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Tag: james macdonald
Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the breakdown of the marriage of a middle-aged couple, Martha and George. Late one evening, after a university faculty party, they receive an unwitting younger couple, Nick and Honey, as guests, and draw them into their bitter and frustrated relationship.
The play is in three acts, normally taking a little less than three hours to perform, with two 10-minute intermissions. The title is a pun on the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's Three Little Pigs (1933), substituting the name of the celebrated English author Virginia Woolf. Martha and George repeatedly sing this version of the song throughout the play.
Who's Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–63 New York Drama Critics' Circle Award for Best Play. It is frequently revived on the modern stage.
Imelda Staunton and Conleth Hill star in a new production of the play, directed by James MacDonald, at the Harold Pinter Theatre in London currently (early 2017). This is the production I shall be discussing in this post from this point on though I do discuss the play in a broader aspect too while doing this.
Stage Layout
Beige: stage floor
Light grey: Raised areas
Dark Grey: The entrance and the stairs leading up to the bedrooms.
Green: Access off stage. The lefthand door goes to the kitchen, the middle is the entrance to the house and living room and the one on the right leads to the toilet.
Purple: Offstage. I guess those sat on the right would have had some limited view but most events occur towards the front of stage.
Orange: The drinks trolley and the record player.
Red: the seating.
Brown: On the left the fireplace, centrally the table and the cabinet on which the piece of art sits.
Yellow: The triangle is the art piece they comment onn in the first act, the circles the bells that get hit at one point and the diamond a free standing light.
Thick black: Walls.
This image is an estimation of how everything was placed on stage. Kirsty Walk, during the brief break between acts 2 and 3 told us about the staging. The couch and lower level is set out like a boxing ring into which the characters enter to confront each other with the fireplace, doorway and reading areas act as the ringside where they take respite from the frisson of events as observers.
Act One: "Fun and Games"
George and Martha engage in dangerous emotional games. George is an associate professor of history and Martha is the daughter of the president of the college. After they return home, Martha reveals she has invited a young married couple, whom she met at the party, for a drink. The guests arrive – Nick, a biology professor (who Martha thinks teaches maths), and his wife, Honey. As the four drink, Martha and George engage in scathing verbal abuse of each other in front of Nick and Honey. The younger couple is first embarrassed and later enmeshed. They stay.
Martha taunts George aggressively, and he retaliates with his usual passive aggression. Martha tells an embarrassing story about how she humiliated him with a sucker-punch in front of her father. During the telling, George appears with a gun and fires at Martha, but an umbrella pops out. After this scare, Martha's taunts continue, and George reacts violently by breaking a bottle. Nick and Honey become increasingly unsettled and, at the end of the act, Honey runs to the bathroom to vomit, because she had too much to drink.
Act Two: "Walpurgisnacht"
Traditionally, "Walpurgisnacht" is the name of an annual witches' meeting (satiric in the context of the play). Nick and George are sitting outside. As they talk about their wives, Nick says that his wife had a "hysterical pregnancy". George tells Nick about a time that he went to a gin-mill with some boarding school classmates, one of whom had accidentally killed his mother by shooting her. This friend was laughed at for ordering "bergin". The following summer, the friend accidentally killed his father while driving, was committed to an asylum, and never spoke again. George and Nick discuss the possibility of having children and eventually argue and insult each other. After they rejoin the women in the house, Martha and Nick dance suggestively. Martha also reveals the truth about George's creative writing escapades: he had tried to publish a novel about a boy who accidentally killed both of his parents (with the implication that the deaths were actually murder), but Martha's father would not let it be published. George responds by attacking Martha, but Nick separates them.
George suggests a new game called "Get the Guests". George insults and mocks Honey with an extemporaneous tale of "the Mousie" who "tooted brandy immodestly and spent half her time in the up-chuck". Honey realizes that the story is about her and her "hysterical pregnancy". The implication is that she trapped Nick into marrying her because of a false pregnancy. She feels sick and runs to the bathroom again.
At the end of this scene, Martha starts to act seductively towards Nick in George's presence. George pretends to react calmly, reading a book. As Martha and Nick walk upstairs, George throws his book against the door. In all productions until 2005, Honey returns, wondering who rang the doorbell (Martha and Nick had knocked into some bells). George comes up with a plan to tell Martha that their son has died, and the act ends with George eagerly preparing to tell her. In what is labelled the "Definitive Edition" of the script, however, the second act ends before Honey arrives.
Act Three: "The Exorcism"
Martha appears alone in the living room, shouting at the others to come out from hiding. Nick joins her. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, "Flores para los muertos" (flowers for the dead), a reference to the play and movie A Streetcar Named Desire, also about a marriage and outside influences. Martha and George argue about whether the moon is up or down: George insists it is up, while Martha says she saw no moon from the bedroom. This leads to a discussion in which Martha and George insult Nick in tandem, an argument revealing that Nick was too drunk to have sex with Martha upstairs.
George asks Nick to bring Honey back for the final game – "Bringing Up Baby". George and Martha have a son, about whom George has repeatedly told Martha to keep quiet. George talks about Martha's overbearing attitude toward their son. He then prompts her for her "recitation", in which they describe, in a bizarre duet, their son's upbringing. Martha describes their son's beauty and talents and then accuses George of ruining his life. As this segment progresses, George recites sections of the Libera me (part of the Requiem Mass, the Latin mass for the dead).
At the end of the play, George informs Martha that a messenger from Western Union arrived at the door earlier with a telegram saying their son was "killed late in the afternoon…on a country road, with his learner's permit in his pocket" and that he "swerved, to avoid a porcupine". The description matches that of the boy in the gin-mill story told earlier. Martha screams, "You can't do that!" and collapses.
It becomes clear to the guests that George and Martha's son is a mutually agreed-upon fiction. The fictional son is a final "game" the two have been playing since discovering early in their marriage that they are infertile. George has decided to "kill" him because Martha broke the game's single rule: never mention their son to others. Overcome with horror and pity, Nick and Honey leave. Martha suggests they could invent a new imaginary child, but George forbids the idea, saying it was time for the game to end. The play ends with George singing, "Who's afraid of Virginia Woolf?" to Martha, whereupon she replies, "I am, George…I am."
When people debate the greatest plays ever written this one is regularly in top 10s and rightly so, when acted well it is one of the most devastating evenings of theatre you can encounter.
However the live broadcast of the current production I saw of it was not…
In a sentence I found that subtlety was thrown out for overt caricature which led the dark dry humour of the play to be performed as if it was an American sitcom.
There are only four roles in the play.
Martha – (Imelda Staunton) A screeching loud New Englander
the daughter of the president of the college
George – (Conleth Hill) an associate professor of history
A put upon 'family man' with a whiny nasal tonality
Nick – (Luke Treadaway) A stereotypical all American corn fed jock
a biology professor (who Martha thinks teaches maths)
Honey – (Imogen Poots) A squeaky voiced, ditzy, North West all American girl
Nick's childhood sweetheart and wife
I think what set it off on the wrong foot was the preceding short documentary we were presented with about the play's history with talking head after talking head telling us of how Albee has humorous dialogue. This led to certain members of the audience laughing at every few lines as if a laugh track was playing in their head telling them when, where and to what degree to laugh.
Do you ever feel like you're the young child in the children's story 'The Emperor's New Clothes'? That is how I feel about this particular production. It has received glowing reviews but the bitterness of the characters and their predicament is lost in people doing the broadest impressions of Americans they can manage. For the time period and location the play is set it's not inaccurate but I kept getting the feeling more effort was put into that side of the production than working on the nuances of each exchange between the characters. Maybe I just feel Imelda Staunton is too old to play the role. Yes controversial. How dare I say such a thing of a living legend. But it reminds me of when, in opera, you have people with visible grey hair performing the role of teenagers because they're the ones with the ability to do so. The performance is good but when you have a very short woman in her 60s. Playing a woman in her 50s, pawing at a tall 32 year old (playing a 28 year old) it comes across as false he would have, at least in this production, an all but implied sexual liaison while his wife lies drunk in the toilet.
The whole production is oddly paced and plays out in the style of a 1960s sitcom in tone. I think what suits it better is to play it far more straight, to allow the black humour of the passive aggression play out without flourishes. Perhaps what I instinctively felt was there was no energy between the performers. Of course it's about dysfunctional relationships but even that has an energy to it which I found lacking here and instead replaced with energy you expect of a comedy which doesn't fit the tone I was expecting.
Imelda Staunton all but yells her lines. Each. And. Every. Time. This is a great acting by a living theatre legend? Her performance is praised but there is no nuance. Either she's shouting, thrusting herself at Nick or rattling off stories intending to shame her husband… until the final scene which is performed well but is too little too late. Nuance be damned. It's far too over the top. I saw her, in person, performing the role of Gypsy Rose Lee's mother Rose in the 2015 production of Gypsy and can't help but feel she has brought over some of that behaviour when reprising the American accent which was a mistake. She is a good actor but something in the direction has led her and the others astray. Less shouting and I probably would have enjoyed it more. There's a way to be loud without coming across as if every line should be shouted and she is more than skilled enough to do so.
Conleth Hill… I don't know what to say. He plays the role of a put upon family man from a 1950s American sitcom. Burton played the role as a mild mannered yet passively aggressive man of letters while Hill plays the role as… Varys from Game of Thrones (who he plays) so I am a bit concerned he lacks range as I've not had the chance to see him in other productions. If you know Nathan Lane and how he performs comedy roles just imagine him in the role and you're more or less where I was watching this. What are meant to be bitter barbs of a frustrated man come across like catty comments more fitting of a stereotyped gay character. Maybe that's something they were implying in this production though I feel I'm giving them more credit that they deserve.
Luke Treadaway plays his role overly safe if not quite bland. Imagine a jock from a comedy film or all American young hero from a war film. There you go you know how he came across both aurally and physically. Admittedly the character lends himself to being played that way but it's too blunt. The liaison between Nick and Martha comes across as so sudden and forced due to how things have been staged that it's as if you put two cats on heat in a box and watched them writhing into each other. Partially intentional of course but a bit too forced here when the others are in the room still.
Imogen Poots also plays her role somewhat safe if not overly straight with little if any nuance. Someone apparently watched Grease and decided to replicate a Pink Ladies. The role is a foil for the others and is meant to offer some levity to the deeply embittered proceedings but here, where everything is on the verge of spilling into slapstick, it's hard to make the role have any weight sadly. She is a good actress and makes the most of what she can thus stealing a few scenes but usually gets left in the sidelines. Often quite literally by being offstage for most of acts two and three.
There is, as the preceding documentary insisted, humour in the dialogue but by drawing attention to it with slapstick like delivery undermines the underlying tragedy of the narrative involving a marital breakdown and how the characters feel trapped by social conventions.
Each person is ignoring reality and perpetuating a socially acceptable facade. They do so to appear as successful members of society when in reality each of them is, in their own way, severely damaged. In their overwrought efforts to fit social norms they only exacerbates their problems until confronted with their reality which ultimately breaks them. Be it Martha marrying George because she wanted to remain a part of her feckless father's world in which she herself could never impress him. George never becoming head of the History department. Nick who married his childhood sweetheart because that's what everyone expected of him (especially after the phantom pregnancy) or Honey who you could argue remains a cypher to us beyond her existence as Nick's wife.
The costumes were what you would expect so there is no fault there and the stage design gives an over burdened, claustrophobic, atmosphere helping emphasis the intensity of the character's interactions with it's excessive furniture tightly packed into a small area. Some liberties were taken in order to make it more of a chamber drama than other productions might but on the whole you don't miss anything substantial.
The play is good. This production is not.
If you have never seen a production of this play before then go watch the film starring Richard Burton and Elizabeth Taylor. I never suggest watching the film as, of course, it's a completely different experience – however in this case I think the real life relationship of Burton and Taylor lent the dialogue exchanges a depth that is hard to replicate though, by their own admission, it took a toll on their relationship and Taylor felt she was playing Martha too much in real life afterwards. I feel the play is better played understated and straight while this version has overplayed the humorous aspects.
Personally I feel the delicate balance required for this play is lost and makes me wonder if, in trying to play up to the humour inherent in Albee's dialogue, James MacDonald unintentionally played up the humour to differentiate this production from others and in doing so completely undermined the drama of the piece. It discredits the themes of reality versus illusion, as all comedy requires some level by trivialising or satirising of reality in order for us to cope with it's harshness, and the social expectations both we and society expect of each other which few, if any can live up to.
Playing it for laughs too much means the impact of the reality is muted and because Martha is played over the top we see her more as a caricature not as a tragic figure who feels the need to exaggerate her actions in order to garner a reaction – first from a father who all but ignores her when she doesn't serve his purpose and then a husband she feels is inattentive to her needs.
Nick is the overachiever being both an athlete and a prodigy who got his masters at 19 years old. He has to get things right at all times because that is what is expected of him. Even in the bed room he is expected to be a stud but ultimately, like all the men in Martha's life, failing her as a 'flop'. Honey gets pregnant (albeit it's proven to be a phantom pregnancy soon after) so of course he will marry her as any good guy would. Failure is not an option.
Contrasting to him is George to whom failure is the only option and like any underachiever he plays the role of satirist playing out fictional narratives over and over to trivialise the dramas of reality. He fails Martha by not having children and by not being able to stand up to nor replace her father as a potent, in both senses, male figure in her life.
Honey… is a cypher. Is Honey even her real name or just a moniker everyone calls her by just like Lady Bird Johnson in real life because that's the only name anyone around her uses? Do we hear of anything she does exclusive of Nick? Thus she is in the role of the trophy wife, as George was the trophy husband expected to have achieved but ultimately failing too for Martha.
Honey and George mirror each other as 'failures' – he as an academic and husband and she as a traditional housewife meant to serve her husband and cause him no trouble. Both fail to bear children in comparison to their alpha partners who, over the nights proceedings, are drawn to each other and have a tryst which ultimately leads them to realise that it's not an equal they need but a partner who compliments and supports them. Honey, despite drinking, plays the doting wife to her husband obeying him when leaving while George, as Martha mocks at one point, makes her laugh and as the play ends he tries, but fails, to comfort her as she admits she is deeply scared now her bravado has been stripped away and she accepts reality now George has stopped humouring her about their son and no doubt any number of unspoken illusions they have maintained with one another until this point.
This review might be a bit patchy but I keep writing things and not posting them so expect, in the following few weeks, reviews of things that are a bit out of date…
Posted on June 10, 2017 Categories Commentary, Literature, Observations, Review, TheatreTags 2017, acting, analysis, art, Commentary, conleth hill, costumes, criticism, dialogue, drama, edward albee, george, honey, humor, humour, imelda staunton, imogen poots, information, james macdonald, luke treadaway, martha, nick, Observations, performance, play, Review, stage, stage layout, staging, synopsis, theater, theatre, tone, virginia woolf, who's afraid of virginia woolfLeave a comment on Who's Afraid Of Virginia Woolf?


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Lululemon Just Launched Its First Running Sneaker—and They're Selling Out Fast
Leigh Weingus
Here at Parade.com, we're all about sharing products we love with our audience. When you make a purchase on an item seen on this page, we may earn a commission, however all picks are independently chosen unless otherwise mentioned.
One of the original athleisure brands, Lululemon has been rolling out chic and functional activewear since 1998. Customers rave about their leggings, tank tops, yoga mats and more, so it only makes sense that they would take on the footwear world next.
The brand's newly-launched "Blissfeel" sneaker is available in seven colors, ranging from neutrals to neons. A "woman-first" running shoe, Lululemon crafted this shoe with women in mind first—whereas most brands start with a men's running shoe and then move on to women's.
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"We intentionally started with women first because we saw an opportunity to solve for the fact that, more often than not, performance shoes are designed for men and then adapted for women," Sun Choe, lululemon's Chief Product Officer, said in a press release. "That didn't sit well with us. Innovating for women is in lululemon's DNA—now we're bringing that same expertise to footwear, and women were part of this journey every step of the way."
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New COVID development plunges club into new crisis
Callum Walker July 7, 2021 mode_comment0
Salford head coach Ian Marshall has revealed that the Red Devils are the latest side to be suffering heavily from COVID-19, throwing their fixture with Castleford on Sunday into jeopardy.
With a number of – if not most of the first-team – isolating, just seven players took to the training field on Wednesday afternoon, Marshall reported to the Manchester Evening News.
"We've got five players positive and around 10 or 11 isolating," Marshall said. "We've had seven players in training today."
Salford have already had two games postponed – against Hull FC and Wakefield – due to the ongoing COVID-19 problems at the club, but this weekend's fixture is even more important for their opponents.
Castleford – who haven't played since their defeat to Catalans on the 24 June – will be going head-to-head with St Helens next weekend in the Challenge Cup final.


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The Mario Briceño Iragorry Municipality is one of the 18 municipalities (municipios) that make up the Venezuelan state of Aragua and, according to the 2011 census by the National Institute of Statistics of Venezuela, the municipality has a population of 99,852. The town of El Limón is the shire town of the Mario Briceño Iragorry Municipality. The municipality is named for the writer Mario Briceño Iragorry.

Demographics
The Mario Briceño Iragorry Municipality, according to a 2007 population estimate by the National Institute of Statistics of Venezuela, has a population of 103,269 (up from 98,429 in 2000).  This amounts to 6.2% of the state's population.  The municipality's population density is .

Government
The mayor of the Mario Briceño Iragorry Municipality is Carlos Javier Velarde, elected on October 31, 2004, with 52% of the vote.   He replaced Pedro Maurera shortly after the elections.  The municipality is divided into two parishes; Capital Mario Briceño Iragorry and Caña de Azúcar (created January 30, 1995).

References

External links

Municipalities of Aragua

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Home/Health/The risk that Ebola extends to Uganda is now "very tall"
The risk that Ebola extends to Uganda is now "very tall"
zimbabwe November 12, 2018 Health, zimbabwe
Ebola is a of these scourges where the mere mention of their name is afraid: the virus, which kills about half of those that infect and pass through body fluids, is very difficult to contain. Due to its long incubation period, people with healthy appearance can spread fatal illness for weeks before the symptoms appear.
This means that the best way to contain an outbreak such as the one currently swept the Democratic Republic of the Congo is the obsessive tracking of infected individuals, monitor their social circles and their movements and limit their exposure to other people for weeks in time. But restraint is proving so difficult in the DRC that last week, Robert Redfield, director of the Centers for Disease Control and Prevention, suggested an alarming possibility. The current Ebola epidemic could be out of control, he said, and may – for the first time since the deadly virus was first identified in 1976 – it has persistently strengthened in the population.
The 329 confirmed and probable cases of Ebola infection reported so far have made it the largest outbreak in the history of the country, with no sign of slowing down. The militia groups that oppose the North Kivu province of DRC, the epicenter of the outbreak, have revolutionized attempts by health workers to trace the movements of people exposed to the virus. A massive effort to vaccinate more than 25,000 people at increased risk slowed down transmission rates but tide has not yet occurred. Between October 31 and November 6, 29 new cases were reported in the DRC, including three health workers.
Now neighbor Uganda is preparing the virus to cross the 545-mile limit that it shares with the DRC. The border is porous and very traffic, with a large number of local farmers, merchants, merchants and refugees who constantly move around the area. A control post in the region receives 5,000 people in a middle day, and the busiest ones inflate to 20,000 twice a week on market days.
On Wednesday, the country began immunizing first line health workers with an experimental vaccine that produced good results in a previous epidemic. The Ugandan Ministry of Health has said that it has 2,100 doses of vaccine available for doctors and nurses working in five border districts. In hospitals in these districts, four special Ebola treatment units were also built, with standby personnel to deal with suspicious cases. "The risk of cross-border transmission was very high at the national level," said Uganda Health Minister Jane Ruth Aceng at a press conference last week. "Hence the need to protect our health workers."
Since the onset of the outbreak in the DRC, anyone crossing Uganda has been subjected to health examinations at the official control posts: a series of questions and contact infrared thermometers directed at the side of the head that read body temperatures as a road patrol radar weapon Fever is one of the first red flags of an Ebola infection. The process is not infallible; Symptoms can take up to three weeks to appear, and many other tropical diseases in that part of Africa can also cause high temperatures.
The abundance of prudence arises from the unstable situation in the DRC. Ebola has never before entered a war zone, so the current situation is in many ways unique and unprecedented. But as continental African populations were changed, millions of dollars of investment in Chinese infrastructure, increased urban-wild interfaces, some doctors of infectious diseases see a lasting change in the form of Ebola outbreaks. "It's a cruel irony that better paths and better connectivity for people also facilitate the journey of the disease, especially when public health systems are still behind," says Nahid Bhadelia, director of the National Laboratory of Infectious Diseases at the University of Boston, who worked in the first lines of the outbreak of 2014 in Sierra Leone.
For decades, the natural disaster that the most similar ebola outbreaks was an earthquake. One could reach an isolated rural area and health workers quickly converge to treat infected people and seal the disease. But when the disease is in more populated areas or in a zone of conflict, it is much easier to lose control of people. Knowing if the exploding is impossible. If the disease jumps to Uganda, says Bhadelia, it will not be just a new epicenter, it will be another example of the changing Ebola profile.
When Uganda has already dedicated important resources to this possibility, international public health experts are more concerned about Ebola that extends more to areas controlled by rebel groups. "We can not allow ourselves to leave in the red security zones where we do not have access," says Mike Ryan, Deputy General Director of emergency preparedness and response to the World Health Organization. "Ebola explodes the cracks, therefore, the more we can keep it exposed, the better."
Sunday came to his house in Ireland, where he has just returned from a month coordinating WHO's health response in North Kivu, Ryan expressed a cautious optimism that the outbreak began to spin. The teams on the ground finally got control over what pushed the second wave of pressure from the epidemic, which marked Beni city in mid-September. "Transmission is almost completely within the sanitary facilities," says Ryan.
In each outbreak, some people take the virus in a hospital or clinic. However, only in recent weeks, health workers have observed the extent of Ebola evolution through the network of more than 300 Beni health centers, many of which have had few patient records. Even when workers vaccinated the close friends and relatives of the victims, the new cases appeared apparently out of the air. Last week o Washington Post It reported that between 60 and 80 percent of the confirmed new cases did not have any known epidemiological connection to the previous cases. Ryan responds that a great boost in recent weeks to completely restructure investigators of the case made a great impact to change this. "Now we link 93 percent of the new cases to known transmission chains," he says. Surveillance teams also started using tablets to register contacts and vaccines. By getting used to the information on the geographic locations of the new cases it enters, they are beginning to build models to understand where the virus will probably spread.
"Fears that this is endemic are real and rational, but we also need to see this as a worse scenario," says Ryan. "We still have many opportunities to put this virus back in the box, we just need to get ahead of people risking their lives on the front line and striving for the next three to six weeks. It will be a long march, but I do not think we should get up the white flag still ".
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A recurring theme over the next 18 months or so will be "That time at D23 Expo…" because that's where Disney introduced me to all the awesome movies coming our way! And there's a lot coming out in 2018 that I'm excited about. A perfect example is highlighted here in?Disney's THE NUTCRACKER AND THE FOUR REALMS trailer.
Mackenzie Foy is Clara and Jayden Fowara Knight is Phillip in Disney?s THE NUTCRACKER AND THE FOUR REALMS.
Everyone knows the story of The Nutcracker, right?
It's a family holiday staple around these parts and we know there's always something new and enchanting to see when we go to the show.
New and enchanting could pretty much be the title of this new teaser trailer just released.
ps- I think these cookies and gingerbread house inspired by Disney's THE NUTCRACKER AND THE FOUR REALMS fall into that same category!
All Clara (Mackenzie Foy) wants is a key ? a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother. A golden thread, presented to her at godfather Drosselmeyer?s (Morgan Freeman) annual holiday party, leads her to the coveted key?which promptly disappears into a strange and mysterious parallel world. It?s there that Clara encounters a soldier named Phillip (Jayden Fowora-Knight), a gang of mice and the regents who preside over three Realms: Land of Snowflakes, Land of Flowers and Land of Sweets. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren), to retrieve Clara?s key and hopefully return harmony to the unstable world. Starring Keira Knightley as the Sugar Plum Fairy and featuring a special performance by Misty Copeland, Disney?s new holiday feature film ?The Nutcracker and the Four Realms? is directed by Lasse Hallstr?m and inspired by E.T.A. Hoffmann?s classic tale. In theaters on?Nov. 2, 2018.?
Personally, I cannot wait to see more Misty Copeland.
She is just such a dream to watch move and when I see her on the big screen? I may never want to wake up!
Cookies and Christmas just go hand in hand.
So here are some fabulous and adorable options that Disney created- inspired by Disney's The Nutcracker and the Four Realms trailer.
And you know we can't let the season go by without gingerbread houses decorated with all the good stuff!
And by good stuff, you know I mean candy and sugar and all that really bad for you stuff that we love anyway.
Check out this recipe too.
I cannot wait for next fall!
THE NUTCRACKER AND THE FOUR REALMS?opens in theatres everywhere on?November 2, 2018!


Disney's Wreck-It-Ralph was the animated movie event of 2012 as it took video game history seriously and used complex themes about the judgement to educate youngsters across the globe (while looking gorgeous in the process). John C. Reilly (Wreck-it-Ralph) and Sarah Silverman (Vanellope von Schweetz) conquered all expectations with their vocal performances, making iconic characters which have been a Disney mainstay ever since appearing in 2012's animated adventure. The filming was a whopping success making a glorious $471.2 million at the global box office, putting Wreck-it-Ralph into a comfortable chair in the house of mouse. Fans adored the family-friendly adventure, with many clambering for sequels to be made.
Sadly, Walt Disney Animated Studios had different ideas for their animated studio as Frozen and Moana had commitments filled at the company. It felt like our cries were left ignored, but plenty fans always saw potential in the animated video game movie genre. Especially in an era of terrible adaptations including Resident Evil, Hitman: Agent 47 and Warcraft. Wreck-it-Ralph was the only film to respect gaming in over 20 years while being a solid adventure for the family.
And prayers were answered as the series sequel Ralph Breaks the Internet which is set to take Ralph and Vanellope into the world wide web. A sequel which attempts to update its concept for new generations of entrainment media. So does the anticipated sequel upgrade itself and browse the Internet correctly? ComiConverse examines the damage Ralph has got himself into now.
Ralph Breaks The Internet is set six years after the original "Wreck-It-Ralph", Ralph (John C. Reilly) and Vanellope (Sarah Silverman) are back in an adventure which takes them straight into the internet via a wi-fi router located in their arcade. They are both after a steering wheel controller for their very own Sugar Rush game, which has been broken. Naturally, like any movie, the pair will encounter various challenges to retrieve their much-needed object.
Ralph Breaks The Internet delivers a more well-crafted story than its predecessor, with both Ralph and Vanellope took straight from their comfort zone that allows for creative moments. Writer Jim Reardon (The Simpsons) makes sure to pack tons of references to present-day trends in the sequel, alongside quick jabs at toxic parts of the Internet that make each joke the more depressing. All of these moments land perfectly - with enough adult jokes to keep the older generation entertained. Walt Disney Animated Studios (Moana) make each scene pop with a fantastic colour palette which makes each character stand out, with little details littered throughout each frame.
Acclaimed comedian John C. Reilly (Kong: Skull Island) returns as the iconic Wreck-it-Ralph, who delivers more of his signature charm and reluctant glee that made him so lovable high in the original. Hearing the character interact with the world around him is so powerful, and makes for some of the funniest moments in the animated film. Both John C. Reilly and Sarah Silverman have a terrific connection, which allows for some great comedic moments during the 112-minute runtime. I'd love to see more of the pair down the line, perhaps even on a TV Show which could boost their connection further.
Standout voice talent Sarah Silverman (Wreck-it-Ralph) also is back with her bubbly glitch/racer Vanellope that delivers a hearty bowl of sass and confidence to audiences. Seeing the character comment on backwards Disney Princess ideology was so refreshing, never coming across as preachy instead giving viewers something to think about. Sarah Silverman oozes with charm through the voice-work that not one line goes wasted as jokes hit on all cylinders. I'm so glad to see this impressive voice-talent, just command on every scene given. Disney should use this actor in more animated projects because the range is incredible.
Ralph Breaks The Internet also features Taraji P. Henson (Power) and Gal Gadot (Wonder Woman) in their roles, who also give shockingly brilliant performances as colourful characters within the Internet. Despite not having much screen time, I loved the solid one-liners and interactions with the arcade heroes. Disney also includes tons of cameos from iconic internet influencers, making the online setting feel like a mirror of today's culture. I'd love to see these new characters, pushed more in a hopeful sequel - because they have so much potential to aid Ralph in adventures.
Alongside both Ralph and Vanellope encounter characters from Disney Princess, The Muppets, Star Wars, Disney Animation, Marvel Comics, and Pixar properties which all make for substantial surprises for audiences. Surprisingly, each of these cameos does not feel rush and flow organically with the films breakneck pace which should lead to some solid laughs.
Ralph Breaks The Internet (2018) is another entertaining and profound family adventure from the geniuses at Walt Disney Animated Studios, which reinvents itself for the latest generation of pop culture. The tighter story makes for a more enjoyable film than it's original release, as the writers go for more relatable subject matter and themes. Disney has done wonders yet again.
Directors, Rich Moore and Phil Johnston, do the unthinkable making a sequel that does everything better for audiences - from poking fun at toxic internet culture to belly laughing comedy which feels like a celebration of everything Disney. Ralph Breaks The Internet (2018) is the next level of animated family fun, excelling in everything perfected in the original and more some. Let's hope Ralph gets another adventure sooner because there is so much potential for great stories with him and the gang.


Joan Roca has said he will not be launching any more restaurants, despite various offers from the UK.
Mr Roca was speaking during an interview at The Restaurant Show on Monday (October 7th).
He is the head chef of El Celler de Can Roca, which came top of the World's 50 Best Restaurants awards previously this year. The recognition has resulted in various offers to open new operations, as well as plenty of business for the award-winning eatery.
Speaking to Big Hospitality, Mr Roca said: "In the 24 hours after winning the World's 50 Best Restaurants awards, we received two million visitors to our website. Every day we receive thousands of calls from people requesting a seat in our restaurant.
"It's really put us on the map internationally … it's a great achievement for a family restaurant like ours; a reward for all of our hard work."
The news may be of interest to those in the industry, safe in the knowledge that the world's top dining location will not be competing with UK businesses any time soon. Yet local dining establishments could learn from El Celler de Can Roca's approach to cooking, kitchen equipment and traditional food values.
During the show, the Hand and Flowers in Marlow - run by chef Tom Kerridge - was named Britain's Best restaurant. It was also named gastropub of the year and, back in 2011, became the first pub to be awarded two Michelin stars.
Mr Roca claimed family values as being an important part of the success and service at the business. He originally opened it with his brother Josep in 1968, with third sibling Jordi joining the team in 2007. The head chef said he likes working with his family and would not know how to operate without them. Since there are no plans to split the restaurant's winning team up, it will stay in Gerona, up the road from their parent's Can Roca bar.


text:
Q: Fonts not loading in Desktop version of Safari/Firefox I am using Wordpress to construct my site, this issue is very new and no plugins seem to be causing it.
The fonts do not load properly ONLY in the desktop version of Safari and Firefox
The preferred view can be seen below in Chrome and mobile devices:

The unpreferred view can be seen below in the Desktop version of Safari and Firefox:

See for yourself:
www.TattiniBoots.com
Any help is appreciated

A: It's because you're only specifying font-family: Marcellus; inside a @media (max-width: 600px) {}, and your desktop browsers are wider than that. Everything else is using the default stack of "Helvetica Neue, Helvetica, Arial".

A: This was simply a plugin issue with Product Suggestions for WooCommerce: https://wordpress.org/plugins/cart-products-suggestions-for-woocommerce/
In the instance that a new issue occurs that was not taking place prior to installation, it can almost always be attributed to a plugin issue

redpajama_set_name: RedPajamaStackExchange


text:
Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis
Tung T. Hoang, Herbert P. Schweizer
The Pseudomonas aeruginosa fabI structural gene, encoding enoyl-acyl carrier protein (ACP) reductase, was cloned and sequenced. Nucleotide sequence analysis revealed that fabI is probably the last gene in a transcriptional unit that includes a gene encoding an ATP-binding protein of an ABC transporter of unknown function. The FabI protein was similar in size and primary sequence to other bacterial enoyl-ACP reductases, and it contained signature motifs for the FAD-dependent pyridine nucleotide reductase and glucose/ribitol dehydrogenase families, respectively. The chromosomal fabI gene was disrupted, and the resulting mutant was viable but possessed only 62% of the total enoyl-ACP reductase activity found in wild- type cell extracts. The fabI-encoded enoyl-ACP reductase activity was NADH dependent and inhibited by triclosan; the residual activity in the fabI mutant was also NADH dependent but not inhibited by triclosan. An polyhistidine-tagged FabI protein was purified and characterized. Purified FabI (i) could use NADH but not NADPH as a cofactor; (ii) used both crotonyl- coenzyme A and crotonyl-ACP as substrates, although it was sixfold more active with crotonyl-ACP; and (iii) was efficiently inhibited by low concentrations of triclosan. A FabI Gly95 -to-Val active-site amino acid substitution was generated by site-directed mutagenesis, and the mutant protein was purified. The mutant FabI protein retained normal enoyl-ACP reductase activity but was highly triclosan resistant. When coupled to FabI, purified P. aeruginosa N-butyryl-L-homoserine lactone (C4-HSL) synthase, RhlI, could synthesize C4-HSL from crotonyl-ACP and S-adenosylmethionine. This reaction was NADH dependent and inhibited by triclosan. The levels of C4-HSL and N-(3-oxo)-dodecanoyl-L-homoserine lactones were reduced 50% in a fabI mutant, corroborating the role of FabI in acylated homoserine lactone synthesis in vivo.
Journal of Bacteriology
https://doi.org/10.1128/jb.181.17.5489-5497.1999
10.1128/jb.181.17.5489-5497.1999
Dive into the research topics of 'Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis'. Together they form a unique fingerprint.
Acyl Carrier Protein Medicine & Life Sciences 100%
Acyl-Butyrolactones Medicine & Life Sciences 98%
Triclosan Medicine & Life Sciences 92%
Oxidoreductases Medicine & Life Sciences 58%
N-butyrylhomoserine lactone Medicine & Life Sciences 58%
Mutant Proteins Medicine & Life Sciences 17%
Hoang, T. T., & Schweizer, H. P. (1999). Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis. Journal of Bacteriology, 181(17), 5489-5497. https://doi.org/10.1128/jb.181.17.5489-5497.1999
Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI) : A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis. / Hoang, Tung T.; Schweizer, Herbert P.
In: Journal of Bacteriology, Vol. 181, No. 17, 09.1999, p. 5489-5497.
Hoang, TT & Schweizer, HP 1999, 'Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis', Journal of Bacteriology, vol. 181, no. 17, pp. 5489-5497. https://doi.org/10.1128/jb.181.17.5489-5497.1999
Hoang TT, Schweizer HP. Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis. Journal of Bacteriology. 1999 Sep;181(17):5489-5497. doi: 10.1128/jb.181.17.5489-5497.1999
Hoang, Tung T. ; Schweizer, Herbert P. / Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI) : A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis. In: Journal of Bacteriology. 1999 ; Vol. 181, No. 17. pp. 5489-5497.
@article{9281b7f7a75c426d9803a297461d5710,
title = "Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI): A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis",
abstract = "The Pseudomonas aeruginosa fabI structural gene, encoding enoyl-acyl carrier protein (ACP) reductase, was cloned and sequenced. Nucleotide sequence analysis revealed that fabI is probably the last gene in a transcriptional unit that includes a gene encoding an ATP-binding protein of an ABC transporter of unknown function. The FabI protein was similar in size and primary sequence to other bacterial enoyl-ACP reductases, and it contained signature motifs for the FAD-dependent pyridine nucleotide reductase and glucose/ribitol dehydrogenase families, respectively. The chromosomal fabI gene was disrupted, and the resulting mutant was viable but possessed only 62% of the total enoyl-ACP reductase activity found in wild- type cell extracts. The fabI-encoded enoyl-ACP reductase activity was NADH dependent and inhibited by triclosan; the residual activity in the fabI mutant was also NADH dependent but not inhibited by triclosan. An polyhistidine-tagged FabI protein was purified and characterized. Purified FabI (i) could use NADH but not NADPH as a cofactor; (ii) used both crotonyl- coenzyme A and crotonyl-ACP as substrates, although it was sixfold more active with crotonyl-ACP; and (iii) was efficiently inhibited by low concentrations of triclosan. A FabI Gly95 -to-Val active-site amino acid substitution was generated by site-directed mutagenesis, and the mutant protein was purified. The mutant FabI protein retained normal enoyl-ACP reductase activity but was highly triclosan resistant. When coupled to FabI, purified P. aeruginosa N-butyryl-L-homoserine lactone (C4-HSL) synthase, RhlI, could synthesize C4-HSL from crotonyl-ACP and S-adenosylmethionine. This reaction was NADH dependent and inhibited by triclosan. The levels of C4-HSL and N-(3-oxo)-dodecanoyl-L-homoserine lactones were reduced 50% in a fabI mutant, corroborating the role of FabI in acylated homoserine lactone synthesis in vivo.",
author = "Hoang, {Tung T.} and Schweizer, {Herbert P.}",
doi = "10.1128/jb.181.17.5489-5497.1999",
journal = "Journal of Bacteriology",
publisher = "American Society for Microbiology",
T1 - Characterization of Pseudomonas aeruginosa enoyl-acyl carrier protein reductase (FabI)
T2 - A target for the antimicrobial triclosan and its role in acylated homoserine lactone synthesis
AU - Hoang, Tung T.
AU - Schweizer, Herbert P.
N2 - The Pseudomonas aeruginosa fabI structural gene, encoding enoyl-acyl carrier protein (ACP) reductase, was cloned and sequenced. Nucleotide sequence analysis revealed that fabI is probably the last gene in a transcriptional unit that includes a gene encoding an ATP-binding protein of an ABC transporter of unknown function. The FabI protein was similar in size and primary sequence to other bacterial enoyl-ACP reductases, and it contained signature motifs for the FAD-dependent pyridine nucleotide reductase and glucose/ribitol dehydrogenase families, respectively. The chromosomal fabI gene was disrupted, and the resulting mutant was viable but possessed only 62% of the total enoyl-ACP reductase activity found in wild- type cell extracts. The fabI-encoded enoyl-ACP reductase activity was NADH dependent and inhibited by triclosan; the residual activity in the fabI mutant was also NADH dependent but not inhibited by triclosan. An polyhistidine-tagged FabI protein was purified and characterized. Purified FabI (i) could use NADH but not NADPH as a cofactor; (ii) used both crotonyl- coenzyme A and crotonyl-ACP as substrates, although it was sixfold more active with crotonyl-ACP; and (iii) was efficiently inhibited by low concentrations of triclosan. A FabI Gly95 -to-Val active-site amino acid substitution was generated by site-directed mutagenesis, and the mutant protein was purified. The mutant FabI protein retained normal enoyl-ACP reductase activity but was highly triclosan resistant. When coupled to FabI, purified P. aeruginosa N-butyryl-L-homoserine lactone (C4-HSL) synthase, RhlI, could synthesize C4-HSL from crotonyl-ACP and S-adenosylmethionine. This reaction was NADH dependent and inhibited by triclosan. The levels of C4-HSL and N-(3-oxo)-dodecanoyl-L-homoserine lactones were reduced 50% in a fabI mutant, corroborating the role of FabI in acylated homoserine lactone synthesis in vivo.
AB - The Pseudomonas aeruginosa fabI structural gene, encoding enoyl-acyl carrier protein (ACP) reductase, was cloned and sequenced. Nucleotide sequence analysis revealed that fabI is probably the last gene in a transcriptional unit that includes a gene encoding an ATP-binding protein of an ABC transporter of unknown function. The FabI protein was similar in size and primary sequence to other bacterial enoyl-ACP reductases, and it contained signature motifs for the FAD-dependent pyridine nucleotide reductase and glucose/ribitol dehydrogenase families, respectively. The chromosomal fabI gene was disrupted, and the resulting mutant was viable but possessed only 62% of the total enoyl-ACP reductase activity found in wild- type cell extracts. The fabI-encoded enoyl-ACP reductase activity was NADH dependent and inhibited by triclosan; the residual activity in the fabI mutant was also NADH dependent but not inhibited by triclosan. An polyhistidine-tagged FabI protein was purified and characterized. Purified FabI (i) could use NADH but not NADPH as a cofactor; (ii) used both crotonyl- coenzyme A and crotonyl-ACP as substrates, although it was sixfold more active with crotonyl-ACP; and (iii) was efficiently inhibited by low concentrations of triclosan. A FabI Gly95 -to-Val active-site amino acid substitution was generated by site-directed mutagenesis, and the mutant protein was purified. The mutant FabI protein retained normal enoyl-ACP reductase activity but was highly triclosan resistant. When coupled to FabI, purified P. aeruginosa N-butyryl-L-homoserine lactone (C4-HSL) synthase, RhlI, could synthesize C4-HSL from crotonyl-ACP and S-adenosylmethionine. This reaction was NADH dependent and inhibited by triclosan. The levels of C4-HSL and N-(3-oxo)-dodecanoyl-L-homoserine lactones were reduced 50% in a fabI mutant, corroborating the role of FabI in acylated homoserine lactone synthesis in vivo.
U2 - 10.1128/jb.181.17.5489-5497.1999
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JO - Journal of Bacteriology
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text:
UPDATED: City May ID Cops Who Discharge Weapons Within 72 Hours, Establishing Task Force
Interim Police Chief Anthony Moore has not released the names of any officers who have shot at civilians since he took the position in January 2018. He is pictured here at a press conference on Feb. 26. 2018. Photo by Stephen Wilson.
By Donna Ladd Monday, March 26, 2018 5:24 p.m. CDT
A post on the NextDoor neighborhood website today revealed that the City of Jackson may change its policy and require that the Jackson Police Department start releasing names of the officers involved in a shooting within 72 hours, a best-practices period that the Jackson Free Press has supported in recent editorials.
JPD officers have been involved in at least seven shootings since Mayor Chokwe A. Lumumba took office last July, promising criminal-justice reform. JPD has not released the names of any of those officers who fired on civilians, leading to several deaths, nor detailed the circumstances of those shootings. The department cites the need for officer safety.
In the NextDoor post, a participant related that a JPD commander is asking citizens to push back against revealing the officers' names.
"[P]lease come to the (JPD headquarters downtown) tomorrow at 11:00 a.m. and the City Council Meeting at 6:00 p.m.," the post stated. "The city has proposed releasing the names of all officers involved in a shooting within 72 hours. The police are very against this. They and their families get death threats immediately from family and friends of the person who was shot. This is before the investigation into whether the shooting was justified or not. Frankly, this only enflames already heated emotions and puts our officers and their families at grave risk. If you're concerned for the safety of our officers, please come to the meetings. The Chief will explain their position at 11:00 and hopes we will all go to the Council to express our support for them."
JPD headquarters is at 327 Pascagoula St., near City Hall.
JFP city reporter Ko Bragg has reported that civilians, including family members of people killed by police, are demanding more transparency about the shootings.
In 2015, the U.S. Department of Justice advised police departments to release names of officers involved in critical events, including shootings, within 72 hours of the incident. Some cities release them as soon as 48 hours after the shooting. The DOJ report said that departments can take steps to ensure officer safety during those brief delays.
Lumumba recently announced that JPD would no longer release mugshots of people shot by police, after JPD sent out a blurry mugshot of an unarmed woman killed after at least one officer shot into her car and gave other media details of her minor police record. He also said JPD would no longer release mugshots of juveniles in custody, after an investigation by the Jackson Free Press of the practice.
The mayor also told the Jackson Free Press that is against JPD setting up "perp walks" of juveniles so that media can get photographs and footage of the accused children who are already in custody and are often later moved back to the juvenile-detention center where they are not available to the media. The Jackson Free Press also learned that juveniles charged as adults are often sitting in the detention center for 180 days without being indicted.
After this article appeared March 26, the mayor's office sent out the following statement early the next morning, announcing the task force. The full statement follows:
"The Jackson Police Department is committed to serving and protecting all Jackson residents and holds its officers to the highest standards of conduct. When officer-involved shootings do occur, accountability to the public and for the safety of officers is a primary concern. JPD has a long-standing practice of not releasing the names of officers involved in shootings during the performance of their duties. This practice was designed to ensure the safety of officers and their families and to enable the department to more efficiently conduct its investigation of the incident.
"We recognize that this practice can be difficult for victims and their loved ones involved in these incidents. Due to recent concerns raised about the lack of transparency inherent to this practice, Mayor Lumumba is establishing a task force to address the formation of JPD policy that will govern the release of names, and the timeframe during which this should take place. Specifically, the Task Force will be made up of citizens, officers and members of his administration who are charged with establishing policy that keeps in mind both sensitivity to community concerns as well as an understanding of the unique responsibilities and safety of law enforcement. We expect that this process will yield a policy that works for all stakeholders.
"We have confidence and trust in JPD—and we are indeed concerned with the frequency of officer- involved shootings. The loss of life is always tragic, and it is imperative that our policy reflect our genuine concern for the safety of everyone. We truly believe that through the work and deliberation of this task force, we will be able to strengthen the bonds between our officers and the communities they serve, while simultaneously building the transparency and trust necessary to move our great City forward."
NOTE: The NextDoor commenter later changed the location of the 11 a.m. Tuesday meeting with police about the new identification policy from the Fondren precinct to JPD headquarters downtown at 327 Pascagoula St. The change is reflected above.
EDITORIAL: JPD, Identify Cops Who Shoot Civilians
Mayor: No More Mugshots Released of Juveniles, People Shot by Police
UPDATED:After 7 Shootings, JPD Still Shields Officers
Inside JPD's Use-of-Force Policy: Public Trust vs. Officer Safety
City to Reveal Names of Officers Involved in Past Shootings, Adopt 72-Hour Policy
EDITOR'S NOTE: Journalism Can Beat the Hell Out of You, But It Must Go On
EDITOR'S NOTE: Goodbye, Bozo—My Friend Cedric Willis Gone Too Soon
Jackson Sues Siemens, Local Businessmen for 'Bait and Switch' Contract
EDITOR'S NOTE: Mississippi Male Leaders Again Pretend to Value 'Life'
Mayor Lumumba Endorses Former JPD Chief Lee Vance for Hinds Sheriff


Idaho Falls' Skj-Vu Drive-In is closed for the season, and its owners are looking to sell both it and the Motor-Vu.
Idaho Falls' two drive-in movie theaters, the Sky-Vu and the Motor-Vu, are for sale.
The company offering the properties, Desert Crest Corp., actually has two deals in the works. One is for the 9.1 acres surrounding the Sky-Vu. Being near the Snake River between Pancheri Drive and Sunnyside Road, one can assume that this land is potentially primo real estate.
Desert Crest is also offering for sale the two theaters. So if you've ever thought about running an "Ozoner" -- the term Variety came up with to describe the drive-in after the first one opened in 1933 -- here is your chance. The number is 360-5701.
Anyone who has been to a drive-in knows it's as much about the experience as it is about the movie. I have two distinct memories from my childhood: Watching Bob Hope and Phyllis Diller in some feature whose name escapes me (I know, I know, how could I?) in my pajamas with my best bud at the time, Mike Kelly, and our moms. And seeing "True Grit" (the first one, with John Wayne and Glen Campbell) with my father in 1969.
There were a lot more drive-ins then than there are now. In 1958, the United States had close to 4,000 drive-in movie theaters, said Jennifer Sherer Janisch, who operates the Web site www.drive-ins.com. Today, that number is less than 400.
Two things brought about their demise in the '70s and '80s -- rising land values and the advent of VCRs, DVDs and the Internet. That trend slowed down in the '90s, and although she recognizes drive-ins will never be the mass market phenomenon they were in the Eisenhower era, Sherer said she's hopeful about the future.
"In the last several years we've seen drive-in expansion, drive-in re-openings, and even brand new drive-ins," she said. "Aside from the unique atmosphere and the fact that it's so affordable, people want good, clean fun, and drive-ins have it."
Are these still up for sale? Would there be info regarding these properties?
Was wondering the sale value and what both drive in sites are selling for ?


For many people working in the medical world, their main objective is to assist others to live an enjoyable life. After achieving your professional goals, the one responsibility left for you Is the practice between you and the clients. Due to this, you should establish some strategically placed digital marketing methods. Online presence is a need no matter how small a practice is.
If you want to successfully market your medical practice, the following points will assist in a great way. As you commence on your marketing journey, you ought to put more concentration on the SEO strategies. This is because it is what determines the ranking of a site on search engine. Nevertheless, making these strategies too broad is never recommended. Because you may just be serving the local areas mostly, you should consider thinking locally. You may wonder why local but it will benefit you greatly. By placing filling most of the local words in your site, the users will first meet your practice as they search for one.
A website that does not have the features that any should have can be stressful. As you market your practice, you should remember that it is your whole brand involved in this. If at all ay users fails to have the best experience with the site, they are likely to relate it to your practice. For this reason, you should put more interest on the users as you create the website. Ensure that you come up with a sensible design and that essential information such as contacts are easy to spot. Aside from this, the site would also be ranked highly in the search engine when there is high levels of user-experience.
Since social media is nowadays used by nearly everybody across the world, you can utilize this as a direct opportunity of marketing directly your practice to them. An example of an effective social media platform is Facebook where you can form a business page and include the essential information about it.
Another way of marketing is through videos. Most individuals think that is method is challenging due to the complicated sector of filmmaking. Nevertheless, you only require a camera, sometime and a good plan. One thing that you ought to be aware of is that a large number of audience tend to prefer video content over written work as they feel it's more digestible. But this should not make you forget about written content because they also form an important part of marketing on the websites. These are some of the tips that will help you with the marketing of your medical practice.


Could micro-insurance help the poorest communities deal with climate change?
When the largest cyclone ever recorded hit the Philippines and forced the evacuation of thousands of people on Friday, it no doubt laid waste to huge swaths of agriculture.
Typhoon Haiyan's 195mph sustained winds and five-meter-high waves threatened much of the Pacific nation, yet after threatening life and limb, they may have done the most damage to the estimated 87% of Filipinos who lack insurance.
Dramatic storms like Haiyan may represent the new normal, which is partly why the global insurance industry and civil society organisations are turning to programmes such as MicroEnsure and the Coop Life Insurance and Mutual Benefit Services. These kind of insurance schemes linked to climate indices, are not to specific headline-grabbing catastrophes, but the ongoing damage global climate change is doing to rural economies.


a global essential fatty acids (EFA) solutions provider, today announced the formation of a strategic partnership to market High GLA Safflower Oil.
The Omega 3 Information Service is explicit about the benefits of essential fatty acids and fish oils which, as their name suggests, are essential for life and must be eaten regularly as the body has only a limited capacity to store them.
10,11) Therefore, these essential fatty acids must be acquired from the diet or supplementation.
Essential fatty acids (EFAs) have a unique role during pregnancy because of the rapid development of new cell growth, new tissues, and new organ systems in a developing fetus.
Essential fatty acids, usually found in fish oils, cannot be made in the body but are needed to support the nervous, cardiovascular and immune systems.
Recent developments in the essential fatty acid nutrition of fish.
Previous studies have shown that essential fatty acids are needed for these health problems.
DRY SKIN: Deficient intake of water and essential fatty acids, omega-3, 6 and 9.
The 3rd international congress on Essential Fatty Acid and Eicosanoids was held in Adelaide in March 1992.
The product is Reviva Labs Essential Fatty Acid (EFAs) Cream.
Rosa Mosqueta is derived frm the hip of a wild South American rose and is rich in essential fatty acids.


If I asked you to think of your favourite Shoot-'Em-Up, you would probably reply with Gradius, Thunder Force IV, or any number of games from throughout the years. For me, it was also R-Type Delta on the original Playstation. Retro Shoot-'Em-Up throwback Super Hydorah is the latest retro throwback from developer Locomalito. An updated and expanded version of his Originally free to play game in 2010 titled simply Hydorah.
It's a simple yet enduring premise; an evil empire is invading the galaxy and it's up to you to stop him by facing off against his hordes of villains through twenty-one stages. Don't let the simplicity of its concept fool you, Hydorah is a lovingly and carefully crafted piece of work, full of throwbacks in the ultimate love letter to the genre.
After the initial introductory mission, the game thrusts you into a no mercy challenge. There are constant enemies and projectiles coming at you in every direction and without a shield it is death in one blow. And you will die. Particularly if you don't play a lot of this genre. Or like me, even less than that. There are various different weapons and abilities through the game, which are earned by completing each level. This is where the game both rewards the players progression, but also encourages to go back to the earlier missions with the opportunity to have an entirely different loadout. These weapons can subsequently be levelled up by collecting coloured pickups in-game which will make them more powerful – if you're familiar with Gradius then this is second nature to you by now. The powerups cycle which allows for a layer of strategy in choosing when to pick up the powerup. This, and attaining a shield is absolutely essential to do as soon as quickly as possible. The more upgraded the weapons are, the more palatable the challenge will become. Failure in a level will result in the weapons decreasing back to their original level, which when you're in the thick of it can be very tough. For the most part the challenge isn't frustrating or to the detriment of the game, but occasionally it felt like I just didn't have the upgrades to keep up with the sheer ability to shoot behind you, which at times left me feeling particularly vulnerable.
Some weapons are more useful than others, particularly for different things. Early in the game I found a minor issue with the secondary rockets which automatically fire when trying to hit an enemy flying over a friendly settlement. Destroying the settlement resulted in a pretty nasty points penalty that I couldn't avoid which I found frustrating. However, compromising the lives of the innocent did make me adapt to the given situation and subverted the idea that destroying everything in sight aimlessly is key. I had to strategize my position in relation to the enemy and the settlements.
The environmental manoeuvring will also absolutely test your metal. From dodging enemies, to projectiles to navigating the landscapes it often felt like I was playing a 2D version of Race the Sun and everything wanted me dead.
The game has an element of non-linearity. There are twenty-one stages overall, but the player can hypothetically carve out a path to the final stage in a minimum of twelve. The true ending is saved for those who finish every single level, on one continue no less. And of course, the optional levels are the hardest by far. The levels themselves can overall last a couple of minutes with only a couple of stages being split into six individual sections which can lead to some of more frustrating restarts of the game to get through. Either way, this is for the most part great pick up and play stuff, regardless of what console you are playing on.
Don't let the relatively drab visuals of the first level fool you, there is a varied selection of levels featuring vibrant pixellated colours and design that are simplistic yet engaging and ever-changing. We are continually introduced to new enemies and bosses who are as varied as their environments. The game boasts authentic colours and resolution to its era, also boasting a CRT filter for an added layer of nostalgia. Where the presentation truly shines is the music. There are over fifty individual tracks of music which are all fittingly classic arcade synth and retro wave samples that warrant a second playthrough of each stage just to listen to the music.
If you are truly struggling to save the galaxy, the game also allows it to be played in a two-player co-op mode. In addition, there's a robot chase mode which features players positioning themselves independently and activating a laser between them to destroy targets. A neat little bonus game which can add as a nice palette cleanser to the main challenge. Multiplayer is local co-op play only but the addition of online leaderboards and trophies make for even more replayability.
Super Hydorah is fun. Packed with awesome eighties throwbacks in its gameplay, visual style and music. It never relies on nostalgia alone and carves out its own identity and challenge. Whilst a smaller entry of price would probably expose this game to more people, it is well worth every penny.
A very unique virtual reality experience.


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