"The change of activities and schedules for many dealers has affected participation in these two events this year," NADA said in a statement released today.
Advance dealer registrations are down 35 percent for the convention but the dealer group says it expects a large number of over-the-counter registrations now that federal bridge loans have been provided to General Motors and Chrysler LLC.
The women's breakfast was scheduled for Saturday, Jan. 24; the event for minority dealers was to be held the next morning. NADA previously touted the breakfasts as platforms for dealers to meet and share ideas.
New Orleans was the site of the first women's breakfast sponsored by NADA in 2005. The dealer group hosted its first morning meeting for minority dealers in 2006 at its convention in Orlando, Fla.
The breakfasts are among several previously scheduled events at the convention that have been eliminated or scaled down this year. Many companies and groups are cutting back to save money and/or avoid any appearance of extravagance.


2018: Appeared in 19 matches and 62 sets for the season…. Recorded 23 kills and 95 digs…. Had a breakout game on September 8th against Loyola (Md.) where she recorded a career high 5 kills on a .625 profficiency rate, including a career high 12 digs.
Background: 2016 & 2017 Collier County Naples Daily News Player of the Year...2016 Highest Hitting Percentage in County...2016 & 2017 First Team All Conference...2016 & 2017 All Regional Team...2016 & 2017 Offensive MVP & led Team in number of kills...2016 Tampa Camp All Tournament Team...2016 & 2017 All Tournament Team at Smoothie King Invitational.
Personal: Daughter of Dan and Linda Curran....Has one brother, Luke, who plays lacrosse at the University of Tampa...Her father played golf at the University of Miami and Indiana University of Pennsylvania...Her mother played volleyball at Indiana University of Pennsylvania...Plans to major in Biology with a career ambition of becoming an Orthopedic Surgeon.


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Drummer And Producer Karriem Riggins Featured On Former Beatles Legend Paul McCartney's New Album, Kisses On The Bottom
Click here to watch Riggins perform live with McCartney on February 9th at 7PM PST on iTunes Music
Drummer and Producer Karriem Riggins is featured on Paul McCartney's album Kisses on the Bottom that was released yesterday. The album includes guest appearances by Eric Clapton, Stevie Wonder and three-time GRAMMY Award winning jazz vocalist/pianist Diana Krall. Riggins will be performing with McCartney, who will be named the 2012 MusiCares person of the year, at the organization's Gala in Los Angeles on February 10 and also at the GRAMMY® Awards on February 12.
Aside from currently playing with Krall, Riggins has performed and appeared on recordings with jazz legends like Oscar Peterson, Mulgrew Miller, Herbie Hancock and the late Ray Brown, just to name a few.
Not one to abide musical boundaries, Riggins has made major accomplishments within the hip-hop world as a musician and producer, bridging the gap between both the hip-hop and jazz genre. He has produced for GRAMMY® winning hip-hop artist and actor Common, including the track "Play Your Cards Right" for Paramount Picture's feature film Smoking Aces, The Roots who currently is the house band for Late Night with Jimmy Fallon, and Erykah Badu's last two albums, New Amerykah Part I and II, among other musicians.
Riggins is managed by The JAE.B Group, an Artist Relations and Management firm based in Los Angeles, CA, that is headed by music executive and artist manager Jae Barber. Riggins is currently recording his debut, self-titled album. Additionally, he is planning to release an instrumental album, entitled Alone Together on Stones Throw Records this summer.
Loopmasters Proudly Present Doodlebug Of Digable Planets 'Jazzy Hip Hop Theory'
Karriem Riggins & Thundercat "Proto-Cosmos" Jam Session
Raphael Saadiq, Nas and Damian "Jr. Gong" Marley headline JazzReggae Festival 2010

redpajama_set_name: RedPajamaCommonCrawl


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Tag Archives: Movie
2014, Alejandro Gonzalez Inarritu, Edward Norton, Emma Stone, Film, Michael Keaton, Movie, Review
The first film I went to see in 2015 was one of the best films of 2014–one that's been around for quite a while but one which I just couldn't manage to get to earlier. Last year we were utterly inundated with superhero films both terrific and terrible. Now, I'm never going to lose my affection for the comic-book genre (no matter how hard an AMAZING SPIDER-MAN 2 tries to get me to do so); but ANY movie year like 2014 really NEEDS to wrap up with something like BIRDMAN–both to put things in perspective AND to utterly defy mere description–including mine. Now, THIS is a MOVIE!
I imagine you're quite familiar with the premise by now. A perfectly cast Michael Keaton stars as "Riggan Thomas," who enjoyed the height of his cinematic popularity in the early 90s playing the superhero "Birdman." Now sixty-ish, Riggan is gambling what's left of his personal fortune in an attempt to open his dream project (an adaptation of Raymond Carver's "What We Talk About When We Talk About Love" in which Riggan will star in addition to scripting AND directing) on Broadway. Our protagonist's previous celebrity antics have already cost him his wife (Amy Ryan) and his relationship with his daughter Sam (Emma Stone), but they're both in close proximity to the project all the same. A desperate attempt to replace a thoroughly unsuitable co-lead with a guaranteed draw brings "Mike" (Edward Norton) into the picture, but Mike's prima donna antics soon threaten to shove Riggan out of the spotlight altogether (I couldn't help but think that Val Kilmer would have been equally amazing and even more ironic/iconic in the role, but I can't suggest for a second that Norton is anything but excellent here). And the nation's most influential theatre critic has already promised to destroy Riggan AND his play just because she doesn't think that a spoiled Hollywood has-been has ANY business trying to take Broadway…
…oh, and all the while, Riggan's previous cinematic identity continues to "egg" him on as a voice in his head (soon to become something even more substantial), urging him to give up "Art" and return to "Commerce." And Riggan might also be telekinetic.
If you haven't already seen BIRDMAN, you might have thought you had a handle on the material up until that last bit. Trust me. You didn't. Sure, you've got the comfortable themes and the seemingly effortless casting (also including leading lady Naomi Watts, Riggan's current "love" interest Andrea Riseborough and Zach Galifianakis as Riggan's lawyer/best friend/voice of "reality"). But all that means is that anybody (including those currently existing on a diet of nothing BUT Hollywood effects blockbusters) can walk into this and understand the story without fear of being put off by what they might perceive as "art film" pretensions. Oh, but they'll get so much more if they do. There's the technique of director Alejandro González Iñárritu which, combined with all of today's technical advances, conveys the illusion that the entire film was shot in one take (even though common sense tells us that this wasn't even remotely possible). There's plenty of laugh-out-loud comedy and straightforward, accessible drama to take in even as the rules bend around us. Is the constantly busy musical soundtrack an addition to the film or does it have an on-screen (or on-stage) source? Are the fantastic elements purely in Riggan's imagination or do they affect others? There must be an answer–this isn't a 'first-person' film like Cronenberg's VIDEODROME, after all–BIRDMAN spends plenty of time with characters Riggan couldn't be observing at the time…
Yeah. I dropped the "C" word for a reason, and I feel like dropping a few more names, but the more I go on, the more I fear I'll just be telling you what to look for rather than letting you take BIRDMAN in as a fresh experience. But I'm going to try to tantalize you all the same.
Final shot of VIDEODROME. Final shot of TWIN PEAKS: FIRE WALK WITH ME (which I viewed the previous evening in an event of sheer coincidence). Final shot of MAGNOLIA.
BIRDMAN could have signed off in so many different ways. But it found the PERFECT conclusion. What a capper for the year.
2015, David Cronenberg, Film, Julianne Moore, Movie, Review
MAPS TO THE STARS is the first David Cronenberg film I missed on the big screen since I saw VIDEODROME in 1983. Hell, I'm one of the twelve who actually saw COSMOPOLIS in a hardtop, okay? So let me tell you what happened. I had ONE day off last week and I wanted to see the new Cronenberg movie with my wife. But I thought we had time for a quick burger-and-beer ahead of time. We didn't. By the time we were served, we were already ten minutes late for the movie. But we got to meet Prince the Pibble near out outdoor table, and he loved us. And we got to take a walk to the candy store. And the movie was gone the very next day (just like COSMOPOLIS). But it was playing simultaneously on demand. I ended up watching it by myself. And it's just as well… my wife would probably have HATED it.
Cronenberg ended his run of genuinely fantastic body-horror stories with THE FLY, but his work continued to enthrall me even as he moved away from the genre. I was intrigued by his insistence on filming "unfilmable" novels such as NAKED LUNCH and CRASH, and when he served up A HISTORY OF VIOLENCE and EASTERN PROMISES in succession, I was finally convinced that eventually one of "our guys" was going to win Best Director. But… A DANGEROUS METHOD was one of the few that left me with no particular urge to want to see it again. On the other hand, COSMOPOLIS fit in quite nicely (even if nobody else saw it), and I can see MAPS TO THE STARS (Cronenberg's very first film shot at least partially in the U.S.) taking place simultaneously with both old-school and new-age Cronenberg–in fact, it has a piece of pretty much every movie he's made to date. But did I LIKE it? I'm still not sure.
About all I can do here is introduce you to the characters and the essential situations. Top-billed Julianne Moore is Havana, a fading Hollywood star who's desperate to take the lead role in a proposed remake of a renowned art film–starring her own mother. She's got plenty of unresolved issues with her mother (who died in a fire) and her mother's ghost is showing up at the most inopportune moments for Havana's sanity. Havana is receiving therapy (including BDSM, so there's your DANGEROUS METHOD link) from wildly successful author/motivational speaker John Cusack. Cusack and Olivia Williams are the parents of the insufferable, drug-addled, rehab-struggling teen star Benjie Weiss (Evan Bird). Benjie is seeing ghosts, too–only these are children's ghosts, some of whom he recognizes and some of whom he couldn't possibly have known. Oh, and Benjie has a sister, but nobody's supposed to know about Agatha (Mia Wasikowska). But the burn-scarred Agatha has freed herself from her own therapy and has now arrived in Hollywood… and since she knows Carrie Fisher (played by herself), she gets a job as Havana's personal assistant. Oh, and her boyfriend is a chauffeur played by Robert Pattinson (who HAD a chauffeur in COSMOPOLIS).
Agatha's going to introduce herself into certain lives and RE-introduce herself to her family. And awful, awful, awful things are going to happen.
Who on earth managed to get this film listed as a "comedy" in our local listings? MAPS TO THE STARS is a lot of things, but "comedy" certainly isn't one of them. And it's certainly not a poorly-made or poorly-acted film… far from it. The cast is exemplary: Moore continues to shine as a truly fearless actress–and Wasikowska? My goodness… I suggested that I found STOKER a tad over-directed, but she was fantastic in that, and under Cronenberg's eye she is simply phenomenal. And this is the very first time I've praised a Cronenberg film on the merits of its lead female performances (I'll spare you memories of Kiera Knightley in METHOD), so I can't forget to mention that, although the guys are just as impressive (particularly Bird–you'll detest his character even as you take your hat off to the actor himself).
The material is frank and confrontational throughout–including plenty of scatological conversation and a sex scene featuring an extended shot that I never, ever thought I'd see the likes of in anything with less than an NC-17 rating (I'm still baffled as to how this qualified for an R). The desperate sex (including a scene in a limo) invokes CRASH, there's the gunplay of NAKED LUNCH… well, the list goes on, but the bottom line is that this is Cronenberg's most painful family-trauma film since THE BROOD.
My (potential) problem with MAPS TO THE STARS isn't the lack of concrete explanations for everything that happens on screen (I could scarcely be a Cronenberg fan if I had that problem). To a degree, it certainly has something to do with where Bruce Wagner's screenplay will and won't go in order to disturb the viewer. I'm singling out a scene filled with slowly-building and palpable dread that drops the ball the second the dog shows up. "Oh, well, now I KNOW what's going to happen next." It does. And it DOES set up an even more horrific bit of action later… but we're let off the hook after the fact with "He'll be okay." Enough said.
But what I'm still asking myself is exactly why this particular story needed to be told. There's got to be more to it than "People suffer whether or not they deserve to," right?
Look, the jury's still out. Cronenberg movies are rarely "one and done." If you see MAPS TO THE STARS, you'll witness provocative filmmaking and fine acting. But will you be glad that you did? Let me know.
Fantasy, Film, Movie, Neill Blomkamp, Review, Science Fiction
As I've suggested earlier, here's an item that seemed to be a different film with every permutation of the trailer.
When I first became aware of CHAPPIE (I'm not going to go to the trouble of perpetually spelling the title out as CHAPPiE, as it appears on screen, sorry), I saw little more than a cute robot discovering what it means to be alive. And, having the entire decade of the 1980s amongst my formative years, I didn't flash back to WALL-E. No, indeed–I went back to "No disassemble!" and figured we had a new Number Johnny Five on our hands. But from Neill Blomkamp? (Notice how they still say "From the director of DISTRICT 9" instead of "From the director of ELYSIUM?" Sorry–I never saw that one, either.)
Then we went from "This film is not yet rated" to an "R" and I paid closer attention to a trailer that made this look like another take on ROBOCOP.
And only LATER did I find out that such bankable names as Hugh Jackman and Sigourney Weaver were even IN this movie!
Just what the hell was this CHAPPIE all about, anyway? I knew that I had to find out (especially as I'm playing a robot myself in THE EGO MACHINE, opening Friday, March 20th at Paper Wing Fremont, which is exactly where I expect to see you).
Well, when it comes to the story AND much of the look of the film, the answer is "…all of the above. And not."
To my eyes, CHAPPIE is very much an updated 1980s film. And it really does consist of SHORT CIRCUIT crossed with ROBOCOP (strange as that may seem). And I don't believe it's a coincidence for a split second–the similarities are simply too many to ignore.
The robot that eventually becomes "Chappie" started life as a police droid (Johnny Five was a military weapon as conceived). His creator, Deon Wilson (Dev Patel) has also developed an amazing artificial intelligence program, but his company (headed by Weaver) has no interest in such things and forbids him to test the program… even on a damaged police droid. (Johnny Five's best human friend–well, eventually–was ALSO of presumably Indian descent as played by Fisher Stevens, who took over from Steve Guttenberg as the human lead in SHORT CIRCUIT 2).
Now, as for ROBOCOP? Well, the film takes place in a future Johannesburg in which crime is so out of control that robotic policemen have been deployed to deal with such matters. Oh, and Hugh Jackman is quite upset that the (oh, just say it) "robocop" project was accepted over HIS behemoth enforcer droid named "Moose." And yes, Moose looks like ED-209. And there's a vicious criminal gang causing trouble for EVERYBODY.
Through a series of complications I'm not going to waste time spelling out (just trust me that CHAPPIE starts with a bang and moves relentlessly), Wilson is shanghaied by a trio of desperate crooks ("Ninja" and Yo-Landi Visser play characters named for themselves, while Jose Pablo Cantillo–yes, the guy who headed up the villainy in the CRANK movies–plays their "Yankee" compadre) who force him into reviving his damaged droid with the A.I. program so that they might use him for criminal activities and thus buy off an even WORSE bad guy (Brandon Auret as "Hippo," with an accent thick enough to require English subtitles).
Two complications (three if you count the fact that Wilson is somehow allowed to walk away alive after this). First: "Chappie" (name assigned by the affectionate Yo-Landi), though capable of rapid learning and development, begins life in infancy and has to be trained as a child. Second: the aforementioned damage makes the replacement of Chappie's battery a physical impossibility, and he only has five days to "live."
And there's the rub. One simply can't describe CHAPPIE without making it sound like the rehash that it sincerely aspires to be. The only way to appreciate it is to actually see it and take in the amazing performance of Sharlto Copley in the title role as he's aided and abetted by the very latest and greatest advances in special-effects technology. You've seen Andy Serkis bring primate characters to life without ever showing his human face… well, now watch Copley bring humanity to a mechanical apparition as Chappie learns about life, death, happiness, fear, crime, consciousness and even (and most impressively) forgiveness.
Ultimately, that's what makes CHAPPIE such a difficult sell. It's got the charm and pathos of such family-friendly films as SHORT CIRCUIT (and even E.T.) but it takes place in a vicious, hyper-violent ROBOCOP world (and yes, we're talking the 80's ROBOCOP, not a rendition that could safely be cut down to a PG-13). It's a captivating and exciting film that deserves your attention, but you really ought not to bring the entire family.
It's not "perfect" in my eyes (one too many epilogues ended things on a note that was a bit too AVATAR for my liking), but seasoned fans of emotional science-fiction are hereby steered.
2014, Action, Art Parkinson, Dominic Cooper, Dracula, Film, Horror, Luke Evans, Movie, Review, Sarah Gadon, Untold, Vlad the Impaler
I don't know… I saw the trailer for I, FRANKENSTEIN and immediately decided "No way." On the other hand, I saw the trailer for DRACULA UNTOLD and thought "Well, maybe…" You never know (or at least "I" never know) how the mood might strike; and even though I figured this for more of a CGI-fest than a horror movie, the opportunity to take the family presented itself, and…
I'll leave the debunking of the "Vlad as Dracula" historical argument to the scholars… it's scarcely worth debating in this context as this is a minor fictional film that takes the connection for granted like just about every other take on the material.
So… Luke Evans (get used to having him around–he's going to be the new CROW next) is the legendary Prince Vlad the Impaler, who grew up knowing nothing but brutal soldiering under his Turkish taskmasters but prevailed as one of their greatest warriors, feared by nations, etc. etc. Well, Vlad is enjoying the tenth year of peace in Transylvania following his brutal campaign… but then the Turks come knocking again and they want more than their annual tribute–this time they want a thousand more young soldiers, plus Vlad's son (Art Parkinson–you've seen him on GAME OF THRONES but I have yet to catch up with that series).
As you've gathered from the ads, this inconvenience (provided by slimy Sultan Dominic Cooper) coincides with Vlad's discovery of an ancient vampire hiding somewhere in Brokeback… er… Broken TOOTH Mountain. And said ancient vampire is willing to fix Vlad up–for a price. (This vampire is played by Charles Dance, but they might as well have cast Tobin Bell for all of his "Let the game begin" delectation.) If Vlad can kick the Sultan's ass and go without blood for three days, he gets to return to his mortal form…
Okay, I'll just stop. We already KNOW Vlad is destined to become Dracula, so bang goes any of that suspense. What follows is a typical mix of things that work and things that don't work. Good stuff includes Vlad wiping out a thousand soldiers acting alone; a sequence where his horrified subjects, upon learning of his nature, attempt to burn him out of his shelter–ironically snuffing out the sunlight with the smoke in the process; and the use to which the Sultan puts those many years worth of silver coins bearing Vlad's likeness.
Bad stuff? The PG-13 rating which severely compromises our understanding of how truly monstrous Vlad was as a soldier… sure, they TALK about it and you do see the silhouettes of many a staked body, but you're supposed to like and sympathize with him as he adores his family. You never get to see Vlad actually DO the horrible, evil things his enemies know lurk beneath his surface, and that's a huge point against this entire enterprise. The newly anointed vampire waking up in the middle of a RIVER and crossing the running water without incident. The overemphasis on 3-D effects (I'll take that for granted–I saw this in 2-D and was rewarded with a dark, grimy image all the same; and so many action scenes that could have been terrific were ruined by a pointless change in perspective) and especially the super-corny turning point that resembles nothing less than the big moment in THE AMAZING SPIDER-MAN 2 (which ALSO happened to feature actress Sarah Gadon, but NOT as Gwen Stacy). All together now: "NOOOOOOOOOOOO!!!!!!!!!!!!"
DRACULA UNTOLD isn't completely awful, but it still ranks as a disappointment especially when one considers all that COULD have been done with this timeless material. Enough said.
"Tusk" (Film Review)
Comedy, Film, Genesis Rodriguez, Haley Joel Osment, Justin Long, Kevin Smith, Michael Parks, Movie, Review, Tusk, Walrus
The year's biggest surprise almost completely eluded me… I had no chance to see TUSK on opening weekend and by the time I finally DID catch it it was only to see it vanish from local theatres. If you're in my neck of the woods, you still have a chance to catch it in San Jose. Others may be luckier.
Why "biggest surprise?" Because not once has it ever occurred to me that Kevin Smith had it in him to make the most powerful horror film of 2014… or any year. And that's not a knock on Smith in the slightest. I knew he was an offbeat comedy filmmaker and a comic book geek, but I quite simply never got the impression that he had any interest in making a horror film of his own. And while TUSK certainly has more than its share of eccentric characters, this is by no means a "Jay and Silent Bob" excursion…
So. Podcasters Wallace (Justin Long) and Teddy (Haley Joel Osment) are enjoying huge success with their "Not-See Party" program, dedicated to the humiliation of everyone who's ever embarrassed themselves (or worse) for the Internet to see. Wallace decides he's going to boost ratings even higher with a trip to Canada and an actual interview with a young man (inspired by the "Star Wars Kid") who accidentally mutilated himself on camera. Long story short, Wallace finds himself with an interview space to fill and almost no time in which to fill it, so he acts on impulse (Long really should have learned his lesson from JEEPERS CREEPERS) and isolates himself in the middle of nowhere for the opportunity to be regaled by one Howard Howe (Michael Parks); an eccentric, wheelchair bound recluse with a mansion full of curious artifiacts AND a truly fascinating supply of amazing stories to tell. Said stories range from his shipboard friendship with Ernest Hemingway to his fateful relationship with a noble walrus to whom he refers as "Mr. Tusk." (Don't laugh. You'll be sorry if you do.) Wallace can't believe his luck–he's got the best interview subject EVER. But Howard, of course, CAN believe his luck. He's got Wallace exactly where he wants him because he laid his trap perfectly.
How to go on? It would be grossly unfair of me to detail any more of this, but I absolutely must talk about some spoilable aspects of the film. So… I'm going to save those comments for an isolated section AFTER the review. You really ought to take TUSK at full strength and without preparation. No, the film is not "perfect," but even its apparent flaws are provocative. Was the easily-accessible cell phone a gigantic mistake or did Howard WANT something to happen with it? Why are we spending SO much time on all sorts of colorful supporting characters (not just Teddy and Wallace's tormented girlfriend Ally, played by Genesis Rodriguez)? And where can you possibly go AFTER Smith delivers the most shocking "reveal" moment in recent horror history (I'm not kidding one little bit about this)?
Well, Smith finds a way and keeps you in great company even when you're screaming for him to "get on with it." In the best example, Teddy and Ally enlist the services of an extremely eccentric (but NOT stupid) French detective by the name of Guy Lapointe (the actor is named for the character himself, but if you think you recognize him under another name, well, yes). And Guy relates a flashback regarding the time he believes he encountered the elusive villain face to face… the scene goes on "forever," but you can't take your eyes off of Michael Parks in particular–if you've only seen him as the lawman in numerous Tarantino/Rodriguez films, you will be completely unprepared for his amazing performance in TUSK.
And no matter how weird, quirky (yes, a certain Fleetwood Mac hit is invoked at just the right moment), or (okay) SLOW the film may seem at times, nothing will completely erase the impact of what Smith has already hit you with; nor will you be let off the emotional hook by the time the credits roll. Far from it.
Do whatever it takes to see TUSK. THEN read my spoilers.
Okay, here's what I REALLY want to say. Yes, the setup echoes MISERY, but it goes back much further. There's SSSSSSS, there's the classic NIGHT GALLERY short "Marmalade Wine," and above all? Well, this is THE HUMAN CENTIPEDE as written by Ernest Hemingway. But it's better than THC. Now, don't get me wrong. THC took one of the most potent gross-out concepts ever imagined and played it to the hilt, sealing the deal with the amazing Dieter Laser as an unforgettably batso bad guy. It "works," all right. But TUSK has a better story and a much better array of characters all around. Can you imagine Laser passing himself off as someone you would absolutely WANT to spend quality time with? Didn't think so. Parks is every bit the expert in his role and then some. I've already mentioned the oddities of the supporting cast (equally well chosen)… but if the Wallace character is in any way a reflection on Kevin Smith the podcaster himself? I don't think I've seen a more effective display of devastating self-loathing set to film. You'll be thinking about this for a VERY long time after you see it.
"Horns" (Film Review)
2014, Alexandre Aja, Daniel Radcliffe, Fantasy, Film, Horns, Horror, Juno Temple, Movie, Review
Ig Parrish (Daniel Radcliffe) is enjoying an idyllic life and wonderful dreams of the future with his childhood crush and now long-time love Merrin (Juno Temple) as our story begins… but then Ig wakes up to the reality that he's loathed by the population of the entire town which believes that he's gotten away with Merrin's brutal murder on a technicality.
No, this isn't GONE GIRL, tempting as the coincidence may seem–this is actually a film made in 2013 but held back from release (and banished to the arthouses) till Halloween 2014. And the similarities end there.
Ig swears to himself and to anyone who will listen that he's completely innocent and that he wishes he could inflict the punishment of the damned on the real killer (even as he curses God for allowing the devoutly religious Merrin to die in the first place). But the town sees him as the Devil… and if it's a Devil they want, it's a Devil they get. Not only does Ig grow to resemble the classic depiction of Lucifer himself (starting with, but not limited to, the title appendages sprouting from his skull), but his very presence strips all restraint and inhibition from (almost) everybody he encounters along the way, laying bare the latent sins, repressed feelings and urges of friends and family alike. But since every devil started as an angel? This phenomenon might be just what Ig needs to expose the truth behind the crime…
There's certainly enough supernatural/horrific content and grisly violence to grant HORNS a prominent seat in this year's "horror" crop, but as with all the best of them, there's so much more to it. For instance, while the film can scarcely be called a "comedy" with such a ghastly story at its heart, it provokes plenty of wonderfully appalling laughter all the same as people act just as they truly WANT to act (best of all, perhaps, is a scene in which Ig puts paid to the train of TV reporters tracking his every move). There is also plenty of wrenching pathos and nostalgia to be had; not only in the story of the doomed romance but in the childhood flashbacks that provide plenty of insight into how Ig and his friends became the adults they are today–these flashbacks are arguably the best of their kind since STAND BY ME itself.
The acting is beyond reproach across the board–those remaining doubters who venture to HORNS will in all likelihood finally welcome the versatile Radcliffe as an actor with range well beyond a single young-adult fantasy phenomenon. Temple is heartbreaking in her limited role, and (I'm trying to avoid saying too much about any character here, so forgive me for being brief) the film also offers terrific supporting turns from such veterans as Heather Graham (a conniving waitress), James Remar and Kathleen Quinlan (Ig's parents) and Robert Morse as the bereaved father.
Most remarkable of all is that this sincerely emotional, humorous AND exciting tale (adapted from a novel by Joe Hill) comes to us courtesy of director Alexandre Aja. Aja has demonstrated a knack for blunt-force trauma and raucous tastelessness time and again (HIGH TENSION, the HILLS HAVE EYES remake and PIRANHA 3D), but his was one of the last names I ever expected to see associated with such a provocative and heartfelt story; let alone the man responsible for evoking such winning performances. The man has matured most impressively as a total filmmaker, and the fact that the closing movement of the film COULD have been tightened to even greater effect doesn't stand as even a slight roadblock to an enthusiastic recommendation from yours truly.
I suppose I shouldn't be surprised that pure-formula horror movies ranging from the decent ANNABELLE to the godawful OUIJA are cleaning up. But it's a bloody shame that the public at large won't lift a finger for such potent works as the coincidentally-titled TUSK and HORNS. If they'd bother to check them OUT, they'd probably LIKE them!
Don't miss out.
"Annabelle" (Film Review)
2014, Alfre Woodard, Annabelle, Film, Horror, James Wan, Movie, Spin Off, Suspense, The Conjuring, Tony Amendola
While "Annabelle" the doll had nothing to do with the real-life events that inspired THE CONJURING, it WAS in the safekeeping of the real-life investigators (the Warrens) after they wrapped up an unrelated case, and could you really expect James Wan to leave a creepy doll alone? Of course Annabelle had to make her presence known, and she certainly didn't hurt either the reputation or the amazing box-office take of the latter. Speaking of which, while an actual "sequel" was impractical in the case of THE CONJURING, a follow-up of some sort was pretty much mandated. And while Wan passed up the director's chair for the not-really-a prequel ANNABELLE (which involves none of the same characters), he entrusted the follow-up to his proven protege John R. Leonetti (no, I never saw MORTAL KOMBAT: ANNIHILATION or THE BUTTERFLY EFFECT 2), but Leonetti served efficiently on many a Wan production (as well as helming plenty of contemporary television, including the SLEEPY HOLLOW series) and had more than sufficient chops to handle this project.
Okay, it's 1970. Charles Manson is all over the news and suburbanites are starting to lock their doors. Just beginning his medical residency is John Gordon (hmm… "Dr. Gordon?" I think I SAW this name somewhere else in Wan's filmography), who makes up for an insensitive remark he makes to his pregnant wife Mia (the coincidentally-named Annabelle Wallis) by giving her her "baby" present early. Just what the delicate young lady needs–a creepy, grinning DOLL! Okay, okay. She's a doll fanatic, this one completes a beloved collection, it really IS just what she wanted, and it's not SUPPOSED to be quite so creepy from the get-go as it hasn't even been possessed yet. The awkward thing is that the true-life doll isn't nearly as evil-looking as the movie doll, regardless of its reputation. So even though the doll isn't MEANT to be scary (yet), everyone watching ANNABELLE is repressing chortles at this ghastly gift.
Then the movie abruptly shuts everybody up with a startling, brutal and genuinely frightening extended sequence that the doll did absolutely nothing to instigate. The tone is truly set for the rest of the film as we learn just what evil eventually DID get transferred to the doll, and the increasingly dangerous manifestations of said evil inspire plenty of sympathy and fear for both Mia and her baby (both before and after she arrives). Meanwhile, a change of scenery (yes, to one of those amazing only-in-the-movies luxury apartments that no first-year resident could possibly afford) does nothing to prevent the doll from tagging along (for the record, "Annabelle" is the spirit that possesses the doll–the doll itself has no name that I can recall, but just like "Frankenstein," she's stuck with that name like it or not).
A full-length feature film consisting of nothing but a doll scaring people? Well, if you've got Brad Dourif voicing it, that's one thing, but most such projects tax the patience (DOLLY DEAREST springs unbidden to mind). So most wisely, ANNABELLE does NOT rely unduly on the actual toy and finds other ways to create suspense and horror, and we're given the support of some fine supporting performers even if they're in rather over-familiar roles (Tony Amendola is the priest who effortlessly believes in demons and immediately tries to help the family; and Alfre Woodard is the kindly old woman who runs the antique bookstore and takes an immediate fondness to baby Lia). Quietly disturbing moments (ominous crayon drawings supplied by the young children of the Gordon's fellow tenants–or are they?) alternate with noisy shocks, most of which work. Oh, and Leonetti takes one HUGE page from the Wan playbook in the form of a blatant Mario Bava moment… of course, as was the case with BEYOND THE DOOR II, this chair-jumper WOULD have worked better had the powers that be not already blown it in all of the trailers…
ANNABELLE may not be quite up there with THE CONJURING, and I'm not about to play the "true story" game with it, either (for the record, I dreamed up a far more frightening final movement than the movie actually delivered). It's strictly formula but it's more than competently executed–a most appropriate Halloween release, all in all.
"Ouija" (Film Review)
Ana Coto, Film, Horror, Movie, Olivia Cooke, Review
Don't get me wrong–I'm quite glad there are wunderkinds out there who've perfected the formula for drawing huge profits with low-budget would-be-franchise horror films. That means we get more horror movies on the big screen, and that's still my "scene" as such. And I'll keep turning out to see them because I might score with something like SINISTER or OCULUS, I might get something provocative like THE PURGE, or I might even get a good-despite-every-reason-it-ought-not-to-be surprise like PARANORMAL ACTIVITY: TMO.
Then again, I might get DEVIL'S DUE. Or I might get OUIJA. Which is not a remake of WITCHBOARD, for the record.
See, as little girls, Laine and Debbie played with a Ouija board while angrily ordering Laine's snoopy little sister Sarah out of the room.
There are rules for these things. You must never play alone, you must always say goodbye, and you must never feed the board after midnight.
Debbie played with the board by herself (and darn it, she probably forgot to say goodbye, too!) so she's toast. Laine (Olivia Cooke from THE QUIET ONES, which, while less than perfect, was far more imaginative than this) figures the board has something to do with this, so she drags her friends and sister (Ana Coto is supposed to be the "little" sister, but the actresses scarcely seem a year apart) over to Debbie's to play with the Ouija. And the circle gradually dwindles.
And there's a Hispanic housekeeper who warns Laine "never, never, mustn't touch." And there's a history behind the house. And there are newspaper archives to look up. And there's a mental institution to visit so Laine can talk to an old lady who was around for the original sinister events in the 50s.
Oh, for the love of heaven, MUST I go on? It's not that it's formula. Other films take formula and make it their own, rocking the house in the process. This one just CRANKS the volume for a huge BANG or something every five minutes or so, while sometimes the false-scare characters react in time with the sound effect and sometimes completely fail to do so. Debbie's oven burner turns on by itself in the early going with a BANG like a gunshot. There's a BANG before some guy even sees something in a mirror. BANG. The cart moved. BANG. Someone peeked around a corner. BANG. Someone got grabbed by the ankles and dragged away screaming. TWICE. BANG-BANG.
Anything original like "Hey, police, we solved a missing-persons case from the 1950s and found a mummy in the attic… wanna get involved?" No. Nothing like that. Just more BANG. BANG. BANG.
And when you've got a trailer for INSIDIOUS III preceding this and the trailer has already used the BANG twice (sorry… BANG BANG), exactly how long do you expect this device to remain effective? (Oh, speaking of trailers, the one for OUIJA contained material not found in the actual film, if you're interested.)
I already explained why I went to see OUIJA. Is there any reason for YOU to see it?
Not a bit of it.
BANG.
"Nightcrawler" (Film Review)
2014, Bill Paxton, Crime, Drama, Film, Jake Gyllenhaal, Los Angeles, Movie, Rene Russo, Review, Rick Garcia, thriller
Yes, you CAN call a movie NIGHTCRAWLER without it being either a horror film or an X-MEN spinoff.
Jake Gyllenhaal is Louis Bloom, introduced as an unemployed thief who's always looking to improve his situation and stands ready with a litany of self-promoting come-on pitches he learned through obsessive Internet study. Of course, since Lou has no genuine interest in human interaction, his loquacious auto-pilot performances have no effect on his target audience (the fact that he's a thief also tends to work against him). People are only interested in listening to Lou when he actually HAS something that they want… and once he gains that advantage, he holds on to it relentlessly and remorselessly. As you probably already know from the trailers, fate leads Lou to the potentially lucrative world of crime-scene video commerce…
NIGHTCRAWLER makes no pretense of offering us a character forced to question his morals as his newly profitable enterprise inspires deeper and deeper levels of line-crossing and (soon enough) out-and-out lawbreaking. Lou was NEVER a good guy–he's an unapologetic misanthrope whose contemptuous smirk almost never leaves his face (he loses composure exactly once and only because someone else beat him to the jackpot). The late Roger Ebert may well have opined that since the movie gives us such an unlikable protagonist, we couldn't possibly care what happens to him. But that doesn't mean you won't want to see what happens next in every situation. Gyllenhaal is quite simply riveting throughout, and we watch with appalled fascination as he deals variously with the TV news director (Rene Russo) who potentially holds the keys to Lou's dream kingdom; the homeless "production assistant" (Rick Garcia) he snags off the streets; and Bill Paxton as a far more experienced "nightcrawler" who has all the technical advantages that Lou himself lacks. (The TV exec who keeps shouting "This is wrong! This is wrong!" into the wind is ignored without consequence by pretty much everybody else, if you're looking for that one spoken nod to human morality–the movie itself screams that message with or without him.)
As a result, the climactic suspense sequence (as Lou arranges his biggest "coup" yet–you'll notice that I've gone out of my way to tell you as little about the actual plot as possible) is every bit as excruciating as it would be if you actually feared for Lou's life.
For once, the frantic critical blurbs are quite accurate–NIGHTCRAWLER does, indeed, rank as one of the year's standout films. It was a pity to see it take a back seat to the second week of OUIJA when it opened, but what do you expect on Halloween weekend? And now INTERSTELLAR's going to push EVERYTHING out of its path.
Do yourself a favor and see this one before it crawls away…
"The Hunger Games: Mockingjay Part 1" (Film Review)
Action, Adventure, Donald Sutherland, Elizabeth Banks, Film, Francis Lawrence, Jennifer Lawrence, Julianne Moore, Movie, Phillip Seymour Hoffman, Political, Review, Suzanne Collins, The Hunger Games, Woody Harrelson
First, allow me to set the stage–and NOT by recapping the first two movies.
I'm done with the BATTLE ROYALE argument. I've said my piece already, and in the case of this series, the "games" themselves are no longer a going concern. The story is completely different, and I'll merely allow that the goings-on here are certainly more interesting than anything that happened in BR2.
Then there's the "one book, two (or three) movies" thing. It was warranted for the HARRY POTTER finale because there really was that much to that book. I refused to sit through the last two TWILIGHT films because I wasn't going to pay twice for the film experience of what I considered a truly LOUSY book. As for THE HUNGER GAMES? I've only read the first one, but the second movie more than held my interest (not to mention that it stood as an improvement over the original) and I wanted to see what happened next.
So. After being manipulated by friends and Capitol alike to represent something she wasn't, Katniss Everdeen (Jennifer Lawrence, of course) has now been forcibly recruited by the rebel faction (led by President Julianne Moore) to appear as a role model in THEIR image and star in propaganda films directed by former gamesmaster Philip Seymour Hoffman. Meanwhile, the Capitol has a hold of Katniss's two-time partner Peeta and is presenting him as an emotional weapon for THEIR side.
That's all good stuff, and the story itself continues to intrigue. However… my worst misgivings were realized as the new movie painfully stretched itself out to reach a halfway-point "climax." As we already know that we're not going to reach the crucial stakes until the story ITSELF readies itself to end, this half-MOCKINGJAY is bereft of suspense, urgency and energy, despite the perfectly fine and experienced cast. And as we lose the festivities of the Games, we simultaneously lose the colorful contrast between the two worlds, so almost every scene takes on the same shade of gray (which is only remarkable in the transformation of Elizabeth's Banks' Effie Trinket into an actual human being–deliberately painted to resemble a cancer survivor concealing a bald head under a tight scarf). There's no "action" to speak of unless you count wartime bombings and mass shootings; and precious little humor (it's an absolute breath of fresh air when Woody Harrelson finally makes his entrance) to lighten the load. Oh, okay, Stanley Tucci's still good even as the somewhat subdued Capitol emcee, but Donald Sutherland only gets one genuinely effective bit near the "ending" (preventing himself from cackling out loud, thankfully).
The entire movie plays like a funeral, with pacing to match (did we really NEED the whole "Oh, no, she went to rescue the cat!" sequence, or was that just another way to pad this thing out?). Human remains, dirges, and, oh yes, crying. PLENTY of crying.
Yeah, I'll show up next year to see how it all turns out. I have a feeling we'll get an exciting wrap-up. Good cast. Good story. Possible compromises (I have no idea how much more Hoffman footage remains to be seen, but from what I heard, he did NOT complete his role before his sad demise). But since they just HAD to milk it, we've been sopped with this fitfully engaging slog until the real movie comes along. Perhaps when it's all available, some unauthorized tinkerer will edit the two movies into a single breathless presentation and show the world how this could and should have been done.


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Night;
Anniversary...
Before I get to the big news:
Yesterday was a momentous day, though I'd forgotten:
Marge reminded me that it was precisely one year to the day yesterday that we first laid eyes on what is now our new home in Windsor, VT! Yep, one year ago yesterday, we first tapped a pair of local realtors to check out this place -- and now we live here.
Just FYI.
Now, on to the big news --
MOONEYE is COMING to TOWN!
The band my son Daniel is part of is comin' to White River Junction!
Yep, Jeremy Latch, Sam Phillips and Daniel Bissette -- the threesome now known as "Mooneye" -- will be in White River Junction, VT's famed Main Street Museum (compliments of the amazing David Fairbanks Ford) tomorrow night, Tuesday, October 16 at 8 PM to open their ambitious October/November US tour.
Here's the scoop on the Main Street Museum, including contact info, schedule, link for directions, etc. -- see you there!
(For more on the Museum, click this link, too.)
Getting info on the Mooneye tour has been like pulling teeth, but I've got blood and molars on the carpet, so hopefully I'll know more in a day or two. Stay tuned, hopefully they'll be playing near you sometime soon.
Can't wait to hear/see them play with my own ears/eyes -- I won't be missing a nanosecond!
Mooneye has yet to record commercially in any venue, so I can't steer you to anything tangible/importable into your homes yet -- much as I ache for some for myself!
However, Jeremy Latch has some music available on audiocassette now, though it's not listed on the Yeay! Cassettes website as yet --
nevertheless, go ahead and pay Yeay!'s site an immediate visit, tell the deadbeats to update ASAP, and place your order.
Here's how -- and I know Jeremy's tape exists, I've held the cassette in my own hand! You want to request Yeay 019, entitled Love Letters for Everybody, and you can order it for $7 postpaid (I think) from
Yeay! Cassettes, PO Box 7, Turners Falls, MA. 01376.
To order, you just have to read this link's info first,
and then email kayleen@suchfun.net to make sure my $7 price quote is correct -- PayPal is accepted, so don't let these necessary steps delay your ordering today!
Here's an archival post of a spring/summer 2007 performance of the band (in its earlier incarnation) --
Check out "Vipers in the Tires" by the Jeremy Latch Love Always Love Band, recorded June 13th, 2007 at the Brickhouse Community Resource Center, Turners Falls, MA -- the very performance CCS grad and Pizza Wizard creator Sam Gaskin saw/heard and wrote me about back in June.
That's Dan on the left of the sidewise Brickhouse sign, playing bass. Circa June 2007, The Jeremy Latch Love Always Love Band featured Jeremy Latch (voice/guitar), Cory Bratton aka "Corey Mule" (drums), Sam Phillips (guitar), & Daniel Bissette aka "Pretty Danny" (bass). The YouTube video is described as a "lousy one take shot!," so keep your expectations in check, but it's a taste -- just a taste...
And finally, a short bio of the Mooneye members, cobbled together by yours truly from scant info coaxed, at forkpoint over breakfast, by this wayward father:
Jeremy Latch is from Turners Falls, MA, and Mooneye is the latest incarnation of Jeremy's The Love Always Love Band. He spreads music and joy everywhere he goes, including the bathroom. Jeremy (guitar, Casio keyboard, vocals) has written numerous songs and toured the US playing 'em, including "Spider Jones," "Mr. Whisperwalk," "Vipers in the Tires," "Alive and Dead," and more. As noted above,
Yeay! Cassettes has just issued Jeremy's solo audiocassette Love Letters for Everybody -- order Yeay 019, via this link and an email, per instructions.
Also note that Jeremy likes to skateboard and to draw graduated circles for hours, among other things.
Sam Phillips (guitar, clarinet, vocals) is an artist/photographer and a native of Brattleboro, VT. He co-manages The Tinder Box on Elliott Street in Brattleboro, loves to skateboard and create music and forms, and struggles with what might be tendonitis.
Visit The Tinder Box venue on MySpace for more info, pix (including 'Zombie Tag') and insights -- here's the short form overview, folks:
"The Tinder Box is an art 'collective' with no collective organization, a music venue, and a lot of weirdos smoking cigarettes on some front steps.... Located on the third floor of 17 Elliot Street, it might be best described as a space for things to breathe--things that are too often suffocated and pushed out of a world geared towards money and the people who have it. We are motivated by a desire to create a place where rock shows, dance parties, and creation can exist for their own sakes. A large ballroom functions as an outlet for all kinds of public events, from bands to film screenings..." Kudos to Sam and his amigos for making this a happening place! Also note Sam's uncle, Bill Phillips, is the fellow who scripted feature films like John Carpenter's adaptation of Stephen King's Christine, There Goes the Neighborhood (which he also directed), The Beans of Egypt Maine aka Forbidden Choices, Fire With Fire, El Diablo, Rising Son, and many others.
Daniel Bissette (drums, trombone, vocals) says his music is "fueled by the frustrations of growing up in America." He is a native Vermonter (born 1985) and has been drawing and making music of one kind or another (drums, guitar, etc.) most of his life. His art appears in an Italian book on director Lucio Fulci, onscreen in Lance Weiler's feature film Head Trauma (2006) on its companion alternative soundtrack CD Cursed, and his first self-published zine was Hot Chicks Take Huge Shits (2006). He currently lives in Brattleboro, VT and has a select but exquisite vinyl collection, and has steeped in Moondog, Harry Partch, Alejandro Jodorowsky, vintage jazz and various European traditional and folk musics. Dan and his dad Stephen R. Bissette jammed on a humor piece for the mini-comic Trees & Hills and Friends (2006) and "The Alphabet of Zombies" for the Accent UK anthology Zombies (May 2007). His mother Marlene O'Connor and his sister Maia Rose Bissette-O'Connor are also artists, whose paintings, drawings and photographs have been showcased in various Vermont and New England galleries.
Please note: Many of the graphics on this post are, of course, compliments of the great George Melies.
Have a Marvelous Monday, one and all,
if that's in any way possible for ya...
Labels: Daniel Bissette, House anniversary, Jeremy Latch, Jeremy Latch Love Always Love Band, Main Street Museum, Mooneye, Sam Phillips
posted by SRBissette at 1:43 PM 2 Comments
Closeup Blog-A-Thon: The Necessary Entry --
Tim Lucas at Video Watchblog often indulges various movie-related 'blogathons,' in which many bloggers create a virtual-community event; the latest Tim is participating in is a "Closeup Blogathon," and his posts start here (and continue afterward),
springboarding from Matt Zoller Seitz's The House Next Door blog post, " The Eyes Have It: Close-Up Blog-a-thon, Oct. 12-21," which explains all.
I usually don't participate, but this one was irresistible -- because there is one film that forever altered my understanding of the human face in cinema; one film that forever changed the function and importance and language of the closeup for this (then teenage) viewer; one film --
Sergio Leone's Il Buono, il brutto, il cattivo/The Good, The Bad and the Ugly (1966; US release December 29, 1967, so I saw it in the fateful year of 1968, the year of 2001: A Space Odyssey and so much more) transformed what movies were, are and could be.
From it's opening shot, in which a desolate western landscape was suddenly eclipsed by Albert Mulock's face, without a cut (Mulock loomed up into the frame from below, left, placing him between the viewer and the blistering vista), Leone's masterpiece literally transmuted landscape into face, face into landscape, as no previous film or filmmaker ever had.
Was there ever a western hero -- excuse me, anti-hero; the "good" moniker is pointedly ironic in the context of Leone's moral universe -- who filled the screen the way Clint Eastwood did? To my impressionable 13-year-old eyes, there wasn't, and to my 52-year-old eyes, there hasn't been a contender since.
Before Eastwood's Blondie (The Man With No Name, named at last, though he was of course dubbed "Joe" by the undertaker in A Fistful of Dollars) dominated the film, the first iconic face -- moving with unnerving feline grace from full-figure framing in a darkened doorway, stepping into that door frame and locking-and-loading the convoluted tale with his first interrogation (over a noisy meal of beans) of a very nervous fellow about one "Bill Carson" -- was none other than the man who shot The Beast from 20,000 Fathoms, Lee Van Cleef.
Since that monster movie had been the first powerful movie experience of my childhood, my earliest movie memory, Van Cleef was already hard-wired into my brain. Seen in this new context (though I'd seen Van Cleef in many westerns as a boy, those had been experienced on TV -- and he'd never been engraved on my retina in the way Leone was doing so here), synapses fired and exploded in my head.
This lean face, hawk-like nose and narrowed eyes were those of human raptor: "The Bad" indeed. I can hear the Ennio Morricone guitar riff in my head whenever I recall this image:
But greatest of all, my all-time favorite character in any film from any era, was and remains Eli Wallach as Tuco, "The Ugly." If Blondie was what we wished we could be in a dog-eat-dog world, Tuco is what we know ourselves to be. He is everything we fear we appear to be, and know in our hearts we are, however hard we try to transcend this sweaty shell of meat we're locked into. Tuco is appetite, hunger, need, desire, avarice, greed, passion, impulse, that which drives us all, a survivor above all, scraping out whatever he can from the dirt and stupidity of others. Tuco is a ruthlessly Catholic vision of man -- Tuco crosses himself constantly, though he wallows in the mud and dust far from whatever image of God he harbors.
I fell in love with Tuco, this feral mirror image of myself and every man I've ever known, and the love is undimmed from then to now, the fans flamed whenever I re-experience this most magnificent of all westerns.
I could go on and on, but there's really nothing more to say. Leone says it all in the film -- see it, for the first time (oh, how I envy those of you in that place of cinematic virginity!) or again and again and again, as I have and do and will this week.
There's nothing more to say, ah, but to show -- I must to share the final images of Leone's cast of characters, their final closeups. Morricone's blessed score -- amplifying the bird-call I once heard in New Mexico, outside of Cerillos, a cry I laughed aloud at in recognition -- shrieks anew in my head:
AAAAH-EEEEE-AHHH-EEEE-AH!
WAAAHHHHHHH --
WAAAAHHHHHHHHHHH ---
WAAAAAAAAAAAAAAAHHHHHH!
Have a great Sunday, and safe drive back from SPX, all you CCSers -- hope you all did well and have many fond memories and great tales (and sales!) to share...
Labels: Albert Mulock, Clint Eastwood, Closeup Blogathon, Eli Wallach, Good the Bad and the Ugly, House Next Door, Lee Van Cleef, Matt Zoller Seitz, Sergio Leone, Tim Lucas, Tuco, Video Watchblog


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The ICC Men's Twenty20 World Cup 2022 will start on October 17, and Sri Lanka's squad for the event has been announced. It is decided that the final will take place on November 14, 2022. UAE and Oman have been selected as the venues for the 20-over World Cup. Teams will compete against each other to advance to the top 12 in qualifying matches in Oman.
A T20 world cup is just around the corner, which means excitement is higher than ever. The world's top teams are all competing in the world cup. Knowing all the upcoming matches is crucial for a cricket fan. There is a schedule for the Sri Lanka World T20 2022 you might want to check out if you are supporting the team this year
Sri Lanka T20 World Cup 2022 Schedule, Warm Up Matches, Group matches Date Timings & Venues
There have been already announced the groups for the T20 World Cup. There will be eight teams competing for a spot in the Super 12 – Ireland, Netherlands, Namibia, and Sri Lanka will make up Group A, while Oman, PNG, Scotland, and Bangladesh will compete in Group B. In the second round, the top two teams of each group will compete.
Watching a match at the stadium is an option for fans of their favorite teams. These matches can also be easily viewed on various channels by people living in remote areas or unable to access stadiums. Featured on our website is a live television broadcast schedule for the T20 World Cup 2022, including the official broadcast channels.
Sri Lanka Team Squads for ICC T20 World Cup 2022
In addition, you can find information about the 2018 T20 world cup, including the schedule, venues, ticket prices, and team squads. Be sure to stay connected for all the latest information on the T20 World Cup matches. October 17 will mark the beginning of this massive event. November 14th, 2022, will be the date of the final. Don't miss out on supporting your favorite team and grab the tickets.
T20 World Cup 2022 Sri Lanka Squad
Sri Lanka Dasun Shanaka (c), Dhananjaya De Silva, Kusal Janith Perera, Dinesh Chandimal, Avishka Fernando, Bhanuka Rajapaksa, Charith Asalanka, Wanindu Hasaranga, Kamindu Mendis, Chamika Karunaratne, Nuwan Pradeep, Dushmantha Chameera, Praveen Jayawickrama, Maheesh Theekshana, Pathum Nissanka, Minod Bhanuka, Ashen Bandara, Lakshan Sandakan, and Ramesh Mendis.
Sri Lanka Team Social Hub: Sri Lanka Team always had loyal fans. Their Facebook page has
Sri Lanka T20 World Cup Performances So Far
Srilanka was the Winner of the 2014 T20 world cup.
Buy Sri Lanka Match Tickets World T20 2022
All ticketing partners as well as ticket platforms such as Book My Show now offer tickets to the Sri Lanka T20 match. During the 2022 T20 world cup, you can watch all the matches of Sri Lanka in person. Sri Lankan fans would surely not miss any match of theirs and would like to sit in the stadium and watch it live.
Post Tags: #and Schedule for ICC T20 World Cup 2021#Players List#Sri Lanka Team Squad
ICC T20 World Cup 2022 Opening Ceremony
Dubai Cricket Stadium/Ground Venue for ICC Men's T20 World Cup 2021
Super 12 World Cup matches are played in Dubai international…
Read More Dubai Cricket Stadium/Ground Venue for ICC Men's T20 World Cup 2021Continue
The captains in T20 World Cup has a major role…
Read More ICC T20 World Cup 2022 All Cricket Team Captain Name and ListContinue
Ireland Team Squad, Players List, and Schedule for ICC T20 World Cup 2022
T20 World Cup 2022 Squad and fixture for Ireland. You…
Read More Ireland Team Squad, Players List, and Schedule for ICC T20 World Cup 2022Continue
Bangladesh Team Squad, Players List,Captain, Ticket and Schedule for ICC T20 World Cup 2022
The Bangladesh T20 world cup team squad can be found…
Read More Bangladesh Team Squad, Players List,Captain, Ticket and Schedule for ICC T20 World Cup 2022Continue
Located in Sharjah, United Arab Emirates, the Sharjah Cricket Stadium…
Read More T20 World Cup Venue 2021 Sharjah Stadium: Schedule and Time Table 2021Continue
Al Amerat Cricket Ground -Oman Cricket Stadium Venue for ICC Men's T20 World Cup 2021


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iLounge › News
Mix: Camera, Bluetooth, Ads, VoIP Mic, Radiohead
Makayama Software has introduced its new Camera PRO software for jailbroken iPhones. The application improves on the iPhone's existing camera application by adding features such as a self-timer, digital zoom, and burst mode. Other features, including flickr integration and manual exposure, are expected to be added in the coming months. Makayama Camera PRO for iPhone is available now and sells for $20; a feature-limited free version is also available.
A fourth-generation iPod owner has posted a article showing how to add internal Bluetooth capability to the device using a Jabra A120S Bluetooth Music Adapter. According to the author, the process requires "a steady hand and decent soldering skills," as well as a voltmeter, hook-up wire, a Phillips screwdriver, a Torx screwdriver, a Xacto knife or razor blade, and, obviously, a 4G iPod.
Apple's iPhone ads that showcased the functions of the device have been selected as the "Made me want to buy it now" ads of 2007 by USA Today. "Apple gets it," said William Ward, a marketing professor at Alfred University in Alfred, N.Y. "The ad clearly demonstrates the benefits. Most companies aren't able to do 'simple' — but Apple takes a pretty complicated product and makes it simple."
Following the release of the SIP VoIP application for the iPod touch, a new picture tutorial shows how to make a VoIP-compatible microphone attachment for the touch using a Macally iVoice III iPod microphone and a small bit of soldering.
One of the most prominent iTunes holdouts, English rock band Radiohead's latest release, In Rainbows, is now available through the service as a DRM-free iTunes Plus offering. In October, Radiohead released the album on its own through its website on a "pay what you want" basis; in Dec., it was reported that the band was in talks to release the album through the iTunes Store. [via Daring Fireball]


When you have a plan in place, getting where you want to be becomes a whole lot easier.
When many of us hear the words "mental toughness," we automatically envision someone "breathing and visualizing" their way through tough times.
That's not really how it works. I've worked with close to 5,000 athletes, both at the youth and professional levels, to help them truly build their mental resiliency and tap into their extra gear.
We're in a time where self-esteem is at an all-time low. Athletes are all getting bigger, faster and stronger, but they lack resiliency. Without having the true mindset of a limitless individual, or someone who is able to get knocked down 9 times only to stand up 10, your "bigger, faster and stronger" traits are largely useless.
I want to define what true resiliency is and the traits that define those who have it. To be completely honest, I think the term "resiliency" is one of the most misunderstood terms in the performance world. It's often too superficial and too general, and it goes far beyond avoiding injury or consistently filling the stat sheet.
To start with the basics, being resilient is simply having the ability to recover, or bounce back, quickly from undesirable conditions. From my experience, resiliency is having the ability to adapt. It is just being able to "keep moving" regardless of what happens. It is being able to control the "controllables," in turn allowing you to control the "uncontrollables." It is the trait that the best of the best possess, and one that you need to start investing in now if you want yourself or your athletes to perform at high levels.
All of these are completely inexpensive traits to work on, and ones you can build independently. There is literally no excuse not to start investing in these traits. Either you want resiliency, or you do not.
Self-esteem is having a positive outlook on yourself based on the skills that you possess.
Lesson one: Invest in yourself to build true skills. Do you know what you are truly good at? Do you know what skills you possess that can boost you to the next level? A mentally resilient individual can adapt no matter what because they truly trust the skills they possess. As a result of working on new skills, or brushing up on any old ones, your self-esteem increases, which allows you to perform without thinking; you're instinctive now.
Building self-esteem comes from hundreds of hours of hard work, and self-esteem and confidence go hand in hand. If you don't have much self-esteem, you're more likely to shy away from competition, beginning a cycle that can continuously keep you from reaching your full potential.
Self-reflection is simply looking deeply at yourself or your performances.
Keep it simple: Have a pre-performance focus/purpose. Ask yourself, "What is my purpose? What skill am I focusing on? How am I going to execute it today?" Once you're finished with your performances, complete a post-performance reflection and ask yourself, "Did I accomplish what I want? What did I do well? What do I need to get better at, and how will I act on it tomorrow?"
A mentally resilient individual understands themselves well; they know when they can go all-in and when they need to tone back. The more you reflect, the more self-esteem you build, and the more self-awareness you have going into performance.
"Competence is confidence." Simply put: The more you know about a situation or the environment you need to perform in, the more confident you become.
Keep it simple: Understand your role, understand what you need to do in the environment to help your team win and understand who you are performing against. A mentally resilient performer is one who knows their job and sticks to it; they don't do too much and overcompensate. Instead, they do the right amount, allowing them to perform effortlessly and effectively.
The New England Patriots are consistently one of the most mentally resilient teams in sports, largely because they live by the simple mantra of "Do Your Job."
In the modern age, almost none of us focus well.
We think we do, but we truly don't. Think of how many times you've been working to finish a project but became side tracked by social media or some other external factor.
Or during a performance when you lost focus on the task at hand because you started paying too much attention to what your opponent was doing.
Laser focus is simple enough to develop: Understand the one or two roles you have to play in your team's performance, then go do it. No matter what happens, keep going back to your roles; don't get side tracked. True focus is just eliminating distractions. Don't get caught up in doing things that are irrelevant–focus on your role. And if you make a mistake, do not try to make up for it—this just causes more distractions. Instead, get back to your main focuses.
There you have it. These four simple traits can help young athletes build better mental resiliency. Determine what improvements could help raise your self-esteem, then work hard to make them. Self-reflect both before and after performances, identifying things you did well and what could've been better. Build competence through excellent preparation and awareness. And finally, work on building an unshakeable focus by ignoring distractions, identifying your role, and executing it.
Be honest with yourself, continue to invest in your own skills, and keep pushing for your results. When you have a plan in place, getting where you want to be becomes a whole lot easier.


I don't generally like the taste of apples, either the real fruit or the synthetic flavouring version…. so I tried this drink with a low opinion already formed. It actually surprised me because I now want to get another can of this. The flavour is light and sweet, but not too sweet. It's fruity and moreish, and packs quite a punch of wake-up-ness – I really enjoyed this new Relentless variety, and it's definitely original – there's nothing out there I can compare it too even if I look through my list of USA drinks… This one is unique to the UK for the moment so go buy it and try it and help it stay on sale!


Arsenal will lock horns with Chelsea, Manchester United and Napoli in the signing of Nicolo Barella, according to Sky Italia.
Chelsea have been in the running for the Italian's signature, but the west London club are "resisting Maurizio Sarri's calls" to buy him.
With the Blues seemingly edging their way out of the picture, it is Arsenal who have emerged as Napoli's sternest competition.
Correire dello Sport claim United have issued a non-negotiable offer to the Serie A club as they look to recruit the play-maker in the January transfer window.
However, United are reportedly rivalling such interest and are reported to have made their own one time offer to land the 21-year-old this month.
It is suggested United scout David Williams is a huge fan of the midfielder and has recommended him to club hierarchy, but the Italian side do not want to compromise their price-tag.
According to the report, United made a take-it-or-leave-it offer of £30million for Barella, but Cagliari value the player closer to £45m and refused to entertain the interest.
Barella, 21, is regarded as an outstanding talent among his generation in Italy but is reluctant to move in January as his stock continues to rise in Serie A.
Napoli and Inter are willing to wait until June before entering the market for Barella, so it would take a persuasive offer from Chelsea and Arsenal to change his mind and lure him to the Premier League during the January window.
He has won four caps for Italy since making his debut in a 1-1 draw with Ukraine in October 2018.


In Japan, summer means festival season! Dive deep into Japanese tradition with dances, music, and portable shrine parades filling the hot summer months with excitement and joy. Beat the heat with happiness as you savor local culture dating back hundreds of years, alive and well in Tokyo's modern age!
While the Hozuki Market takes place on the 25th and 26th, displaying beautiful Chinese lantern plants, performances of Tokushima Prefecture's traditional Awa Odori take place on the 27th and 28th of July.
The main venue of the Hozuki Market is the grounds of the Bishamonten Zenkoku Temple and apart from selling beautiful potted lantern plants, local eateries sell their delicacies at various food stalls.
Awa Odori, following the market, is an old Buddhist tradition and is performed by about 20 participating groups each day. The nimble dancers parade along Kagurazaka Street, an event that is not to be missed!
Eisa is Okinawa Prefecture's traditional Bon Odori - the dance performed during the Buddhist festival of Obon, a festival that honors ancestor spirits. Twenty-six organizations take part in the Shinjuku Eisa Festival, showcasing Okinawa's traditional eisa performances in colorful costumes, accompanied by powerful Taiko drums and energetic cheering. The buoyant festival is being held around both Shinjuku Station East and West Exit. Head over for an authentic breeze of Okinawan culture and celebrate the Japanese summer!
August 4 (Sat), 11:00 a.m. – 7:30 p.m.
The Nogi Shrine Summer Festival is an exciting community event that's not only about food and fun but also about learning. It's a great place for families to experience a Japanese summer festival while exploring culture and history at both Nogi Shrine and Nogi Kaikan.
Look forward to savoring kakigōri (shaved ice) and cotton candy while trying your hands at balloon fishing, a classic game of Japanese summer festivals! Besides that, events such as picture story shows and performances by a mixed chorus are held to entertain the visitors. And don't miss out on browsing the festival's antique market to find a one-of-a-kind souvenir!
This massive event is one of the Three Great Festivals of Edo, along with the Sanja and Sanno Festivals. On August 12, the large portable shrine called "Nonomiya Mikoshi" that weighs 2 tons is paraded around the streets in a spectacular fashion – that only happens once every three years! The parade is accompanied by the traditional shouts "Wasshoi, wasshoi!" as purifying water is poured on both participants and visitors alike.
Japan's largest samba parade takes place in Asakusa's summer heat. Ever since its beginnings in 1980, the festival has grown in size and scale every year, leading up to half a million visitors in 2017. On this day, samba teams from all over Japan come together, each one of them showing off their costumes and skills under a theme that the teams chose for themselves. The parade starts at 1:30 p.m.
This is a true Roppongi summer tradition: over 60,000 people visited the three-day long festival in 2017. The dance itself is held on the 25th and 26th in the Roppongi Hills Arena and traditionally begins with Roppongi's original song "Ropponjin Ondo", which translates to "the dance of the people of Roppongi". When the people dance around the traditional wooden scaffold to the song's tunes, Roppongi's Obon has officially begun!
The yosakoi festival was born in Kochi Prefecture in the year of 1954 in the context of projects to revitalize and develop the local economy. Yosakoi makes use of little instruments called naruko that bring sound to the energetic dance of people in colorful outfits. This custom took Japan by storm and today, yosakoi festivals can be enjoyed throughout the entire country. The Harajuku Omotesando Genki Matsuri: Super Yosakoi was first held in 2001 as a shrine festival dedicated to Meiji Shrine. In 2017, 106 teams took part and drew a crowd of about 840,000 spectators.
As one of Tokyo's most popular festivals, Azabu-juban Summer Night Festival celebrates its 52nd anniversary this year. The fun festival attracts around 300,000 visitors every year who enjoy strolling down the street and snacking their way through the night. Azabu-juban is well known as a shopping street of famous luxury and brand stores close to the many embassies. There's also an area called oragakuni jiman which features over 50 cities, towns, and regions from all over Japan offering regional produce and specialties. Taste your way through local dishes, sake, and beer! At a place called Patio Juban is a stage on which dance and music performances are held to entertain the visitors.
This stunning event exhibits old floats from the Edo period as it is held, with the main shrine festival taking place on Sunday the 16th. Look forward to a beautiful parade of those historic floats and 15 portable shrines, including a brand-new mikoshi from last year! Especially noteworthy are Asakusa's own geisha joining the procession, making the Akasaka Hikawa Matsuri a real summer must-see! Plenty of events are held on the shrine precincts during the weekend, including a Bon-Odori dance and the Akasaka Meitengai, gathering famous shops of the area that entice with local products!
The Daradara Festival is one of Japan's longest shrine festivals, lasting from the 11th to the 21st of September, offering a large variety of traditional performances and dances. The highlight of these celebrations takes place on the 16th, a day that is entirely dedicated to Japanese court music and dances. In ancient times, the festival was also known as the "ginger market," as ginger was sold extensively on the shrine grounds and its vicinity. This is because, the shrine used to be surrounded by a vast ginger field and thus, many people offered ginger roots to the Shinto deity enshrined within. Even today, fresh ginger roots are being sold every day. Make sure to get your hands on some - a person who regularly consumes some ginger is said to never ever catch a cold!
The 29th of September marks the day of the procession of oiran, an enigmatic procession of courtesans of old, that celebrates Shinagawa's history as a bustling rest stop on the way between Edo and Kyoto. Besides the parade, there's a lot more to see and do, such as stalls offering food, drinks, and various goods in Seiseki Park, and a children's stage that definitely shouldn't be missed.
On the 30th, there's the Old Edo parade, a traditional procession of Honsen-ji firefighters, stalls from Shinagawa's hotel restaurants offering their delicacies, street rakugo, and a mini steam locomotive occupying the Tokaido Street. To make this Old Edo experience complete, there's also a vegetable all-you-can-grab offer and a workshop on the traditional art of creating stuffed animals – spend an entire day in Old Edo, there's so much to see and do!
This year, the famous Fukuro festival begins on the evening of September 22, a Saturday and national holiday, while the mikoshi parade takes place on Sunday 23. Fourteen local groups gather in Ikebukuro, filling Ikebukuro with both shrine parades and eager spectators. October 6 marks the day of the dance festival, featuring intriguing performances such as hula, Kyokushin Karate shows, Edo-gei Kappore (a traditional comic dance), the Sado Okesa dance, the Ikebukuro Yassa, Eisa from Okinawa, and of course the Tokyo Ondo – this lineup promises a colorful dance festival! On Sunday, October 7, the 19th Tokyo Yosakoi is being held.


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5099 Iainbanks è un asteroide della fascia principale. Scoperto nel 1985, presenta un'orbita caratterizzata da un semiasse maggiore pari a 2,4851166 UA e da un'eccentricità di 0,0515564, inclinata di 1,18281° rispetto all'eclittica.

L'asteroide era stato inizialmente battezzato 5099 Alexgibbs per poi essere corretto nella denominazione attuale. L'eponimo venne poi attribuito all'asteroide 14220 Alexgibbs.

Inoltre l'eponimo Iainbanks era stato inizialmente assegnato a 29760 Milevsko che ricevette poi l'attuale denominazione.

L'asteroide è dedicato allo scrittore scozzese Iain Banks.

Note

Collegamenti esterni

Iainbanks
Corpi celesti scoperti nel 1985

redpajama_set_name: RedPajamaWikipedia


Different fragile tea party sandwiches incorporate just light fillings running from basic paper-slight cut cucumber and some tomato, to prawns and of course salmon with much cream cheddar. At first arranging your own celebration looks like a lot of occupation, particularly when you need to fill platter loaded with cushioned and minor triangle sans of various types. However, then with a little creative ability you can simply transform that little fest into something imaginative which will require almost no employment (contrasted with customary parties that is). To make customary best tea party sandwiches cut the outside layer off every one of the edges so the san is not to substantial to process and sufficiently light to attempt without topping off for your evening tea.
Nobody would expect anything not exactly a distraught tea party from the Mad Baker, however I'm going to give you a few tips and formulas to offer you some assistance with staying rational while arranging your party. Sandwich formulas are by and large really easy regardless, yet there are a few things to remember when wanting to make easy tea party sandwiches.
To make a san, gently toast one cut of bread. Spread on the fancied toppings, remove the coverings, then cut the toast down the middle long wise. Fill, if you want, two rectangulars with any proteins or vegetables you prefer. Nothing sets you up for the day, or offers you some assistance with recovering from the prior night, similar to an appropriate English breakfast. What's more, here you can discover how it turned into a precept, what you ought to serve and even a little choice of brilliant formulas to attempt when you have room schedule-wise, for example, porridge and English Marmalade.


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Hurtigruten Cruises
Lofoten Cabins
OverviewReviewsDiningActivitiesPhotosCabins
Theodore Scull
Cruise Critic Contributor
Lofoten has 87 cabins that can sleep 151 passengers. While the majority of cabins are double occupancy, the ship has 27 single cabins and a handful of four-berth cabins.
If you're used to standard cruise cabins with twin beds that can convert to a queen or king, you may be disappointed to discover that the majority of this ship's cabins are very tight in dimensions, and most contain upper and lower berths. Because Lofoten is an older vessel, cabins will vary in size, layout and berth configuration, even within the same category.
Only seven cabins have two lower beds (one converts to a sofa during the day), full views and private bathroom facilities. These include categories N (75 to 140 square feet) and A2 (86 square feet) on the Saloon Deck.
Twenty cabins on B Deck are cozy outsides (65 to 86 square feet, also considered category A2), each with a small porthole, upper (folds up) and lower (sofa) beds, twin closets and drawers, a small table and stool, and a moderate-size shower room with toilet and basin. Deadlights may be placed over the porthole during rough seas.
The D category (54 to 75 square feet) includes both insides and outsides, and, in effect, they have the dimensions of a railway sleeping compartment with washbasin only and shared shower and toilet facilities along the corridors. Two Category J cabins (75 square feet) are by the bulkhead and have a very limited view. Category I cabins (65 to 107 square feet) are insides, and the larger ones have four berths. They also lack private facilities.
Cabins are assigned in advance to roundtrip passengers; for others, the category will be guaranteed but the exact cabin number will be allocated once onboard.
Cabins do not have phones, fridges, TV's, radios and the other usual cruise ship amenities. The ship has no elevator, and no cabins are wheelchair accessible.


Would you recommend Vivid JS to a friend?
I like it. But: The popup on the landing page that asks to upvote the product on ProductHunt, is pretty annoying. And you can't remove it unless you click one of the buttons given.
Daniel Omoniyi@daniel_the_geek · Founder & CEO, Conteidon.
Really clean tool, but what makes it better than CSS based solutions, like FontAwesome for example?
Beautiful! Can't wait to see even more icons added as the time passes! Will definitely be watching this and probably implementing it in my new projects!