that it will inspire others to do this same," said Asta Skujyte-Razmiene. Continue reading for all the images.


text:
package org.spongepowered.common.data.provider;

import org.spongepowered.api.data.Key;
import org.spongepowered.api.data.value.Value;

import java.util.function.Supplier;

@SuppressWarnings("unchecked")
public abstract class GenericImmutableDataProvider<H, E> extends GenericImmutableDataProviderBase<H, Value<E>, E> {

    public GenericImmutableDataProvider(final Key<? extends Value<E>> key) {
        super((Key<Value<E>>) key);
    }

    public GenericImmutableDataProvider(final Key<? extends Value<E>> key, final Class<H> target) {
        super((Key<Value<E>>) key, target);
    }

    public GenericImmutableDataProvider(final Supplier<? extends Key<? extends Value<E>>> key) {
        this(key.get());
    }

    public GenericImmutableDataProvider(final Supplier<? extends Key<? extends Value<E>>> key, final Class<H> target) {
        this(key.get(), target);
    }
}


In her research, Lorena del Rio concentrates on the use of plastic in architecture — from the early days of its development up to today — and investigates new concepts related to the specific qualities of plastic materials in design.
Since 2008 she has worked with Selgascano, participating in the development process of multiple projects including Cartagena Auditorium, Plasencia Convention Center, and Merida Young Factory.
These projects include the use of plastics in a variety of innovative ways. She has also collaborated with Iñaqui Carnicero, her partner, in various competitions and has earned awards and been published internationally.
Through a scholarship granted by the Spanish Ministry of Education, she worked with the Department of Architectural Design and Urban Planning during her studies in 2005–6.
Del Rio earned her bachelor's and master's degrees in architecture from the Polytechnic University of Madrid in 2008. She completed her PhD courses in 2010.
Active in both the academic field and with a professional practice, Carnicero is an internationally awarded architect, European PhD, and academic with experience at the Polytechnic University of Madrid and Cornell University.
He was recently awarded the Golden Lion at the Venice Architecture Biennale 2016 as director of the Spanish Pavilion with the exhibition Unfinished.
Carnicero has won several competitions and completed many projects including C.E.U. University, Social Housing in Vallecas, a high school in Albacete, the restoration of an Arab tower in Guadalajara, the new District Attorney's Office in Madrid's City of Justice, Hangar 16 Matadero-Madrid at the former slaughterhouse of Madrid, and the Pitch´s house.
He has been the director of Symmetries, an architecture platform that relates roman and contemporary strategies in the city.
His dissertation focuses on Louis Kahn's and Robert Venturi's discoveries and connections with Rome.
Carnicero, with his partner, Lorena del Rio, has run the office Rica Studio since 2012.