text:
> Blog > Outside in
'Kiss Me!' says Bibi to Boehner
by Raouf J. Halaby, 9 February 2015
Published in 1929, Thomas Mann's novella Mario and the Magician compellingly evokes the rise of fascism in Italy and Germany. It is also a character template for egotistical megalomaniacs enamored of their (delusional) self-importance and nationalistic jingoism. Collectively, these tyrants share one pathological obsession: they love to give speeches to adoring audiences.
How like Bibi Netanyahu.
Set in a late 1920s Italian seaside resort, Mann chooses a German bourgeois mouthpiece to create a fictional prose work in which the dramatic action unfolds in two major scenes. In the first, the narrator introduces the reader to his family's holiday experiences in the warm Mediterranean. The reader is immediately alerted to the narrator's condescending attitude towards Italians, a breed he considers culturally inferior to his own. The same sentiments regarding Mediterranean populations exist among hate groups, political parties, and some government officials across northern Europe.
The second part of the novella is set in a large audience-packed auditorium of mostly Italians, including the narrator and his family. Mann uses the narrator's ocular and mental perspectives to frame the events by focusing on Cavaliere Cipolla , a deformed, hunchbacked magician-hypnotist who is the master of ceremonies. What Cipolla lacks in appearance he compensates for with his oratorical skills to manipulate his audience into spellbinding silence and adoration. Cipolla's braggadocio and his ability to use his mental powers are laced with nationalistic themes crafted in diabolical rhetoric. An impresario par excellence, Cippola entrances his audience by summoning up the grandeur of Augustan and imperial Rome.
As the evening grinds on, Cipolla, armed with a whip, is emboldened; he argues with a Roman gentleman; he banters with an Italian socialite; he lures, manipulates, and captivates his audience; he brazenly and perversely humiliates his docile audience; he elicits dancing from a handful of hypnotized young women. As the restive crowd is steered to a crescendo of hypnotically induced, frenzied approbation, Cipolla uses his whip as a pointer to zero in on young Mario, a local Italian waiter. Mann aptly describes Cipolla's repulsive impish appearance: "The red rings around his eyes had got larger, they looked as though they were painted on. His thick lips parted."
In an admixture of linguistic manipulation and a groveling povero me! (poor me), Cipolla challenges Mario's manliness about Silvestra, his paramour, and convinces him that his sweetheart is not as faithful as Mario imagines her to be:
"It is time that he should see and understand, my chosen one! It is time that you see me and recognize me, Mario, my beloved! Tell me, who am I?
It was so grisly, the way the betrayer made himself irresistible, wreathed and coquetted with crooked shoulder, languished with puffy eyes, and showed his splintered teeth in a sickly smile. And alas, at his beguiling words, what was come of our Mario?"
Leading Mario to believe that he was the beautiful Silvestra, Cipolla forces Mario to kiss him. "'Kiss me!' said the hunchback. 'Trust me, I love thee. Kiss me here.' And with the tip of his index finger, ... he pointed to his cheek, near the mouth. And Mario bent and kissed him."
Shamed and demeaned at having his masculinity questioned, angry at himself for succumbing to Cipolla's mind games, mortified at the crowd's favorable and admiring responses elicited at his expense, and horrified by Cipolla's relishing the moment as though it were a sexual conquest, Mario pulls out his derringer and kills the predator.
In the final passage the German narrator assumes the role of an omniscient character and says: "that was the end. An end of horror, a fatal end. And yet a liberation — for I could not, and I cannot, but find it so!"
By 1929 Thomas Mann had Mussolini and Stalin in mind, and might very well have anticipated Hitler's 1933 and Franco's 1939 rise to power and the fascist dictatorships in Germany and Spain.
Just as Cipolla incites his audience with smug assurance and is able to manipulate his gullible spectators by bending them to his will, Israeli prime minister Bibi Netanyahu's narcissistic aplomb has earned him three invitations to address the Joint Congress of the United States.
Hailed as a hero by U.S. Speaker of the House, Newt Gingrich, on 10 July 1996, during Bill Clinton's tenure, Netanyahu strode, much like a Roman pro consul, to the podium of the most powerful nation on the planet, and delivered a speech in which he lectured America's representatives about the strong bond between Israel and her subservient cash cow. Presenting himself as the savior whose finger is plugging the dike against evil Iran and terrorism, he lectured his paymasters about their obligation for access to as much gold as Fort Knox should spare.
This 1996 address was merely a dry run and warm up for Netanyahu's 11 May 2011 address to the U.S. Congress. Hailed as King Bibi at home, he began his second speech: "How many House votes would you get for an amendment to allow Israelis to run for prez [sic]? 300? 350?"
Dressed in a fashionable tailor-made suit, Bibi, to use his own terminology, presented a "telegenic" image. And much like Cipolla the magician, he hypnotized 535 subserviently mesmerized elected officials who gave him not a few, but 29 standing ovations (to Obama's 25 ovations during his January 2011 State of the Union address). Does that say anything about the U.S. Congress?
Primed with diagrams and an infantile graphic, on 27 September 2012, Netanyahu delivered a speech at the U.N. General Assembly in which he urged the world body not to negotiate with Iran. It was the same old povero me (we have suffered for centuries) motif; we are an extension of Western civilization; we love democracy; Israel/West good, Iran/Arabs/Muslims bad; we are civilized, they are not; we want peace/Palestinians incite. The international body would not give him the same adulatory standing ovations of servility as Congress. Towards the end of his speech Netanyahu held up a stringed balloon-like diagram and stated: "This is a bomb. This is a fuse." As in a Shakespearean tragedy, comic relief is essential.
Which brings us to the most recent Netanyahu escapade, that delusional fetish about speeches, self-aggrandizement, self-adoration and power — that same seductive power and sway Cipolla held over his audience — and all for the sake of hanging on to power in the upcoming March Israeli elections.
Cipolla-style, "Kiss me!" Bibi said to US Speaker John Boehner, a Republican. To humiliate Obama on his final homestretch — for yet another grandstanding finale — Boehner eagerly complied.
While Boehner's Machiavellian invitation to Netanyahu is intended to flank the Democrats in the upcoming 2016 presidential elections, the Republicans' last best shot at humiliating Obama, it has, if timidly, exposed the fault lines in America's special relationship with Israel. Like the spoilt brat who's gotten his way for far too long, Bibi is not likely to back down and disinvite himself.
Like Mann's Italian impresario, Bibi has "Cipollatized"successive Israeli hardliners and settlers by leading his own people to the abyss. More tragic still has been Bibi's ability to Cipollatize successive U.S. Administrations and Congresses, forcing them to a "[knighthood] of the serviette[hood]," all the time reducing them to a "wreathed and coquetted" servitude in waiting on him, Mario style: waiting on his reckless expansionist zeal, and forcing them to kiss him as he pursues his dreams of a greater Israel.
John Boehner's challenge to Obama, to his manhood, his presidency and his legacy, is insulting to the dignity of all Americans, regardless of their political affiliation.
If there is a silver lining in this embarrassing debacle, it is to be found in the multitude of irate responses across the U.S. When the news of the invitation became public, FOX NEWS' Chris Wallace stated: "I have to say, I'm shocked;" Shepard Smith stated that it was "a deliberate and pretty egregious snub;" CNN's Dana Bash referred to it as "unusual and bizarre"; JStreet called it "a mistake"; Nancy Pelosi said it was "out of order"; Jewish Voices for Peace charged that U.S. lawmakers are out of touch. And many in the American Jewish community, including numerous rabbis, have been deeply irked and embarrassed by this charade. Even the Israeli Ha'aretz, quoting a US official, wrote: "We thought we've seen everything. But Bibi managed to surprise even us. There are things you simply don't do. He spat in our face publicly and that's not a way to behave."
Postscript: President Barak Obama could capitalize on the fallout from this sham. He can, in the words of the narrator, put an "end to [the] horror" and declare "a liberation." For starters, he has to discard the waiter's apron to which he and Congress are reduced by AIPAC and take ownership of the store, and sign a deal with Iran. Second, by bringing an equitable resolution to the Israel/Palestine thorn in the world's side, he will be able to deflate much of the anger and frustration that have been the oxygen fueling the senseless and barbaric IS/Al-Qaida madness that has thrived in the region because of ill-advised wars that have made blowback inevitable. This will also liberate America from AIPAC's stranglehold. Third, hold the Arab theocrats, dictators and the tyrannical oil sheikhs and other Arab Cipollas accountable for their crimes and press them to honor their people's aspirations in joining the modern — free — world.
Simply put, President Obama should have the moral fortitude to say to Bibi and the Arab thugs: "This is a bomb. This is a string. We are not going to let you pull it."
Raouf J. Halaby
Teacher of English and art, writer, sculptor, and photographer.
Raouf J Halaby is a Professor of English and Art at a private university in Arkansas. He is a writer, a photographer, a sculptor, a peace activist, and an avid gardener. halabyr@obu.edu
Here is a terrific article you should definitely read: "'Kiss Me!' says Bibi to Boehner", by Raouf J. Halaby (February 2015) // https://mondediplo.com/7601


How can we be present to what's happening in the world without giving in to despair and hopelessness?
Journalism, the way it came down to us from the 20th century, is absolutely focused, utterly and completely, on what is catastrophic, corrupt, and failing. And then, at the same time, there are good people. There are healing initiatives. There is a narrative of healing and of hope and of goodness, and we also just, as a discipline, have to take that in, as well — not instead of, but the both/and of humanity and of our world.
.. the attention I pay to language and I see how we have lapsed into calling the people on ships that are floating perilously around oceans, or children and parents in detention on our border, how we call them migrants. And what difference it would be, both for the journalists reporting this and the politicians legislating it and for us, consuming it and figuring out what to do, as fellow citizens. I think we have to call ourselves, always, to call them people. So that's something I pay attention to that's in my mind. How can I insert my understanding of the power of language in the places I'm working? And I don't think that's enough, but I think that's what I can do today.
.. There's a sensibility behind that stance that says that joy is a privilege. And I don't think joy is a privilege. I think freedom can be a privilege; I think luxury and comfort can be a privilege. But joy is a piece of basic human resilience. It's a human birthright. And in fact, one of the paradoxical and amazing things about our species is how people are able to get through the worst, also, with their joy muscle intact.


text:
Lost in House Music
This Blog is designed for the lovers of House Music (True Househeads)and those who are discovering house music for the first time. Come get your daily fix of House Music..Come get Lost in House Music with me..
Exclusive Interview with Ralf Gum
The DJ - Ralf GUM is one of the highest respected figures in the house music scene for the distinctive qualities in his exceptional productions and DJ-sets. Since Ralf`s career started in 1990, he stayed true to his passion for cool and diverse house music. Harmony & Soul & Groove - just some aspects of Ralf's typical sound. With a feeling for the vibe, he convincingly at venues all over Europe, Asia, the Middle East, North- and South-America. In autumn 2008 Ralf toured South Africa for the first time with great response and was the first German house DJ who was booked in Botswana and Swaziland...
The Producer - Ralf is creating music since 1993. He worked with notable artists as Inaya Day, Monique Bingham, Beate S. Lech, Michael Procter or Concha Buika. Ralf released in 2008 his first artist album 'Uniting Music' containing the hit-single "Kissing Strangers", which was a bestseller in its genre in 2008. Thus it got #1 in the "Top 100 Singles 2008" and the "biggest house track 2008" in the chart of Traxsource...
The Music - The hallmark of Ralf's sound is his love for live instrumentation coupled with wicked deep house beats. But the distinctive groove isn't the only reason for Ralf's success - his passion and love for all things soulful shines through all time and helps create a simply irresistible vibe...
The Label - Next to his productions and remixes for labels like Defected or Tommy Boy and his seducing DJ-sets, Ralf GUM receives as well worldwide plaudit with his own label GOGO Music...
The Person - crazy not only about music, but also about good food, red wine, faithfulness & his woman.
MzHouse Diva: When did you get started in the music scene?
Ralf: I had my first DJ gig in 1991 and my first productions were done in 1993.
MzHouse Diva: How did you get into djing?
Ralf: Already as a teenager I had strong love for funky, jazzy and soulful music and started collecting records. As a record collector, I felt that I want to show people my taste in music and this led me naturally to DJ-ing.
MzHouse Diva: What was the first record you bought?
Ralf: To be honest , I do not remember anymore, but the first records I bought with my own money must have been early electronic sounds from the likes of Kraftwerk.
MzHouse Diva: What was your first paid djing gig?
Ralf: It was at the smaller room of the Airport, which was and is the biggest club in my hometown Würzburg. The smaller room was the more un-commercial, experimental one, so I felt at home right away.
MzHouse Diva: How would you describe your djing/production style to people?
Ralf: I do not really believe in boxes for music, but if it has to be categorized I would call it deep and soulful House Music with a strong emphasis on songs when we speak about my productions.
MzHouse Diva: When did you first full in love with house music?
Ralf: It was in the very early nineties on a visit in New York. I liked and played House Music already before together and within other genres. In NY I experienced there the first full House Music Nights. I instantly was hooked and never played other genres after that again, but tried to establish it in my area.
MzHouse Diva: What draws you to the deeper, soulful side of House? Why has it often been overlooked by mainstream audiences yet thrives underground and how can that be changed to reach a broader base?
Ralf: The deeper side of House music just combines all music elements I like. You can incorporate jazz, funk, soul, Afro, Latin elements and so much more in it. The music is often treated as a "DJ tool" only and hence was not really pushed to a mainstream market, where you need radio-edits of songs and, in an ideal case as well, a video. Furthermore, it's helpful if an artist is literally performing the song. The labels in the deep House scene often concentrated only on an individual single release by someone, instead of building their name with consecutive releases. All the aforementioned aspects are truly no secret in the music business for many decades, but have most times been overlooked in the House scene. Lately, a change seems to have started worldwide and is already in full effect in South Africa where House music is treated just as every other mainstream genre. It hopefully keeps on and helps the music to get more of its deserved and overdue attention.
MzHouse Diva: What are the differences between the House music Scene in South Africa vs United States?
Ralf : There is a scene and market for House Music everywhere and if you look at the core of the scenes, it is the same music that is appreciated everywhere worldwide. However the big difference is the size of the scene as nowadays. House Music became (one of) the biggest genres in South Africa. Hence while in the states an only a smaller group of people appreciate the music, South Africa is House Nation to date.
MzHouse Diva: How did you come up with the name "GOGO" for your record label?
Ralf: I just was looking for a memorable name and liked it.
MzHouse Diva: Your record label, GOGO Music, successfully reached a significant milestone last year. How does that feel and what's your secret to longevity? When did you know this was your calling?
Ralf: GOGO Music was launched by me at the end of 2001 and we celebrated the 10th anniversary last year. It was a great feeling to reach such a mark, as I saw many labels come and go during that time. As well, I am really happy that the fan base of the label is still growing steadily. Before I started the label I already was releasing on other labels for almost a decade, but always felt that artist development was something unknown for many of them. It was my wish to show my specific taste of music with a platform which not only releases mine, but as well, like-minded artists. There's no real secret behind the label's persistency. I just release music which I think is well-written and timeless. I am happy to see that people seem to appreciate the quality of the records. As well, we reached in 2012 our 50th vinyl single release which was the first single taken off my new album, Never Leaves You. It was the collaboration with Robert Owens titled, Fly Free.
MzHouse Diva: You've got a new album out, "Ralf GUM - Never Leaves You", The CD album hit GOLD status in December 2012 in South Africa and is the best-selling album of the year on Traxsource; what is your inspiration, what pushes you to do new work?
Ralf: It seems music is just in me and there's no need to push myself to the studio. I am rather unhappy once I do not find the time to work on new music. To see that the own work is appreciated by other people is the best acknowledgement and reward for the efforts put into a production or album.
MzHouse Diva: As a producer, how do you decide which song, the artist performs on your albums?
Ralf: I always start with the music and while working on it, I get a clear idea which singer would fit to a specific playback. Sometimes I change the music after recording vocals, but usually my feeling who to feature on a certain sound works quite well, which might come with the experience I gained during the years.
MzHouse Diva: Who were some of your musical influences?
Ralf: Too many to mention. If my time allows, I listen to many various genres and a motley of artists, as I think there's good music to be found in most categories. From Jazz to Soul to Funk to R&B to Disco and even a bit of Techno or Classic - everything can broaden the musical horizon and influence you in some way.
MzHouse Diva: Who are some of the artists in the music industry, would you like to work with in me future if given the opportunity?
Ralf: By now I worked with many top artists in the house scene and would find it interesting to collaborate on some house tunes with soulful people from other genres.
MzHouse Diva: What is your most memorable moment in your career?
Ralf: It is always difficult to mention just one. Maybe it was when I realized that "Kissing Strangers" was the bestselling house tune of 2008 on Traxsource. Or my first gig in South Africa, which gave me an idea of the lively scene there. Maybe it was my first time at the Southport Weekender or one of the GOGO Music events at the WMC. The 20 years in House music contained many highlights, but it has to be said that there were as well many struggles.
MzHouse Diva: What was the best advice that was given to you?
Ralf: Be patient and always follow your heart. This is what I try to tell newcomers nowadays, too. Own skills and eventual success don't come overnight.
MzHouse Diva: How did you get into producing?
Ralf: While listening to music I always thought to have own musical ideas and hence wanted to try and get them done somehow. Luckily a friend of mine who owned a studio allowed me to experiment with his equipment in his off-hours. After a while I started buying own equipment as I realized that production is my call.
MzHouse Diva: When you aren't busy djing and producing; what do you like to do in your free time?
Ralf: Free time? There's almost none…if I have a bit I spend it with my wife and daughter.
MzHouse Diva: How do you feel about House Music becoming more digital? Do you think that hurt or help the house music industry?
Ralf: I am unable to answer it in general, as it has advantages and disadvantages. The internet and its social sites enables artist to promote their music on a global level quite easy and cheap, while the illegal downloads and file-sharing strongly decreases the income artists have out of their sales. All in all I would say that the positive and negative sides balance each other, one just has to adjust to the new circumstances and deal with them in a futile way.
MzHouse Diva: What are some of the house tracks that you are really feeling right now?
Ralf: House Music unfortunately became quite fast moving and by the time an interview is published favorite tracks might have changed again, hence personally I see the necessity to produce good timeless songs. There are others who do the same and really put effort in good song-writing. The new EOL feat. Josh Milan single is an example for this. It still will sound up to date in the years to come.
MzHouse Diva: If you could change one thing about the house music industry, what would it be?
Ralf: Again there are many issues that need to be addressed and it is tough to mention just one. Let me touch on two. First of all people should be educated, how illegal downloads and file-sharing affects the music industry and might in a long run kill creativity, as people might stop putting real effort and money into productions, if they can't make a living out of it. It leads to a lot of mediocre music done by hobbyists. A global law to even ban illegal downloads would be nice. Second: stop politics within house music. House music is a peaceful sound that should bring joy into peoples live. Everybody who puts work into the scene to keep it alive or to grow it should be respected and all the "comparing", "dissing" of producers should be stopped.
MzHouse Diva: What do you see in the future of house music?
Ralf: I don't have prophetic skills and thus don't know where the journey of House Music will go to. I wish there could be a scene and a understanding of soulful House in other countries as we have it in South Africa to date, but to achieve this, the media in those territories must be more supportive as it is now and as well the labels need to learn a thing or two how to reach more audience.
MzHouse Diva: How would you like to see "GOGO" in a few years from now?
Ralf: I hope the label will further grow and reaches more people with the music we like. We will continue to release the music we really feel and hope to influence the global house scene in a positive way by delivering quality tunes.
MzHouse Diva: Can you tell us about your future plans or Have you any plans (personal or business) that you can share with goals?
Ralf: After the success of my second album "Never Leaves You" I will definitely start to work on a third one, but of course don't know a release date yet. The completion of "Never Leaves You" took more than 2 years, so it might take a while…
MzHouse Diva: I definitely can't wait until your next album is released. Thanks for your time and it was a great pleasure doing this interview with you.
*Follow the links below to get a taste of the Ralf Gum
House Experience*
Label-website: www.GOGO-Music.net
Artist-web-site: www.RalfGUM.com
Facebook-site: facebook.com/Ralf.GUM.GOGO
Myspace-site: www.myspace.com/RalfGUM
Twitter: www.twitter.com/RalfGUM
Youtube: www.youtube.com/RalfGUM
Soundcloud: www.soundcloud.com/ralf-gum-gogo-music
wow thank you for this interview it was very informative :) more of us house need to learn a lot about genre :)
Mz. House Diva April 16, 2014 at 12:49 PM
The BPM Life Podcast 008 Culoe De Song
Chicago's Very Own/Glenn Underground
CVO GLENN UNDERGROUND
Glenn Underground comes from a family of musicians dating all the way back into the early 1970's, from his stepfather to his cousin, to his uncle's so his musical knowledge exceeds him. Since 1984 G.U. has been playing & supporting house music in Chicago & has been producing his own brand of House(& Dance music) since about 86-87 until now and so on. Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced some of the most well respected deep house music of the past five years. His releases for Cajual, Prescription Guidance and Peacefrog have set the standard for sophisticated dance music. He is one of the few DJ's who can walk the line between deep jazz house, disco influenced hous…
Mr. K 'Alexi Shelby aKa El Chocalata=Deepness KA 3
Mz. House Diva
Welcome to Lost in House Music, a unique blog here for you to explore. Lost in House Music has added such value to my life, and I love having the opportunity to share my passions and thoughts with my loyal readers. Read on, listen and enjoy.
Dj Kitty Amor/House Es Amor Vol. 5
Dj Philander/I just want you to dance
Julius The Mad Thinker/Welcome to our World | Seas...
Osunlade/Inspired Deepness
Dj Queen B/UNDERGROUND HEAT
TERRY HUNTER BANG SOUL SPIRITUAL
Titan Davis/01 GUILLOTINE vs BRUCE LEE (THE DRAGON...
I Love S.A. House Music: Session 2 Mixed by ViperI...
ANNOUCEMENT....
K'Alexi Shelby/K Klassik A Lil Harder Radio Show H...
Soulful House Session 1 mix by Davide Corrado (dj ...
Dj Sef/The Sef Sessions - Winter Select Pt.2
Dj Jen Blaze/Daydream
Hula's House Bangger Vol 3
Vic Lavender/Sophisticado Sessions # 10
Alan King (Chosen Few Dj)"Lounge 52" (May 2010)
Osunlade/Deep Soul
http://djcrookid.podomatic.com/entry/2012-12-03T03...
Sarena Tyler Presents Sunrise Beyond Reality 4
Dj Tiesto/Live at Electric Zoo New York City
Dj Mike Winston/The New New
Gary Cummings(Organik Soul)/Steppin Outside My Box...

redpajama_set_name: RedPajamaCommonCrawl


text:
ORPHAN DONOR: Solo Project Of Secret Cutter Drummer For March Release
THE DEVIL WEARS PRADA announces headlining tour
This summer THE DEVIL WEARS PRADA will play the biggest venues of their career, and probably the smallest. Twenty-five thousand screaming kids one night, then 250 hot and sweaty fans the next. A much-anticipated venture for a band that regularly plays to sold-out crowds of 1500-2500.
Voted 2009's Band of the Year by the readers of Alternative Press, The Devil Wears Prada - vocalist Mike Hranica, guitarist/vocalist Jeremy DePoyster, guitarist Chris Rubey, bassist Andy Trick, keyboardist James Baney, and drummer Daniel Williams - will tour relentlessly this summer, interspersing performances at ten major, outdoor festivals with multiple nights headlining small, intimate clubs.
The "Back to the Roots" club dates will kick off on Monday, June 28 with the first of two nights at The Basement in Columbus, OH, and play 40+ "roots" shows through to the end of August. Joining TDWP on all "Back to the Roots" dates will be Miss May I and Your Demise. Tickets go on sale Saturday, April 10 and can be purchased through The Devil Wears Prada's website or MySpace page.
"One of the primary elements of the 'Back to the Roots Tour'," Hranica added, "is playing a few Dear Love songs that we have not played in a long time, and probably will not play again or anytime soon. We have not built the precise set list yet, and I know it will not entirely be composed of older Dear Love songs, but there will definitely be more in there than what we usually do."
One highly-anticipated stop on TDWP's summer trek will be their career-first show in Tokyo on August 8. The band will be part of the lineup for 2010's Summer Sonic Tokyo Festival at Marine Stadium, playing in front of their biggest audience ever - 60,000 people. Most of the band's U.S. festival performances will be at Christian music festivals (all members of the band are Christians) and will include Ohio's Alive 10 Festival (23,000), Milwaukee's Summerfest (10,000), Cornerstone Farm in Georgia (15,000), and Minnesota's Sonshine Festival (20,000). The complete, combined itinerary is below.
The major summer festivals and "Back to the Roots" tour will come on the heels of the band's first-ever headline tour of South America in May, and will be in support of their latest album, With Roots Above and Branches Below. Released in May, 2009, the album debuted at #11 on the Billboard Top 200 Albums chart and set off a series of events that lead to a huge break-out year: slots on the Warped Tour Main Stage, the Taste of Chaos and Sounds of the Underground festivals, co-headlining the November/December, 27-date Napalm & Noise Tour, main support on the just-completed Killswitch Engage Tour, and cover features in Outburn, HM, AMP, Revolver and Alternative Press. Live, the six-piece The Devil Wears Prada presents a powerful intensity that many other bands never quite achieve, with savage riffs, sinewy guitar melodies, thunderous beats, manic synths and an assault of abrasive vocals.
With more dates to be announced, the itinerary for The Devil Wears Prada summer tour is as follows:
25 Alive Festival 2010 @ Atwood Lake Park, Mineral City, OH
26 Big Ticket Festival, Gaylord, MI
28 The Basement, Columbus, OH
30 Subterranean, Chicago, IL
1 Subterranean, Chicago, IL
2 Summerfest, Milwaukee, WI
3 Cornerstone Festival 2010, Marietta, IL
5 The Shelter, Detroit, MI
9 Valentine's, Albany, NY
10 Valentine's, Albany, NY
11 Xtreme Wheelz, Buffalo, NY
13 Vaudeville Mews, Des Moines, IA
15 Pop's, St. Louis, MO
16 Bottleneck, Lawrence, KS
17 Sonshine Festival @ Willmar Civic Center, Willmar, MN
19 Mesa Theatre, Grand Junction, CO
21 The Underground, Reno, NV
22 The Boardwalk, Sacramento, CA
25 Chain Reaction, Anaheim, CA
28 SOMA Sidestage, San Diego, CA
31 Heaven Fest, Union Reservoir, Brighton, CO
2 The Door, Dallas, TX
3 Emo's Alternative Lounge/Inside, Austin, TX
5 Rock The Desert Fest 2010, Midland, TX
8 Summer Sonic Festival, Marine Stadium, Tokyo, Japan
11 Orpheum, Tampa, FL
13 The Social, Orlando, FL
15 The 7 Venue, Atlanta, GA
17 The Brewery, Raleigh, NC
18 The Ottobar, Baltimore, MD
20 First Unitarian Church, Philadelphia, PA
25 Harpers Ferry, Boston, MA
27 Crocodile Rock, Allentown, PA
28 Grog Shop, Cleveland, OH
4 Revelation Generation @ Revelation Farms, Frenchtown, NJ
SOUTH AMERICAN HEADLINE TOUR:
8 John Bull Music Hall, Curitiba, Brazil
9 Carioca Club, Sao Paulo, Brazil
11 Super Rock, Buenos Aires, Argentina
13 Rock & Guitarras Club, Santiago, Chile
15 Teatro La Mama, Bogota, Colombia
16 Moulin Rouge, Caracas, Venezuela
Tags: The Devil Wears Prada, tour, Mike Hranica
jason fisher April 05, 2010
ATMF is proud to present NOVA's highly anticipated third album, Veniamo Dal Cielo
COMANDO PRAETORIO's long-awaited debut album, Ignee Sacertà Ctonie
Igorrr Premiere New Song & Music Video "Very Noise"
NIKKI SIXX REVEALS A CRUCIAL TRUTH ABOUT MÖTLEY CRÜE'S 2020 ERA
Hollywood Vampires, the - Who's Laughing Now
Rammstein - Deutschland
Nanowar Of Steel - Stormlord Of Power
Meshuggah - Born In Dissonance
Korn - Insane
Metallica - Hardwired
Opeth - Sorceress
Usurpress - Across The Dying Plains
Metallica - Metallica and Lady Gaga Grammys 2017
AC/DC - AC/DC Bassist Announces Retirement
Zakk Wylde - Sleeping Dogs
Lamb of God - Embers
Korn - Rotting In Vain
guns n roses - Steven Adler joins Guns N Roses 2016
Belphegor - 2016-08-13
Guns N' Roses - 2016-08-09
Stolen Babies - 2014-01-25
Stone Sour - 2014-01-31
Skeletonwitch - 2014-01-31
Enslaved - 2014-01-31
Amon Amarth - 2014-01-31
Iced Earth - 2014-01-31
A J S
B K T
C L U
D M V
E N W
G P Y
H Q Z
I R 1-9
The Black Dahlia Murder NA Tour
Suffocation, Exhumed, Decrepit Birth, Necrot, Wormwitch
Between the Buried and Me, Contortionist, Polyphia, Tooth Grinder
The North American Extinction Tour Part II: Inhuman beings
Cattle Decapitation, Revocation, Full of Hell, Artificial Brain
Dark Tranquility NA Tour
Dark Tranquility, Stryker, Warbringer
Summer Slaughter 2017
The Black Dahlia Murder, Dying Fetus, The Faceless, Oceano, Origin, Slaughter to Prevail, Rings of Saturn, Betraying the Martyrs, Lorna Shore
© TheGauntlet.com.


text:
// Stub webdriver to use with several test cases
/*jslint forin:true sub:true anon:true, sloppy:true, stupid:true nomen:true, node:true, continue:true*/

/*
 * Copyright (c) 2012, Yahoo! Inc. All rights reserved.
 * Copyrights licensed under the New BSD License.
 * See the accompanying LICENSE file for terms.
 */

var Application = function () {
    this.callbacks = {};
};
Application.getInstance = function () {
    return new Application();
};
Application.prototype.on = function (eventName, callback) {
    this.callbacks[eventName] = callback;
};
Application.prototype.notify = function (eventName, data) {
    if (this.callbacks[eventName]) {
        this.callbacks[eventName].call(this, data);
    }
};

var promise = {};
promise.controlFlow = function () {
    return new Application();
};

promise.createFlow = function (callback) {
    callback();
};

var By = {
    id: function (x) {
        return x;
    },
    name: function (x) {
        return x;
    },
    css: function (x) {
        return x;
    },
    xpath: function (x) {
        return x;
    }
};

var Builder = function () {
};

Builder.prototype.usingServer = function (url) {
    this.host = url;
    return this;
};
Builder.prototype.usingSession = function (id) {
    this.sessionId = id;
    return this;
};
Builder.prototype.withCapabilities = function (caps) {

    this.caps = caps;
    return this;
};
Builder.prototype.build = function () {
//    return this;
    return new WebDriver(this.sessionId, this.caps);
};

Builder.prototype.getServerUrl = function () {
    return this.host;
};

var WebDriver = function (sessionId, caps) {
    var self = this;
    this.By = By;
    this.Application = Application;

    if (sessionId) {
        self.sessionId = sessionId;
    } else {
        self.sessionId = 101;
    }

    if (caps) {
        self.caps = caps;
    } else {
        self.caps = {browserName: 'browser'};
    }

    this.session_ = {
        then: function (cb) {
            cb({id: self.sessionId, capabilities: self.caps});
        }
    };

    this.currentUrl = "about:blank";
    this.scriptResults = [];
    this._actions = [];
    this.error = error;

};

WebDriver.prototype.manage = function() {

    var mgr = function () {

    };

    mgr.prototype.timeouts = function () {
        var to = function () {

        }

        to.prototype.pageLoadTimeout = function (ms) {
            console.log("Page Load Timeout :" + ms);
        }

        to.prototype.setScriptTimeout = function (ms) {
            console.log("Script Timeout :" + ms);
        }

        to.prototype.implicitlyWait = function (ms) {
            console.log("implicitlyWait Timeout :" + ms);
        }
        return new to();
    }

    mgr.prototype.window = function(){
        var win = function(){

        };

        win.prototype.maximize = function(){
            console.log("Mocked window.maximize call");
        }
        return new win();
    }

    return new mgr();

}

WebDriver.prototype.findElement = function () {
    var self = this;
    return {
        clear: function () {
        },
        sendKeys: function (value) {
            self._actions.push({ "name": "sendKeys", "value": value });
            return {
                then: function (cb) {
                    cb();
                }
            };
        },
        click: function (value) {
            self._actions.push({ "name": "click" });
            return {
                then: function (cb) {
                    cb();
                }
            };
        }
    };
};

WebDriver.prototype.get = function (url) {
    this.currentUrl = url;
    this._actions.push({ "name": "get", "value": url });
    return {
        then: function (cb) {
            cb();
        }
    };
};

WebDriver.prototype.executeScript = function (script) {
    var self = this;
    this._actions.push({ "name": "script", "value": script });
    return {
        then: function (cb) {
            if (self.scriptResults.hasOwnProperty(script)) {
                cb(self.scriptResults[script]);
            } else {
                cb('');
            }
        }
    };
};

WebDriver.prototype.waitForNextPage = function () {
    return {
        then: function (cb) {
            cb();
        }
    };
};

WebDriver.prototype.waitForElementPresent = function () {
    return {
        then: function (cb) {
            cb();
        }
    };
};

WebDriver.prototype.getCurrentUrl = function () {
    var self = this, promise = {
        then: function (cb, err) {
            if (cb) {
                cb(self.currentUrl);
            } else if (err && self.error.message) {
                err(self.error.message);
            }
            return promise;
        }
    };
    return promise;
};

WebDriver.prototype.quit = function () {
    return {
        then: function (cb) {
            cb();
        }
    };
};

WebDriver.prototype.getCapabilities = function (cb) {

    var self = this;
    return {
        then: function (cb) {

            var Capabilities = function () {
            };

            Capabilities.prototype.set = function (caps) {
                self.caps = caps;
            };

            Capabilities.prototype.get = function (key) {
                var val;
                if (self.caps.hasOwnProperty(key)) {
                    val = self.caps[key];
                }
                return val;

            };

            self.capabilities = new Capabilities();
            self.capabilities.set(self.caps);

            cb(self.capabilities);

        }
    };
}

WebDriver.prototype.actions = function () {
    var self = this, promise = {
        then: function (cb, err) {
            if (cb) {
                cb(self.currentUrl);
            } else if (err && self.error.message) {
                err(self.error.message);
            }
            return promise;
        }
    };
    return {
        mouseMove: function (element) {
            return {
                perform: function () {
                    self._actions.push({ "name": "mouseMove.perform" });
                    return promise;
                }
            };
        }
    };
};

WebDriver.attachToSession = function () {
    return this;
};

WebDriver.createSession = function () {
    return this;
};

var error = { message: undefined };

function w(){

};

this.promise = promise;
this.By = By;
this.Builder = Builder;
this.WebDriver = WebDriver;
this.error = error;

redpajama_set_name: RedPajamaGithub


text:
General Electric CEO Larry Culp Pledges Debt Reduction, Eventual Dividend Boost
General Electric shares traded higher Wednesday after CEO Larry Culp told investors he was focused on reducing the conglomerate's debt load and boosting its dividend to a level "in line with our peers."
Martin Baccardax
Feb 27, 2019 9:53 AM EST
General Electric GE
General Electric (GE) - Get Report shares trade higher Wednesday after CEO Larry Culp told investors he was focused on reducing the conglomerate's debt load and boosting its dividend to a level "in line with our peers" after one of the worst years on record for the iconic industrial giant.
In a letter to shareholders published late Tuesday, Culp vowed that 2019 would be a "year of change" for the group, and pledged to focus on both developing GE's critical power business while reducing debt through asset sales and spin-offs. He also said the company's dividend, which was slashed to just one penny last year amid a series of profit warnings, asset write-downs and broader investor skepticism, allowed GE to retain around $4 billion in cash but would be returned to an industry-competitive level once the balance sheet was stabilized.
"Simply put, we have too much debt and we need to reduce it thoughtfully and soon," Culp said. "Once we put our balance sheet in a healthier place, we'll be in a better position to play offense across all our businesses."
Jim Cramer: Larry Culp's Shareholder Letter Is World's Away From the Old GE
"We intend to maintain a disciplined financial policy, targeting a sustainable credit rating in the single-A range," he added. "This starts with reducing leverage at both our industrial businesses and GE Capital, and we have taken important steps to get there."
GE shares were marked 1.22% higher Wednesday $10.79 each, a move that would take the stock some 62% higher from the decade-low $6.66 it hit on December 11.
TheStreet: How to Trade General Electric After $23.4 Billion Asset Sale
Real Money: Larry Culp Showed Up at the Right Time for General Electric
Real Money: General Electric Is Coming Back From the Walking Dead - For Now: Charts with Kamich
Culp, in only a few months at helm of the struggling group, has raised more than $21 billion through the sale of GE's biopharma unit to his former company, Danaher Corp. (DHR) - Get Report , pledged to shed the group's healthcare division and reduced its stake in Houston-based oil services group Baker Hughes (BHGE) - Get Report .
"Under Culp, GE has been accelerating its strategy to strengthen and deleverage the balance sheet," said Credit Suisse analyst John Walsh. "On Q4, GE highlighted $30 billion of expected cash proceeds from Healthcare, (Baker Hughes), and Wabtec, and (the biopharma sale) is a significant down payment."
"It is unclear if this will trigger upwards revisions from a credit perspective, as it was part of the announced strategy, but faster influx of cash proceeds is a positive," he added.
GE is currently rated BBB+ by Standard & Poor's, three notches above junk status, but it unlikely to be lifted into the single-A range thanks in part to its struggling power business.
General Electric said adjusted non-GAAP earnings for the three months ended in December, its fiscal fourth quarter, came in at 17 cents per share, down around 36% from the same period last year and well shy of the 22 cent Wall Street forecast. Group revenues, GE said, rose 5% to $33.28 billion, firmly ahead of the consensus forecast of $32.6 billion.
GE also said it was able to retain or generate around $10 billion in cash over the quarter thanks to its dividend cut and the sale of parts of its stake Baker Hughes. Cash flow from operations, however, slowed 8.6% from last year to around $6.4 billion.
Watch TheStreet's Behind the Label video series | More videos on our Youtube Channel
StocksInvesting


A day of stimulating activities for those experiencing memory loss & five hours of respite for their caregivers.
The Gathering provides a day of stimulating activities for those experiencing early- to mid-stage memory loss, and gives five hours of respite to caregivers who desire a break.
The program is offered through Lyngblomsten Community Services, and in collaborative partnership with more than 20 churches across the Twin Cities, seven of which provide the facilities and host The Gathering.
Each program site meets 2-4 times per month and accommodates a group of 8-10 participants (person experiencing memory loss). There is one volunteer for every participant.
The caregiver and the person they care for will meet a Gathering staff professional for an assessment prior to enrollment.
The Gathering is staffed by dedicated volunteers specially trained to understand the distinctive needs of people experiencing memory loss.
Volunteers greet participants upon arrival at 10 AM and together enjoy interesting activities and socializing until 3 PM.
Following a nutritious lunch, participants are involved in an afternoon of activities which helps them remain active and engaged.
Typical activities include: music, games, light exercise, simple woodworking, painting, polymer clay projects, as well as discussion groups (reminiscing, sports, history, etc.), special guest speakers and more.
This video was shown at the 2016 Lyngblomsten Charity Golf Classic fundraiser in August that raised funds to support caregivers and The Gathering.
Funding for The Gathering is provided through grants, by the generosity of individuals who make financial gifts to the Lyngblomsten Foundation, and by the Older Americans Act Title III-E National Family Caregiver Support Program in partnership with the Metropolitan Area Agency on Aging.


text:
Concept Vague, by Night Lovell
Suggested by Krystian Musztafa
After two-hundred-and-twenty-five album reviews in the space of almost three months, it was time for a break.
"Nice," I thought. "A full eight days to recharge and recoup, with no deadlines looming large. And best of all, no bloody rap albums!"
I began the journey with an open mind, and a history of enjoying rap music, to a certain degree. The fickle fates decided early on to test my rap resolve, employing the Randomiser to throw album after album straight into my rapidly rebelling ears. It came thick and fast, at odds with its weighted ratio on the Masterlist.
My break was multi-purposed. I hoped that, with eight rap-free days, I'd come back with a heightened level of tolerance. And who knows? Maybe the Randomiser would be kind, give me a few more days free of shouty sweary boasty pervy criminals.
Album One? Rap.
Album Three? More Rap.
I can't escape from hip hop hell.
Night Lovell is a Canadian rapper in the modern style. I'd be remiss not to poke fun of this, so let's try some Canadian Rapping.
I'm Night, Canadian born and bred,
With my maple leaf and my flip-top head.
A ladies man, there ain't no smoother,
From Banff to Calgary to Vancouver.
Making mad money, got bills to spare,
Never going broke with my free health care.
Step to me, punk, I'll point and shoot,
Because icing fools is what I'm aboot.
Concept Vague is Night Lovell's 2014 debut, and on the face of it there's a lot to enjoy. Musically, it's sparse and ominous, with a throbbing bassline overplayed by a variety of delicate instrumental melodies that conjure up the main refrains of The Omen or The Exorcist. The effect is unsettling, setting the listener on edge, waiting for a jump scare that's always around the corner.
The feeling of dread is damn cool, a welcome departure from similar acts. Night's vocal is a droning buzz that oozes menace, seemingly devoid of emotion, delivered by a dead-eyed psychopath that you actually believe would kill you for a cigarette. It's disquieting; you listen into the vitriol with one eye cast over your shoulder to avoid being shot in the back.
Sadly, there's a sticking point for me: Night's vocabulary. In a word? There's not many words.
His rapping technique is fine, but there's a limited verbal palette from which to paint.
Night concentrates on four words. The first begins with C (Cash). Of the four words, it's the one he uses the least. The next word up begins with F. He uses that a lot. The two remaining words, which begin with B and N respectively. For usage, B just edges out N, and likely takes up a full fifth of all the words on the album. Sure, all rappers use all four of these words prolifically, but Night loves these words above all others, as if he's hoping to break world records for their use, or as if he's being paid a pound each time one is uttered.
I give Concept Vague a passable 5/10. I did quite like the ominous musicality, and there are songs to enjoy (my standout The Renegade Never Dies, or Light from the Car, or the finale Dark Light). And, overall, I didn't hate hearing the standard hip hop tropes again, so things do bode well for the genre down the line.
5 Hip Hop Krystian Musztafa Night Lovell Rap


Poor old Malaysia Airlines. The brand at the front of two of the worst air disasters in recent years. They have bravely stuck with their name and are soldiering on. When the travel agent said they had the best deal business class to get to Thailand I thought gosh what are the odds of there being a third disaster – and let's help a poor struggling brand get back up and going! So off I headed – and here is my Malaysia Airlines Business Class Review 2017.
I was on Malaysia Airlines A380 business class london to Kuala Lumpur on both legs of the journey. For the A380 it already feels a little bit tired. The seats are next to each other – you don't have the privacy of the "pods" that many other airlines now have in business. The seats extend to a full bed and of course, once you are lying down you can't see the person next to you. It is a little more awkward when you are the window and need to step over to go to the bathroom but there you go. You are supplied with a sort of base sheet as well as a duvet and pillow.
Got a stop over in Kuala Lumpur? Click here to read my guide to a quick Kuala Lumpur stop over.
I did have the experience of visiting the largest loo I have ever seen on a plane! It was twice the size of the standard loo! It felt quite decadent!
The in-flight toiletries weren't great – Porsche design? Acca Kappa body lotion and lip balm – never heard of them?
The entertainment system is decent. The selection of films was quite extensive as were the tv options. They are more extensive than say Etihad but less extensive than Singapore, Qantas, BA etc. But enough of a choice to keep you going. I was surprised that the entertainment options were the same on my return flight in January as they were heading out in December.
I also flew from Kuala Lumpur to Bangkok business with Malaysia airlines. This was a more old-fashioned business set up with wide reclining seats but no beds – not that this was needed. It was a decent enough business class for a 2-hour journey.
The food was a highlight for me – although I highly recommend you go with the local cuisine options as they were by far the tastiest. The best thing was the satays provided not long after take off! A man with a trolley piled high with chicken and beef satays comes around. The satay sauce is excellent! This is almost a giant amuse bouche before you head into the starter, main and dessert.
I had the chicken rendang and the ayam masak merah in and out – both of which were very good. The egg noodles dine anytime option wasn't as tasty – a bit more pot noodle plus. The Asian beef was a better option on return.
The beverage selection was good. Proper French champagne. They had a nice Wairau River sav blanc as well.
The service was good but not outstanding. It was a bit of a mix on the timeliness front – I waited a good 20 minutes for a drink once or twice but then everything else was very quick and efficient.
The Malaysia Airlines business class lounge Heathrow Terminal 4 was ok but nothing great. It is located near Gate 6 and is shared with Gulf Air. There is proper champagne which is very good. However, I arrived at 8 pm for a 930pm flight and the food options were very limited and not particularly appealing. It is quite a small space and there were minimal snacks on offer. But the wifi was good.
Arriving in KL Malaysia Airlines has 3 lounges. Kuala Lumpur is not exactly Changi – it is a dated airport. I used the lounge at H gate. The entry was impressive but it wasn't as impressive inside. However, it did have a curry laksa bar which I tried and it was excellent!
Heading out of KL I went to the lounge at the C gates which was much better. It is just above the trains that transport you across the terminals. It was a lot bigger and newer. However, like the rest of Malaysia airlines, it did feel a bit old and tired.
How Good is Malaysia Airlines?
Overall I would give the experience of flying business with Malaysia an average. I certainly think that Singapore, BA, Etihad and Qantas all offer a more modern and better business class experience. However, obviously, I flew with Malaysia Airlines because of the price. Most importantly you can get a decent sleep on the plane and there are good food and wine options. Perhaps if they modernized the lounges they would get me back again!
KL Journal Hotel is located in the Bukit Bintang entertainment industry. It is a very tech friendly and hip hotel with free wifi, a communal work area, specialty coffee concept and even better a rooftop bar! Prices start from £65 Click here for the best deals and availability.
If you are looking to stay near KL international airport check out my review of the fantastic Sama Sama Hotel which is literally at the airport. The transport links are fantastic and this is a great easy to stay in super convenient hotel. Prices start from £88 Click here for availability and best prices.
Don't forget to get Travel Insurance.
You know, business class travel just has to be decent for it to be worthwhile, in my view. Crowded economy seats and indifferent fodder make travel a test of endurance, but business class just has to overcome those limitations. I don't need to travel in luxury – that's first class territory – just comfort and a chance to sleep on longhaul.
I see business class as being the standard of air travel. It's the way flying should be. Indeed, the way it was in the old days, when even economy passengers had a decent seat pitch and width. Nowadays, it can be an exercise in Tetris to fit everything in to the mean little space they give one.
If airlines compete for business class luxury, with the suites and the freebies, then it has two effects. It invariably adds more space, which tends to be squeezed out of the economy cabin, and it widens the gap between premium and the rest.
Most people I know fly a mix of economy and business. Why shouldn't business class be just a better seat and more room? The same people use both products; they don't suddenly become the great unwashed or the filthy rich depending on whether they turn left or right.
I guess that's modern travel marketing at work; getting bums on seats.
Is there WiFi in business class on he A380 LHR-KUL?
Gosh Beth I don't quite remember which makes me think there wasn't. Sorry not be more helpful! Have been on quite a few planes since – I will make a note to note this going forward.


text:
U. R. Ananthamurthy (Udupi Rajagopalacharya Ananthamurthy; Kannada: ಯು.ಆರ್.ಅನಂತಮೂರ್ತಿ; * 21. Dezember 1932 im Dorf Melige, Karnataka; † 22. August 2014 in Bangalore) war ein indischer Schriftsteller.

Leben und Werk

U. R. Ananthamurthy wurde in Indien bekannt für sein gesellschaftliches Engagement und als wichtiger Repräsentant der Navya-Bewegung (Die neue Bewegung) in der Literatur der Sprache Kannada. Als Schriftsteller kennt man ihn weit über diese Sprachgrenzen hinaus; er galt als einer der wichtigsten Autoren Indiens. Zu den zentralen Themen Ananthamurthys gehörten die Auseinandersetzung mit dem Kastensystem, mit religiösen Vorschriften und Traditionen sowie das ambivalente Verhältnis zwischen dem überlieferten kulturellen Wertesystem und den neuen Werten einer sich verändernden Welt.

Ananthamurthy ging in eine traditionelle Sanskrit-Schule, wuchs, wie er selbst sagt, als "Ghandian Socialist" auf und studierte später Anglistik und vergleichende Literaturwissenschaft in Mysore und Birmingham, wo er 1966 promovierte. Er war einige Jahre Professor für englische Literatur an der University of Mysore, später Vizekanzler der Mahatma Gandhi University in Kottayam, Vorsitzender des National Book Trust und Präsident der Sahitya Akademi, der indischen Literaturakademie in Delhi. Zahlreiche Gastprofessuren führten ihn nach Europa und in die USA.

Seine literarische Karriere begann Ananthamurthy 1955 mit dem Erzählband Endendhigu Mugiyada Kathe (dt. Eine nie endende Geschichte). Danach hat er vier Romane, ein Drama, sechs Bände mit Kurzgeschichten, drei Lyrikbände und sechs Essaybände in Kannada und mehrere Aufsätze über Literatur in Englisch veröffentlicht. Seine Werke wurden in mehrere indische und europäische Sprachen übersetzt und mit bedeutenden Literaturpreisen ausgezeichnet, so auch mit dem Jnanpith Award (1994), dem renommiertesten indischen Literaturpreis. Als sein bedeutendster Roman gilt Samskara oder Was tun mit der Leiche des Ketzers, die uns im Weg liegt und das Leben blockiert (1966, deutsch 1994). "Samskara" bedeutet sowohl Kultur als auch Ritual, aber auch Todesritus.

Erzählt wird die Geschichte eines Dorfpriesters, der sich mit den sozialen und religiösen Tabus seiner Umwelt auseinandersetzt und eine Antwort sucht auf die Frage: Was ist eigentlich "Samskara"? Wird Kultur nur dann aufrechterhalten, wenn man der Tradition mit blindem Eifer folgt? Ananthamurthy problematisiert die Diskriminierung durch das Kastenwesen, die repressive Glaubenspraxis der Brahmanen. Die Verfilmung des Romans durch Pattabhi Rama Reddy im Jahre 1970 löste eine neue Welle von Autorenfilmen im Kannada-Film aus. In dem Roman Bharatipura (1973) kehrt der Brahmane und Grundbesitzer Jagannatha nach seinem Studium in England in seine sehr traditionsgebundene Heimatstadt zurück und versucht, die dortigen Gesellschaftsstrukturen zu verändern. Er will den Unberührbaren den Eintritt in den Tempel ermöglichen und stößt dabei auf den Widerstand der höheren Kasten. Sein Versuch, um sich herum ein gerechtes System zu schaffen und damit auch zu innerer Freiheit zu gelangen, scheitert. Bewusst schrieb Ananthamurthy primär nicht auf Englisch, sondern in Kannada. Sein letzter Roman Divya (Glanz/Feuerprobe) erschien 2001.

Sonstiges
U. R. Ananthamurthy war Teilnehmer beim internationalen literaturfestival Berlin 2002 und Mitglied der Delegation indischer Schriftsteller bei der Frankfurter Buchmesse 2006, bei der Indien Partnerland der Buchmesse war.

Werke (Auswahl)
 Sonnenpferdchen. Erzählungen, Lotos Werkstatt, Berlin, 2017
 Das verborgene Feuer, Mangalam, Urach, 1986
 Yatra, Indus, New Delhi, 1993
 Samskara oder Was tun mit der Leiche des Ketzers, die uns im Weg liegt und das Leben blockiert, deutsch von Gernot Schneider, Waldgut Verlag, Frauenfeld, 1994 und Lotos Werkstatt, Berlin 2013
 Avastai, Aam, Civacacai, 1996
 Bharathipura, Macmillan India, Madras, 1996
 Bhava, Penguin, Neu-Delhi, New York, 1998
 Stallion of the Sun and Other Stories, Penguin, Neu-Delhi, 1999
 Divya, 2001
 Literature and Culture, Papyrus, Calcutta, 2002

Weblinks

  Autorenporträt zu U.R. Ananthamurthy von seiner Übersetzerin Katrin Binder

Einzelnachweise

Literaturwissenschaftler
Hochschullehrer (Indien)
Autor
Literatur (20. Jahrhundert)
Literatur (Kannada)
Literatur (Englisch)
Indische Literatur
Roman, Epik
Erzählung
Kurzgeschichte
Lyrik
Essay
Drama
Literaturkritiker
Träger des Padma Bhushan
Inder
Geboren 1932
Gestorben 2014
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Fitzcarraldo — второй студийный альбом группы The Frames, выпущенный под псевдонимом The Frames DC, чтобы избежать путаницы с американской группой с одноименным названием. Диск был выпущен на ZTT Records лейбле в ноябре 1995 года.

Список композиций
 Revelate (4:02)
 Angel At My Table (3:54)
 Monument (3:33)
 In This Boat Together (4:20)
 Giving It All Away (4:10)
 Say It To Me Now (5:34)
 Denounced (4:13)
 Red Chord (4:27)
 Roger (3:23)
 Fitzcarraldo (11:35)
 Your Face (Hidden track)

Ссылки
 Fitzcarraldo на discogs.com

Альбомы The Frames
Альбомы 1995 года


text:
"Is the Pandemic Over and a V-Shaped Recovery Baked In?"
"Is the pandemic over in China, Europe, Japan and the U.S./Canada? Is the much-anticipated V-Shaped economic recovery already baked in, i.e. already gathering momentum? The consensus, as reflected by the stock market (soaring), the corporate media and governmental easings of restrictions seems to be "yes" to both questions. Science is not a consensus-based activity, and so skeptics of consensus are looking to the sciences of epidemiology, virology, etc., and economics for evidence-based answers.
But as scientist and author Michael Crichton explains in this seminal paper he gave at Caltech in 2003, much of what is presented ("sold") as "hard science" is nothing but guesswork / conjecture and consensus, i.e. reaching a politically appealing conclusion and then conjuring up some junk science to support the conclusion. "Aliens Cause Global Warming" (by Michael Crichton) (via Michael M.)
The scientific method is pretty straightforward: propose a testable hypothesis and then design an experiment that acts on only one variable: one group in which no action is taken and another in which one action is taken. If the action taken has a recordable effect, then that data must be replicated by other labs performing the same experiment to confirm that there weren't errors in the protocol, equipment or data collection. A variation of this protocol is a double-blind study, so-called double blind because neither the subjects/volunteers nor the researchers administering the experiment know which subjects received the active compound and which received a placebo.
In the case of natural systems such as the movements of planets, the method is to propose a model of Nature that can be reduced to mathematical predictions that can be confirmed by observations. Unfortunately, it's virtually impossible to run these sorts of experiments on a pandemic or economy. It would be unethical to let the virus run rampant in one city and then control the pandemic with lockdowns in another, or treat one group of patients with a worthless placebo while giving others a potentially life-saving treatment.
Even if such an experiment of two cities could be run, the great number of variables would reduce the certainty of any conclusions. For example, the exact same variation of the virus would have to be unleashed in both cities, both cities would have to have very similar weather, air quality, ethnic groups, demographic profiles and so on. If any of these weren't controlled, then they could skew the results, meaning any conclusion based on a single variable could be completely erroneous.
The same can be said of economics, which strictly speaking doesn't qualify as science because despite its heavy use of arcane equations, it is essentially impossible to reduce an economic setting down to only one variable and then stage a controlled double-blind study.
Much of the "science" being presented about the Covid-19 pandemic and the economy are models, and Crichton subjects the claims and protocols of models to a scathing analysis. It turns out that measuring or even estimating the variables in complex models is impossible, meaning the models are nothing more than guesswork, which is highly susceptible to biases such as confirmation bias: this are the results we want, and by golly, these "estimates" yield the results we wanted.
We've already seen models rejected as hopelessly defective, studies of treatments (pro and con) hopelessly compromised, and in multiple ways: sloppy math, sloppy data collection, data that can't be confirmed, and on and on.
As longtime readers will recall, I began covering the pandemic on January 24, 2020, the day after the Chinese government and WHO confirmed the Wuhan outbreak. I concluded the pandemic was consequential (based on the large-scale Chinese response and satellite imagery suggesting the number of deaths was an order of magnitude higher than what the Chinese officials claimed) and that it had already spread globally due to unrestricted air travel in and out of Wuhan and other cities in China.
I also concluded that the pandemic would have significant impacts on stock markets and economies globally. (Here is my list of pandemic-related posts.)
If we step back and review the data pertaining to the question, 'Is the pandemic over in the developed-world nations?', we find a mass of data of questionable value, for the basic reason that there are too many uncontrolled variables in every data set, too much guesswork in the models, and essentially zero experiments controlled for the number of variables and bias that meet rigorous standards for protocols and data collection.
Another Achilles Heel of the pandemic data is the small sample size of many of the studies. Since everyone is in a rush to reach actionable conclusions, many groups are working with small sample sizes - often just a few dozen people. Careful observations of small sample sizes - for example, the study I posted on the occupants of a single bus in China carrying one asymptomatic passenger, and carefully identifying who else on the bus caught the virus - can be useful, because the bus was in effect a controlled experiment with relatively few variables.
But as those of you who study Phase I and Phase II drug trial data know, small sample sizes, even in double-blind studies, are notoriously unreliable. A new drug may seem to have a measurable effect on a significant percentage of a control group of 35 subjects, but subsequent larger trials reveal that the effect was actually statistical noise.
So what do we know with any sort of certainty about the claim that "the pandemic is over"? Very little. And there are still important open questions about the effects of the Covid-19 virus on younger, healthy people: though the virus kills relatively few people under the age of 50, some significant percentage of younger, healthy people suffer long-term organ damage, possibly as a result of the blood clotting the virus appears to trigger in roughly 3% of younger, healthy people who come down with severe cases. These people didn't die, and so they drop off the statistical count everyone is following as the key statistic. But the after-effects of the disease are long-term and serious, and deserve careful study.
Let's say the death rate is 0.25%, but the number of cases that lead to long-term organ damage and disability is 2.5% - ten times higher than the death rate. Are we focusing on the wrong data set? Do we know why the virus affects some younger, healthy people and not others? Are there treatments that minimize or reverse organ damage? These are still questions without science-based answers.
As for the study of economics and the V-shaped recovery: the Employment Report that triggered a 1,000 point rally in the Dow Jones Industrial Average is notoriously inaccurate, as it has all the core flaws described above:
1. An imprecise sample size.
2. A defective model (the birth-death model of business formation).
3. No control for variables.
4. Extreme vulnerability to bias: these reports often trumpet huge job increases which are subsequently "revised away" months later, completely ignored by the very stock markets that skyrocketed on the bogus headline number.
Do we have any real data on how much money at-risk groups (people over 60) will spend compared to their pre-pandemic consumption? No. Do we have any reliable data that can be confirmed by independent researchers on the number of small businesses that are only opening to liquidate inventory before they close for good? No.
Every consequential question we have about the economy after restrictions ease cannot be answered with even the barest shred of scientifically reliable data. Everything the consensus and economists are claiming or projecting is nothing but guesswork.
In summary, we know very little about the pandemic's future course or the economic consequences. If our leadership and media were actually concerned with scientific accuracy, the paucity of confirmed science would be the first fact everyone stipulated. Instead, we're inundated with guesswork gussied up to mask the preferred narratives and biases of self-interested parties.
The cautious approach would be to maintain a skeptical circumspection about models, projections, conclusions, studies and narratives being promoted/"sold." We can start a skeptical inquiry by asking: cui bono, to whose benefit?
Second, we can study the two key variables identified by Nassim Taleb: mobility and the interconnections of networks. The greater the mobility of the human populace and the greater the number of connections between groups, the greater the number of pathways for the virus to spread. "Herd immunity" is being presented as the solution, but do we know with any certainty that the presence of antibodies confers strong immunity for years to all variations of Covid-19? It seems way too early to claim immunity is certain and long-lasting. Once the general public understands there are still significant uncertainties, the lack of certainty may have economic consequences that will be difficult to measure or predict.
The other point is that now that the time for authoritarian lockdowns has passed, everyone needs reliable information to make their own assessment of risk as part of deciding what activities they will do or not do to further their own interests.
Here is my global projection from February 2, 10 days after the WHO officially confirmed the Wuhan outbreak. Four-and-a-half-months later, this projection is still playing out."
- https://www.oftwominds.com/
Helping Your Toddler Excel
10 Charlotte Mason Homeschooling Curriculum Packages
Sharing my Lesson Plan Book
How to Accelerate the Electrification of Buildings in the Midwest
Printable Creepy Crawly Words & Letters
BVSD teachers create video library to prepare for remote learning


»The biggest thing what happend to me was, that my family planned to built a house in downtown Reykjavík. Initially the building cost was 30 million króna which went up to 100 million króna during the crisis and so we couldn't do anything and had to give up this idea.
Now we basically have to fight to keep our house from the bank. And my brother had a clothing store and he had to go bankrupt and moved to France, so I haven't seen him much since then.
I would like to say, that here is change in mentality among Icelanders, but sadly it didn't seem to last for very long. As soon as people are promised that their debts would be written off, they immediately vote for the people who caused the crisis in the first place. So I think everyone is just looking out for themselves and no one is really trying to make a change for the future.
I hope that my generation has some influence, when it comes to power. There are a lot of intelligent poeple in politics, who try to change things. However the thing which is always so frustrating for me is this sort of tribal mentality, which means that you support the same party as your parents and that young people don't think a lot for themselves.


Today, the American Society of Anesthesiologists (ASA) expressed its grave disappointment with the election-year decision of Colorado Governor Bill Ritter to exempt his state from Medicare's longstanding patient safety standard providing for physician oversight of anesthesia services. This decision replaces physicians with nurses. In taking this action, the Governor ignored scientific evidence regarding patient safety and Colorado citizens' overwhelming preference for physician involvement in the delivery of anesthesia to needlessly put Colorado patients at risk. The Governor's decision comes despite tremendous opposition from Colorado and national physician and patient organizations including the ASA, its State Component Colorado Society of Anesthesiologists (CSA) , the Colorado Chapter of the American College of Surgeons, and the Scope of Practice Partnership which includes the ASA and other national medical groups such as the American Medical Association, American Osteopathic Association, American College of Surgeons, among many other state medical societies and medical specialties. These organizations rallied together to oppose the governor's short-sighted decision.
Reflecting its longstanding commitment to anesthesia patient safety, ASA partnered with the CSA to organize an aggressive grassroots campaign in Colorado to oppose Governor Ritter's effort to weaken the state's patient safety standards. The ASA and CSA worked closely with the other organizations to explain to the Governor the level of patient safety risk assumed in an opt-out state. An important component of ASA's outreach included a well-received patient-centered radio and print ad campaign that encouraged concerned patients to speak out. The campaign garnered the attention of a number of media outlets across the state of Colorado.
Governor Ritter, a "lame duck" governor, issued a letter last month to the medical and nursing communities stating that he was "of the opinion that opting- out of the federal supervision rules for anesthesia services in rural areas could help ensure their affordability and accessibility, without sacrificing the quality of care patients receive." Despite compelling evidence to the contrary as well as strong patient opposition, the Governor still acted to eliminate the over 40 year old Medicare patient safety standard needlessly putting thousands of Coloradans at risk.
The ASA and CSA remain strongly committed to ensuring patient access to safe physician-led anesthesia and they are currently considering other alternatives to reverse the governor's ill-advised decision. ASA will keep members apprised of future developments in this issue.


text:
Berlin Film Festival 2012
Edinburgh International Film Festival 2017
Loco London Comedy Film Festival
London Film Festival 2010
London Gay & Lesbian Film Festival 2010
Sundance London 2016
sodomfilm.com
★★★★, Africa, biopic, London Film Festival 2016, romance, UK November 25, 2016
A United Kingdom (2016)
By Alexa Dalby
Director Amma Asante evokes a powerful interracial love story that threatened the British Empire.
★★★★, biopic, festivals, London Film Festival 2016, Reviews, USA October 21, 2016
BFI LFF 2016: QUEEN OF KATWE (2016)
Queen of Katwe is a joyous true story of triumph against the odds told by Mira Nair, starring Madina Nalwanga, Lupita Nyong'o and David…
festivals, London Film Festival 2016, Reviews October 18, 2016
BFI LFF 2016: Some of the Best of the Rest
The 60th BFI London Film Festival in October 2016 screened around 250 features from 74 countries over 12 days at 15 venues all over…
★★★★, Africa, biopic, features, festivals, London Film Festival 2016, Reviews, UK October 5, 2016
BFI LFF 2016 OPENING GALA: A UNITED KINGDOM (2016)
The first film by a black woman director to screen as the Opening Gala of the BFI London Film Festival, Amma Asante's A United Kingdom evokes a powerful interracial love story that threatened the British Empire.
★★★, USA February 6, 2015
By Mark Wilshin
A powerful dramatisation of Martin Luther King's final battle, Ava DuVernay's Selma is a moving account of the march on racism and the man behind the movement.
★★★★, thriller, USA March 15, 2013
Exposing Sixties race relations in the sultry heat of a Florida summer, Lee Daniels' The Paperboy is a hothouse of lust and violence.
The Dead Don't Die (2019)
Vita and Virginia (2018)
★★★★, documentary, out now, Reviews, Sundance London 2019, USA	The Brink (2019)
★★★, Cannes Film Festival 2019, comedy, horror, out now, USA	The Dead Don't Die (2019)
★★, biopic, Ireland, out now, UK	Vita and Virginia (2018)
Mark Wilshin
Alexa Dalby
Gus Edgar
Chris Drew
About Dog And Wolf
Dog And Wolf is an independent, online film review magazine bringing you the latest in world cinema and the best of the film festival.
Want to write for Dog And Wolf? We're always looking for writers from all over the world. Just get in contact.
Still in cinemas
our top films
Rolling Thunder Revue (2019)
Cannes Film Festival 2019: Day 4
Sorry We Missed You (2019)
Amazing Grace (2018)
Stanley Kubrick: The Exhibition
Dr Strangelove (1964)
Powered by film love. All rights reserved.


text:
Diablo III: Ultimate Evil Edition
Blizzard | August 19, 2014
Developer: Blizzard
Genre: Action/RPG
x UtiLiZatoR
zecareca
Black HellShark
oxSick360xo
cjmack2008
Browse All "Diablo III: Ultimate Evil Edition" Leaderboards
Other games developed by Blizzard (2)
Diablo III is the third installment of the popular series in which players will return to Sanctuary to confront evil in its many forms once again...
DJ Hero
Activision Publishing, Inc. (Nasdaq: ATVI) is set to once again revolutionise how consumers interact with music by releasing three new titles this fall � DJ Hero�, Guitar Hero� 5 and Band Hero� � that will redefine the company�s popular music gaming platform. The slate will transform the way consumers enjoy and engage with music by offering the lar..
View All Games Developed by Blizzard (3)
Other games published by Activision (172)
Call of Duty: Black Ops takes you deep behind enemy lines into the world of deniable operations as a member of an elite special forces unit engaging in covert warfare, classified operations, and explosive conflicts across the globe. With access to a variety of exclusive weaponry and equipment, your actions will tip the balance..
On Nov. 10, 2009, Infinity Ward made its return with the release of �Modern Warfare 2� on Xbox 360, the most-anticipated game of the year and the sequel to the best-selling first-person action game of all time, �Call of Duty� 4: Modern Warfare�.� �Modern Warfare 2� continues the gripping and heart-racing saga with an unprecedented level of action a..
Call of Duty: Modern Warfare 3 is the 2011 release in the best-selling Call of Duty First-Person Shooter action series. The game is a direct sequel to the previous game in the series, Call of Duty: Modern Warfare 2, with a campaign storyline continuing the struggle of U.S. forces against an invasion by the Russian Federation following the framing o..
Call of Duty: World at War throws out the rulebook of war to transform WWII combat through a new enemy, new tactics and an uncensored experience of the climatic battles that gripped a generation. As U.S. Marines and Russian soldiers, players will employ new features like cooperative gameplay, and weapons such as the flamethrower in the most chaotic..
Breaking away from the WWII, the Call of Duty franchise has a new theme and a new story for next-gen consoles...
View All Games Published by Activision (173)
Action/RPG
8.7 Overall Rank: 2778 of 2964
Which game were you most excited for in 2011?
Marvel vs Capcom 3


One of our long-time clients in Greater Phoenix had a manufacturing facility that lacked proper efficiency. They were scrapping a lot of material and it was hurting profits. This particular facility should have been their most profitable division. So what was going on? It turned out that the General Manager was not equipped with Lean Manufacturing or 5S principles experience. Two key means of operating a clean and efficient warehouse floor.
Our client called TruPath to help replace their current GM with someone who could revamp the current process. We looked for individuals specifically with strong experience implementing lean manufacturing and 5S, and were able to identify a couple of highly qualified candidates.
The client moved forward with a candidate they felt could best turn the situation around. Within a month after being hired, the new General Manager had identified the main cause of scrap and changed several internal processes. He has completely revived the plant and profitability is now at an all-time high.


Developed by Super Bolla, River Do Piauí Away 2017 Jersey brings the number 10 printed on the back and can be customized with name using the team's font. The mantle is made of lightweight and breathable polyester with Dry Ice technology. More info.
Developed by Super Bolla, River Do Piauí Away 2017 Jersey brings the number 10 printed on the back and can be customized with name using the team's font. The mantle is made of lightweight and breathable polyester with Dry Ice technology, which provides a lightweight, comfortable fabric and provides high sweat absorption from the fan body, keeping it dry and at a stable temperature. The design is predominantly white and comes with diagonal stripes in black and red, which highlight the team's badge, seen embroidered on the left side of the chest. There are even small gray stripes all over the frontal region. In addition, near the nape of the neck, the state flag is present. Finally, its collar is polo with special cut and complementing the details, so sponsors are seen throughout uniform.


text:
Rethinking Diet – When Will Journalists Catch Up
50-yard sprint
34 deadlifts, 135 lb.
34 clean and jerks, 95 lb.
34 wall-ball shots, 20-lb. ball
Josh getting after a heavy power clean in 15.4.
If you're like many of your peers at the gym, your understanding of what constitutes a healthy diet may have changed in the last decade or two. We in the CrossFit community, aided by results based methods and the basic understanding that observational studies do not show causation, came to realize that the government recommendations for a healthy diet were wrongheaded. Those recommendations serve various lobbies well, but they don't serve our health.
Other parts of society are catching on – check out this short write-up in The Week – Rethinking Fat and Cholesterol.
Lingering in the transition from the government's archaic, scientifically unfounded recommendations to any realistic, real food diet are the connotations of words like salt, fat, saturated fat, and cholesterol. For decades, those words were one and the same with unhealthy, fattening, and heart attack causing. But since it's now easily attainable knowledge that science does not support causation of heart disease or obesity with salt, saturated fat, or cholesterol, when will journalists catch up? Reporters regularly still claim this causal relationship without citing any evidence, but they should know better. How long will people have to read or watch the news and edit a reporter's claims about food as the story is relayed? I had to do it just last week when The New York Times wrote in its Chipotle study write-up:
"The distributions of two other metrics of a meal's health — salt and saturated fat, shown in the charts below — are just as revealing. Most orders at Chipotle give you close to a full day's worth of salt (2,400 milligrams) and 75 percent of a full day's worth of saturated fat." entire article here: "At Chipotle, How Many Calories Do People Really Eat?"
The New York Times authors, Kevin Quealy, Amanda Cox, and Josh Katz, are so convinced salt and saturated fat are bad and the government guidelines good that they do not even explain why they are reporting those numbers. But at this point a person has to be blind to all sources of media or stuck in a "fat fear mindset" to think there is nothing wrong with the government's diet recommendations.
Journalists may not be what they once were, but reporting causal relationships between diet and health that are not supported by science goes against their ethical code of truthfulness, accuracy, and public accountability. We can't count on the government for scientifically sound information on diet. We can't count on the press to report matters of diet responsibly. Good thing we've got the Roots community!
food, paleo, zone
Food Challenge Starts Monday!
Kale Salad with Sweet Potato and Chicken
Marcus Martin
Careful, Trevor! Are you daring to challenge the state media? You may be identified as an Enemy of the State with stuff like this. I've got a bunker if you need one.
Emily Eley
Marion Nestle does a ton of research and compelling rhetoric around the issues of food politics. Amazing stuff, http://www.foodpolitics.com/about/


text:
In der Liste der Kulturdenkmale in Aichelberg (Landkreis Göppingen) werden unbeweglichen Bau- und Kunstdenkmale in Aichelberg aufgelistet. Diese Liste ist noch unvollständig.

Liste

|}

Siehe auch
 Liste der Kulturdenkmale in Baden-Württemberg

Einzelnachweise

Aichelberg #Landkreis Goppingen


text:
HomePosts tagged 'Lizabeth Scott'
April 18, 2016 bryancyr film-noir, Movie	Ann Sheridan, Lizabeth Scott, Too Late for Tears, Woman on the Run
The following essay contains spoilers for Too Late for Tears:
Flicker Alley is hosting a noir blog-a-thon for their new Blu-ray/DVD release of two classic films noir which have been recently restored. They have asked me to participate in this blog-a-thon by writing something about one of these classic films. Unfortunately I do not have copies of these two films so I'm writing this based on viewing them quite a while ago. I also have already reviewed both of these films in the past on this site.
The first film we are looking at is Woman on the Run which I have reviewed here:
https://everythingnoir.com/2015/06/24/review-women-on-the-run/
The second film is Too Late for Tears which I reviewed here:
https://everythingnoir.com/2016/01/14/review-too-late-for-tears/
So what is left to talk about? I would like to look at the two main stars and the characters that they play in these two films. It is interesting we have females as the main protagonists in both of these films, something we didn't see very much in 1949 and 1950. This maybe the only thing these two films have in common, the two females are very different from one another.
The two leads are played by Ann Sheridan in Woman on the Run
and Lizabeth Scott in Too Late for Tears .
Our two leads have very little in common other then they are both married at the beginning of our films. Liz is happy in her marriage and Ann is not sure after 4 years of marriage if she is happy or not. Ann wears heavy coats in most of her film partly to show her acting chops instead of relying on her figure. Liz's character uses her womanly charms to get what she wants from the men in her life, a classic femme fatale. Ann goes on a journey that seems to save her marriage; Liz has no problem getting rid of her husband for the chance at a bag full of money. Ann fights to find the truth while Liz does whatever it takes to cover up her trail.
As Ann's and Liz's characters in these two films seem like polar opposites their careers seem to be just as different. I was not that familiar with Ann's career but after watching Woman on the Run I became a fan and have watched many films with her in it over the last year. She may have been known for her figure and get her start in film by winning a beauty contest; she used that to have a very diverse career. Holding her own with the top male stars from the 1930's through the 1950's. She was in many great films noir, but also held her own in everything from slap stick comedies to serious dramas.
Liz on the other hand became a star after appearing in the classic film noir, The Strange Love of Martha Ivers, and seemed to be type cast. She appeared in mostly gritty films, often the femme fatale. With a sultry voice that gave Lauren Bacall a run for her money and a face that could cause any man to bend to her whim.
Though Liz and Ann where very different in career and character, they did have a few things in common. Both played strong females often and both had the talent to carry a film. If you are not familiar with either of these great actresses, these two films are a great place to start. If you are a fan, and have not seen these yet, go do it! I thank everybody involved in restoring these two films and can't wait to see what films they will restore next!
You can buy Woman on the Run
here:http://www.flickeralley.com/classic-movies/#!/Woman-on-the-Run/p/59318243
You can buy Too Late for Tears
here:http://www.flickeralley.com/classic-movies/#!/Too-Late-for-Tears/p/59318231
Also check out all the other Blog-a-Thon entries here:
Detectives and Dames:
A Flicker Alley Noir Blog-a-Thon!
Review: Too Late for Tears
January 14, 2016 April 11, 2016 bryancyr film-noir, Movie	Byron Haskin, Dan Duryea, Don De Fore, Film Noir, Kristine Miller, Lizabeth Scott, Roy Huggins, Too Late for Tears
Too Late for Tears is a classic film noir from 1949 from director Byron Haskin. The film is based on a "Saturday Evening Post" serial and screenplay by Roy Huggins. This film had fallen into public domain and good copies of this film where hard to come by. Thanks to The Film Noir Foundation we got a restored version that took 5 years to complete. The restored version debuted on Turner Classic Movies this summer and has been shown fairly regularly on TCM since.
This film has two of noir fans favorites in it, Lizabeth Scott and Dan Duryea.
This film starts with Jane Palmer(Lizabeth Scott) and her husband,
Alan Palmer played by Arthur Kennedy, driving down a back road when Jane wants to go back home. They argue and the car swerves back and forth. When they pass an oncoming car, somebody throws a bag full of money into their car.
Jane always wanting to have money, wants to keep the cash. Alan wants to give the money to the police, knowing it will cause problems. Jane talks him into keeping it for two weeks before they make a decision. Things turn worse when Danny Fuller( Dan Duryea) comes looking for his money. Things get out of hand fast for Jane, who does whatever it takes to keep the money.
Things get even more dire when Alan's sister Kathy played by Kristine Miller and a strange man Don played by Don DeFore both suspect something is a miss.
If you get a chance to see a restored copy of this film, jump on it. If you are a Lizabeth Scott fan, it is a must see. Scott's Jane maybe one of the deadliest ladies in film noir. She isn't just a femme fatale, using her charms to get what she wants, she is not afraid to get her hands dirty herself.
Review: The Strange Love of Martha Ivers
September 12, 2015 September 12, 2015 bryancyr film-noir, Movie	Barbara Stanwyck, Kirk Douglas, Lewis Milestone, Lizabeth Scott, The Strange Love of Martha Ivers, Van Hefflin
The Strange Love of Martha Ivers is a classic film noir from 1946. This film has a lot of unique history to it. It is directing great Lewis Milestone's only film noir. It is also Kirk Douglas' first film, recommended for the film by the first couple of noir, Humphrey Bogart and Lauren Bacall based on his Broadway acting. We also have "The Threat" Lizabeth Scott in only her second film. Scott may have been called "The Threat" based on her being a possible threat to film noir greats Lauren Bacall and Veronica Lake. It's hard to say if Scott was ever really a threat to those two, but she sure held her own and has earned a right to be named with those two as some of film's noir favorites. In addition to all this talent we have the two biggest stars of this film being the all time great Barbara Stanwyck and our leading man being Van Heflin. Heflin was coming off of a three-year leave from the movies to serve in World War II.
Our film starts out with Martha as a young girl trying to run away from her overbearing Aunt. She is aided by juvenile delinquent Sam. When Walter tells his father and the police where Martha might be, she is soon caught. After a black out and a scuffle on the stairs Martha hits her Aunt with a poker and she falls to her death down the stairs. We flash forward seventeen years as Sam, played by Heflin is driving by his old hometown, he gets in a car wreck and brings his car into town to be fixed. Sam finds his childhood friends are now prominent fixtures in the small town. Walter played by Douglas is now the D.A. and is married to Martha, played by Stanwyck, who has inherited her Aunts wealth. Sam soon meets ex-con Toni, played by Scott. There is an instant attraction, but when Toni gets in trouble, Sam calls on his old friend, the D.A. Walter to help her.
This is a great film with quite a few plot lines going on. Will Martha's past come back to haunt her when her best friend from her past comes home? Will Sam use her to help out his new flame? How will Walter react to all of this? What will he do?
This is a must see film noir for all fans of classic film. If you are a fan of any one of the big four stars of this picture you will love it. If you are not a fan of any of these four stars…you need to start watching some of their films!
Favorite Tidbit: This film appears on the television in a scene from last years horror favorite The Babadook.
Film Noir Foundation's look at Lizabeth Scott
February 9, 2015 bryancyr film-noir	Lizabeth Scott
Here is some great posters and videos of Lizabeth Scott at Film Noir Foundation. It's worth a look at some of the great art posters and the beautiful Lizabeth Scott.
http://filmnoirfoundation.tumblr.com/post/110310409857/the-filmnoirfoundation-has-always-had-a-keen
In Memory of Lizabeth Scott, Review of Pitfall
February 7, 2015 February 7, 2015 bryancyr film-noir, Movie	Andre De Toth, Dick Powell, Film Noir, Jay Dratler, Lauren Bacall, Lizabeth Scott, Pitfall, Raymond Burr, Robert Osborne
Today the noir world has learned the passing of film-noir legend Lizabeth Scott. Read the LA Times report here:
http://www.latimes.com/local/obituaries/la-me-lizabeth-scott-20150206-story.html
Lizabeth was in many film-noir movies and stared with all the big names. We will be looking at more of her movies on this blog soon. When I saw the news I checked my DVR for a classic movie with Lizabeth in it to review tonight in her honor.
Pitfall came up, so here is my review.
Scott starts as our femme fatale alongside Dick Powell in this film from 1948. Right away I can't believe how much Scott's voice sounds like Lauren Bacall. According to the LA Times, Scott was often compared to Bacall because of their similar look and voice. This movie has a great little plot and kind of ends where most films of this time would have started. I don't want to spoil the story so I will stop there. I watched this on TCM and Robert Osborne had a very interesting story about how this movie was almost not released. According to the movie code at the time a bad guy can be an adulterer, but a good guy could not be one. This movie has that situation and director André De Toth used some sneaky tactics with the executives of the studio to show their hypocrisy. This film is based on a book by Jay Dratler, an author that looks to have much success as a screenwriter. I looked this book up on Goodreads and nobody has read it on there! I took a quick look and Barns and Nobel had no copy available. Has anyone out there read this book? The other high spot of this movie is Raymond Burr as a ex-cop, private investigator. He really has some presence in this part and you can see his star rising in this movie.
R.I.P. Lizabeth Scott, I look forward to watching more of her work, hope you do the same.