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East Falmouth CDP
East Falmouth CDP Massachusetts Population Charts
According to the most recent East Falmouth CDP Massachusetts demographics data available from the United States Census Bureau released in the American Community Survey in December of 2020, Figure 1 East Falmouth CDP depicts it has a Population 2019 of 6,441 which is more than all other places in the greater East Falmouth CDP region. Figure 3 uses the East Falmouth CDP population data for a comparison of the population growth/population change estimates from the years 2010 to 2019 and East Falmouth CDP Massachusetts shows an increase of 403 (7%).
The total East Falmouth CDP Massachusetts greater area population percent change for all areas for the years from 2010 to 2019 is shown in Figure 4 and for East Falmouth CDP depicts it has a Population Change of 6.7% which is the third most of all other places in the surrounding region.
Looking at the East Falmouth CDP population density (measured as people per square mile) and providing comparisons to both the national and state average population density in Figure 5, East Falmouth CDP Massachusetts depicts it has 1,183 people per square mile which is in the center range of other places in the local area. The next higher as measured by population density is Seabrook CDP 24.9% larger with population density of 1,478. The place with the highest population density in the area is Falmouth CDP which depicts a people per square mile of 1,699 (43.6% larger). Figure 6 provides East Falmouth CDP demographics for the overall median age for all people in the region and East Falmouth CDP depicts it has a Median Age of 53.3 which is the smallest when ranked by overall median age of all people of all the other places in the local area. The place with the highest overall median age of all people in the area is New Seabury CDP which shows an age of 69.2 (29.8% larger). The East Falmouth CDP Massachusetts population data for median age broken out by gender for both men versus the median age of women is shown in Figure 7. East Falmouth CDP Massachusetts depicts a median age of men only about 4.6% smaller as the median age of women.
The next demographic analysis (Figure 8) looks at large generational East Falmouth CDP population groups (and can be useful internet research for employment related research or identifying areas with retirees). Key findings in this chart includes that East Falmouth CDP Massachusetts has one of the largest proportions of people less than 20 years of age at 7.0% of the total and is ranked #2. The only larger place being West Falmouth CDP with 7.6%. Second, it has the smallest proportion of people between 50 and 59 yeasr old at 16.7% of the total. Third, it has less than most other places in the greater region when ranked by people between 60 and 69 years old at 21.6% of the total.
Figure 9 illustrates the overall diversity breakdown for East Falmouth CDP population and ethnicity groups in the area. (note: Hispanic/Latino is broken out separately in the next diagram and also the group denoted as Native ethnicity includes Native American, and Hawaiian and Other Pacific Islander.) East Falmouth CDP Massachusetts has the largest proportion of White population at 3.5% of the total and is ranked #1. Second, it has one of the largest proportions of Native population at 5.0% of the total and is ranked #2. The only larger place being Falmouth CDP with 6.3%. Figure 10 shows the East Falmouth CDP Massachusetts Hispanic (including non Hispanic whites) population household ethnicity in the region and East Falmouth CDP shows it has a Hispanic or Latino of 2.0% which is the third most Hispanic Population of all other places in the greater East Falmouth CDP region. Figure 11 compares the ratio of the amount of men to the amount of women and shows total male population about 11.3% smaller as the total female population.
East Falmouth CDP Massachusetts Marital Status and Families Charts
Figure 12 shows the detailed marriage characteristics broken down by %residents who are married, never married, single, divorced, and widowed. East Falmouth CDP has the largest proportion of total percent married at 29% of the total and is ranked #1. Second, it has one of the largest proportions of never married percent at 14% of the total and is ranked #2. The only larger place being Monomoscoy Island CDP with 18%. Third, it has less than most other places in the local area in order of percent divorced at 7% of the total. Figure 14 compares the average household size using the average number of people in a family for East Falmouth CDP households. East Falmouth CDP depicts it has a Family Size of 3.0 which is the largest of all places in the area.
Figure 15 shows the overall ratio of East Falmouth CDP households for families to the total number of East Falmouth CDP households and that East Falmouth CDP depicts it has a Families of 63% which is the third most of all other places in the local area. The place with the highest percent of people who are in a family in the area is West Falmouth CDP which depicts a families percent of 88% (40.0% larger).
Looking at East Falmouth CDP households that are headed by a husband and wife as a percent of all families in Figure 16, East Falmouth CDP shows it has a Married-couple family of 74% which is the smallest in order of percent of people in a husband and wife family of all the other places in the greater region. The place with the highest percent of people in a husband and wife family in the area is Monomoscoy Island CDP which shows a husband and wife family percent of 100% (35.0% larger). Figure 17 shows East Falmouth CDP demographics for the head of household for each place using a breakdown of married-couple, male-headed alone, and female-headed alone. East Falmouth CDP Massachusetts has one of the largest proportions of households at 9.3% of the total and is ranked #2. The only larger place being Teaticket CDP with 11.4%. Second, it has one of the largest proportions of households at 16.6% of the total and is ranked #2. The only larger place being Falmouth CDP with 18.2%.
East Falmouth CDP Massachusetts Mothers and Children Charts
The next section of charts provide a detailed look at mothers and baby births that occurred over the past 12 months. Figure 18 shows the rate of women aged 15 to 50 years old who have given birth. East Falmouth CDP depicts it has a Birth Rate of 1.6% which is the third most percent of women who have given birth of all other places in the greater East Falmouth CDP region. The place with the highest percent of women who gave birth in the area is Teaticket CDP which shows a birth rate of 9.1% ( very much bigger). Figure 19 shows the breakdown of the mother's age for all baby births that occurred in the last 12 months and it has the largest proportion of percent of births to mothers aged 15 to 19 at 100% of the total and is ranked #1.
In Figure 21, the percentage of all births in the last 12 months to mothers that were unmarried is shown (unwed mothers.) East Falmouth CDP depicts it has a Unwed Births of 100% which is ranked #1 of all places in the greater East Falmouth CDP region.
Unwed mothers who have given birth in the last 12 months are also shown broken down by age group in Figure 24. East Falmouth CDP Massachusetts has the largest proportion of unwed mothers aged 15 to 19 at 100.0% of the total and is ranked #1.
Figure 26 shows unwed mothers in poverty (based on median household income definition) who have given birth in the last 12 months. East Falmouth CDP Massachusetts has the largest proportion of unwed births and living between 100% and 199% of poverty level at 100.0% of the total and is ranked #1.
East Falmouth CDP Massachusetts Marital Status Charts
The next set of demographic data looks at the marital status for East Falmouth CDP households which is useful for internet research. Figure 28 compares the total number of single people in each area. East Falmouth CDP shows it has a Total Single People of 50% which is the third most of all other places in the greater region. The place with the highest percent of people who are single for any reason in the area is Falmouth CDP which depicts a percent single of 54% (8.0% larger). Comparing percent of people who are single for any reason to the United States average of 50%, East Falmouth CDP is about the same size. Also, in comparison with the state of Massachusetts, percent of people who are single for any reason of 52%, East Falmouth CDP is only about 3.3% smaller.
Figure 30 compares the single people in each area broken down by never married, divorced, and widowed. East Falmouth CDP Massachusetts has one of the largest proportions of percent never married at 14% of the total and is ranked #2. The only larger place being Monomoscoy Island CDP with 18%. Second, it has less than most other places in the metro area as measured by percent divorced at 7% of the total. Figure 31 shows the demographics for the number of single men adults in each area broken out by never married, divorced and widowed. East Falmouth CDP Massachusetts has one of the largest proportions of men who have never been married at 11% of the total and is ranked #3. Only #2 Falmouth CDP (12%), and #1 Monomoscoy Island CDP (20%) are larger. Second, it has in the center range of other places in the metro area when ranked by men who are divorced at 4% of the total. Figure 32 shows the number of single women adults in each area broken out by never married, divorced and widowed. East Falmouth CDP Massachusetts has the largest proportion of women who have never been married at 16% of the total and is ranked #1.
Figure 33 shows the East Falmouth CDP demographics for the ratio of the number of single men between the age of 18 and 65, in each area, broken down by age group for the East Falmouth CDP metro area. East Falmouth CDP Massachusetts has one of the largest proportions of single men 18 to 24 at 7% of the total and is ranked #3. Only #2 Teaticket CDP (13%), and #1 Falmouth CDP (15%) are larger. Second, it has one of the largest proportions of single men 25 to 29 at 10% of the total and is ranked #3. Only #2 Falmouth CDP (16%), and #1 Teaticket CDP (23%) are larger. Third, it has one of the largest proportions of single men 30 to 34 at 14% of the total and is ranked #2. The only larger place being Seabrook CDP with 28%. Also, it has in the mid point range of other places in the greater region in terms of single men 40 to 44 at 5% of the total. In addition, it has one of the largest proportions of single men 45 to 49 at 20% of the total and is ranked #2. The only larger place being Seabrook CDP with 72%. Furthermore, it has in the center range of other places in the greater region as measured by single men 50 to 60 at 10% of the total.
Figure 34 shows the East Falmouth CDP population data for the ratio of the number of single women between the age of 18 and 65, in each area, broken down by age group for the East Falmouth CDP metro area. East Falmouth CDP Massachusetts has the percentage of single women 18 to 24 in the center range of other places in the metro area at 8% of the total. Second, it has one of the largest proportions of single women 25 to 29 at 10% of the total and is ranked #3. Only #2 Teaticket CDP (14%), and #1 Monomoscoy Island CDP (44%) are larger. Third, it has the largest proportion of single women 30 to 34 at 17% of the total and is ranked #1. Also, it has one of the largest proportions of single women 35 to 39 at 8% of the total and is ranked #2. The only larger place being Falmouth CDP with 15%. In addition, it has less than most other places in the surrounding region as measured by single women 40 to 44 at 2% of the total.
East Falmouth CDP Massachusetts Citizenship Demographics Charts
The next chart (Figure 36) shows for all citizens what the original place of birth was for people who were born in a foreign country and has the smallest proportion of birthplace in this state at 12% of the total.
In Figure 37, the demographic percentage of East Falmouth CDP residents who were not born in the United States is shown (i.e. percent foreign born.) East Falmouth CDP depicts it has a Percent Foreign Born of 4.8% which is in the mid point range of other places in the metro area. The place with the highest percent of population who was born in another country in the area is Falmouth CDP which shows a percent born outside United States of 10.2% (about twice as large). Comparing percent of population who was born in another country to the United States average of 13.6%, East Falmouth CDP is approximately a third the size. Also, versus the state of Massachusetts, percent of population who was born in another country of 16.8%, East Falmouth CDP is approximately a third the size.
Figure 40 provides further information for non citizen age by showing a comparison of the median age for all non citizens immigrants. it has a Non Citizen Median Age of 41.3 which is the second most median age of non citizens of all the places in the greater East Falmouth CDP region. The place with the highest median age of non citizens in the area is Falmouth CDP which depicts a median age of 57.2 (38.5% larger). The next diagram (Figure 41) shows the year of entry that non citizens entered the United States. The year of entry can show the rate of flow at various points of time in the past for when they entered the U.S. it has the largest proportion of non citizens who entered the US between 2000 to 2009 at 71% of the total and is ranked #1. Second, it has the largest proportion of non citizens who entered the US between 1990 to 1999 at 29% of the total and is ranked #1.
For all foreign born people who have gone through naturalization (the process of becoming a legal U.S. resident citizen), Figure 42 shows the year when they became fully naturalized U.S. citizens. it has the largest proportion of people naturalized 2010 to 2014 at 16% of the total and is ranked #1. Second, it has one of the largest proportions of people naturalized 2000 to 2004 at 9% of the total and is ranked #3. Only #2 Falmouth CDP (9%), and #1 Seabrook CDP (68%) are larger. Third, it has one of the largest proportions of people naturalized 1995 to 1999 at 14% of the total and is ranked #3. Only #2 Falmouth CDP (17%), and #1 New Seabury CDP (20%) are larger. Also, it has in the mid range of other places in the area when ranked by people naturalized 1990 to 1994 at 19% of the total.
East Falmouth CDP Massachusetts Birthplace Demographic Charts
Figure 43 displays a map of the globe and shows East Falmouth CDP demographic information for large regions of the world that people from this place originally came from. East Falmouth CDP Massachusetts has the percentage of from Europe less than most other places in the surrounding region at 39% of the total. Second, it has less than most other places in the local area in terms of from Asia at 12% of the total. Third, it has one of the largest proportions of from Africa at 9% of the total and is ranked #2. The only larger place being Falmouth CDP with 11%. Also, it has one of the largest proportions of from the Americas at 39% of the total and is ranked #2. The only larger place being Teaticket CDP with 68%.
Figure 44 categorizes the location for where foreign born people originally come from based on very large continental geographic areas. East Falmouth CDP Massachusetts has one of the largest proportions of from Asia at 9% of the total and is ranked #2. The only larger place being Falmouth CDP with 11%. Second, it has one of the largest proportions of from Oceania at 39% of the total and is ranked #2. The only larger place being Teaticket CDP with 68%.
Figure 45 is a table that breaks out all the people who were foreign born by which large geographic region where they were born. East Falmouth CDP Massachusetts has the largest proportion of people who were born in Central America at 0.3% of the total and is ranked #1. Second, it has the largest proportion of people who were born in South America at 26.3% of the total and is ranked #1.
East Falmouth CDP, Massachusetts Demographics Data
Figure 1: East Falmouth CDP, MA and Area 2019 Population Data
Figure 2: Map of East Falmouth CDP, MA and Area
Figure 3: East Falmouth CDP, MA Population Change 2010 to 2019
Figure 4: East Falmouth CDP, MA 2010 to 2019 Population Percent Change
Figure 5: East Falmouth CDP, MA Population Density
Figure 6: Median Age in East Falmouth CDP, MA
Figure 7: Median Age by Gender in East Falmouth CDP, MA
Figure 8: East Falmouth CDP, MA and Area Age by Generation
Figure 9: East Falmouth CDP, MA and Area Ethnicity Makeup
Figure 10: East Falmouth CDP, MA Hispanic Population
Figure 12: East Falmouth CDP, MA Marriage Status
Figure 14: East Falmouth CDP, MA Average Family Size in Household
Figure 17: East Falmouth CDP, MA Head of Household
Figure 18: East Falmouth CDP, MA Birth Rate (Last 12 months)
Figure 20: East Falmouth CDP, MA Teenager Birth Rate
Figure 21: East Falmouth CDP, MA Unwed Mothers as % of All Births
Figure 22: East Falmouth CDP, MA Unwed and On Public Assitance
Figure 24: East Falmouth CDP, MA Unwed Mother Births By Age Group
Figure 25: East Falmouth CDP, MA Unwed Mother Birth Rate By Race
Figure 26: East Falmouth CDP, MA Unwed Mother Births By Poverty Level
Figure 30: East Falmouth CDP, MA Single People Broken Down By Reason
Figure 31: East Falmouth CDP, MA Single Men in Area
Figure 32: East Falmouth CDP, MA Single Women in Area
Figure 35: East Falmouth CDP, MA Citizenship Status
Figure 36: Citizen Place of Birth for East Falmouth CDP, MA
Figure 37: East Falmouth CDP, MA Percent of Population Foreign Born
Figure 39: East Falmouth CDP, MA Non Citizen Age Breakout
Figure 43: East Falmouth CDP, MA Foreign Born People are From What Region
Figure 44: East Falmouth CDP, MA Foreign-Born World Region of Birth
Figure 45: East Falmouth CDP, MA Foreign-Born Sub-Region of Birth
Figure 46: Foreign-Born Country of People Living in East Falmouth CDP, MA
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So, it's the first day of classes, the start of a new year, in (for me) a new world. I, who attended a very small liberal arts university in rural Missouri, USA and majored in literature and equine science, was very excited to spend the year out of my professional attire and back in student dress. My experience at my undergraduate uni was that your first week of classes, you wore jeans and a nice top, but by the second week trackies and hoodies were practically mandatory. Attending lectures and seminars meant that I could revert back from my brief foray into adulthood and settle comfortably in pyjamas again. So, on my first day of graduate school, I showed up in jeans, an ironic t-shirt and trainers pleased with myself and fully expecting to fit right in.
It came as a bit of a shock to me when person after person came filing into the room wearing stylish skirts and cute dresses there were shirts and even blazers, nice little flats and shoes, hair neatly done and in full make-up. I simply did not understand. We are students. Students don't try. What was this? Was it just that I had chosen to go to school in the UK and this was how they dressed? But there were several other Americans on my course and they blended seamlessly with the others. Was it that it was grad school so now all the stakes were higher and you had to dress nicer too? Was it that I had chosen to pursue a course in humanities, where my feet would be firmly rooted in the library for hours on end, rather than the barn? Or had I simply missed a memo that said "welcome to adulthood, we expect real clothes here"? In the midst of these questions, chasing each other around my mind, I managed to come up with a very reasonable argument to calm myself. It was the first day. Everybody tries a little harder on the first day. Nothing to worry about. I was sure to see hoodies in a week or so. But I was sweating it. I had packed for a year of casual. I'd brought two pairs of nice trousers and three nice tops that could reasonably be considered professional. Everything else was the epitome of liberal-arts-student dress. I had a bank account that was fully funded by the US government and was more than aware that I needed to skimp to feed myself so a shopping spree simply wasn't an option.
I clung to my theory of first-day-fancy as though it was my lifeline. By week three, that lifeline was cut. Everybody continued to show up to lectures dressed like they were headed to work, so I decided to embrace my fate. I was 'that girl'. My jeans weren't skinny, my hair was in a pony tail, I wore my trainers and my ironic t-shirts and you know what? Nobody said anything. My seminar teachers took my contributions seriously, I did well on my term papers, I even got a work experience position at a publisher's. I finished my dissertation, in fact, I might even graduate, though I still don't have my dissertation marks, but that's a huffy rant for another time. Shockingly, the world did not stop turning due to my apparently poor sense of academic fashion. It didn't ostracise me or make me fail, in fact, I'm not sure anybody even noticed. All that anxiety for nothing. Welcome to life.


Today we'd like to introduce you to Tina Hogan Grant.
I'm originally from England and moved to the LA area over thirty years ago. Living in Pasadena and then when I became a commercial fisherwoman I lived on a boat in Marian Del Rey.
I began keeping journals at the young age of fourteen. A time when my sister disappeared and I felt helpless. For me, writing down my thoughts and frustrations, was in a way, doing something.
A few years later and with my sister still missing, chaos began to erupt in my own life. I was on a path of making hideous choices and in denial because I wanted the white picket fence and the perfect American family lifestyle and ignored any signs that would disrupt that dream.
I allowed my life to be dictated by a heroin addict, the father of my child. Believing that his needs were more important than mine; I got swallowed up in his lifestyle, losing my own sense of direction, courage, and identity. But I continued to write in my journals.
During that time in my life, I hunted for books written by other women that found themselves in the same predicament as myself but came up short. I only found "how to books." but they were not the voices I wanted to hear. I wanted to know how others coped? What did they do? What were their everyday lives like? I had so many unanswered questions.
That was when the seed was planted for my debut novel RECKLESS BEGINNINGS. But it didn't happen right away. I tucked it away and continued on with my battles in life.
While writing the book, I wanted it to read like a story and not a memoir and created the main character Tammy Mellows. Names, places, and facts about certain events have been altered. Tammy Mellows is based on me and the story begins with the disappearance of her sister. It continues with the chaos that later happens in her own life and what she does to take a stand and take her life by the reins again.
It is a book that is close to my heart and at times it was hard to write, because I had to relive some of the events that I had for many years, slammed the door shut.
No, it hasn't been a smooth road. There were many bumps to overcome. Blind curves sending me in all sorts of directions and the occasional roadblock where I found myself stumped. My book takes you on this journey.
RECKLESS BEGINNINGS describes how Tammy Mellows faces her challenges and changes gears in her disruptive life.
Every day I thank my father for showing me the joys of books and writing. I've always been an avid reader and loved writing short stories and entering a few contests, (some of which I've won.) But writing RECKLESS BEGINNINGS has taken my writing to another level. It's no longer just a hobby. I am currently writing a sequel, titled BETTER ENDINGS which continues on with Tammy's journey where the first book left off. Also in the works is a romantic comedy series that is pure fiction. Now that I no longer commercial fish, life has finally slowed down and I'm able to do more of what I Iove, which is write.
I was born and raised in the small town of Ilkley which is located amongst the Yorkshire moors in England. I am the youngest of three daughters but I must say the toughness. Being half-Irish I have the red hair, freckles, and stubbornness of an Irish person. I was a tomboy and spent most of my days after school with my mate on the moors until the sun went down. We'd spend hours searching for foxes, hedgehogs, and rabbits amongst the bracken. My poor mother never knew what I'd come home with. Sometimes I had a hedgehog in each pocket, or I'd be carrying my wellington boots home because I had frogs in them.
My father never allowed a TV in the house, in fact, come to think of it, he's never owned a TV. Evenings back then were spent doing our homework, reading books and playing board games.
The paperback edition of RECKLESS BEGINNINGS will be available October 4th for $15.95.
Awesome story! Can't wait to read the book .


text:
Йосип Адріянович Кадученко ( 31 жовтня 1906 —  13 березня 1988) — капітан РСЧА часів Другої світової війни, заступник командира танкового батальйону 115-го танкового полка 57-ї танкової дивізії, 20-ї армії Герой Радянського Союзу (1941).

Життепис
Народився 31 жовтня 1906 року у с. Стара Ушиця Кам'янець-Подільського району в селянській родині. Українець. У 1922 році закінчив семирічну школу. До 1925 року працював у сільському господарстві. У 1926 році закінчив Кам'янець-Подільську партшколу. У Радянській армії з жовтня 1928 року, служив червоноармійцем 1-ї окремої конвойної роти у Ленінграді. У 1932 закінчив орловську бронетанкову школу.

Друга світова війна
З липня 1941 року учасних боїв з німецькими військами. Відзначився у оборонних боях у Білорусі. Заступник командира танкового батальйону 115-го танкового полку капітан Кадученко Й. А. у липні 1941 року в бою біля міста Орша Вітебської області очолив дві танкові роти, котрі розбили танкову колону супротивника. У бою знищено 9 танків ворога, велику кількість мотопіхоти.

У подальшому продовжував воївати на фронті. З серпня 1941 — командир батальйона 128-го танкового полку 128-ї танкової бригади, з вересня 1941 — заступник командира цього полку. Учасник Смоленської битви. У жовтні 1941 року був записаний в число загиблих, але в дійсності потрапив у кільце оточення під час Вяземської операції. У бою 6 жовтня 1941 року був контужений та захоплений у полон. Тричі намагався тікати, але кожного разу був спійманим.

У березні 1945 року звільнений наступаючими частинами Червоної Армії та зачислений у склад 4-ї гвардійської танкової армії. У її рядах брав участь Берлінській та Празькій наступальних операціях. Після війни відправлений на спецперевірку, а у грудні 1945 — звільнений у запас.

Після війни
Проживав у м Запоріжжя. У 1945—1966 роках працював у Запорізькій обласній раді Осоавіахіма та ДОСААфа, потім на коксохімічному заводі. Помер 13 березня 1988 року. Похований у Запоріжжі, на Першотравневому цвинтарі

Примітки

Посилання
 Герои Советского Союза. Краткий биографический словарь. Том 1. М.: Воениз., 1987 ;

Уродженці Старої Ушиці
Померли в Запоріжжі

redpajama_set_name: RedPajamaWikipedia


Governor Cooper has launched the annual school supply drive to help public school teachers, who often spend $500 or more out of pocket for expenses for their students. We are asking for donations–all types of paper; pens, pencils, and dry erase markers; spiral notebooks; and tissues and sanitizing wipes. If you are attending the GWG meeting on Thursday, please bring your donation, and Wes Kyatt, NC Department of Military and Veterans Affairs, has volunteered to take the donated supplies to one of the collection centers. Otherwise you can drop your donation off at state government buildings and state employee credit unions across the State.


I did skip over the assembly of the front suspension for now, because I need to pick up some paint for the braces around the forward cockpit. I'll get that in the next couple of days, and will have the wheels on it by this time next week. Check back then for more progress on the build!


The final six in all five competitions have been announced.
Day One is in the books and we now know everyone who will be competing on Saturday across all competitions here in Kansas City, Missouri at the US Coffee Championships….
A look back at Day One of the US Barista Championship in Kansas City, Missouri.
Everything worth knowing about this weekend at the US Coffee Championships in Kansas City, Missouri.
All delicious things food and drink in Kansas City, Missouri.
All the winners from the US Coffee Championships Qualifying Event in Nashville, Tennessee.


Marouane Fellaini has opted to turn down Arsenal in favour of staying at Manchester United for financial reasons, according to a report in England.
The Times, as quoted by The Sun, is reporting that the Belgium international is set to remain at the Red Devils beyond the summer transfer window despite intense speculation surrounding his future.
The same article states that former Everton midfielder Fellaini was close to a move to their Premier League rivals Arsenal with his current deal set to expire on 1 July.
However, The Times reveal that Manchester United outmaneuvered Arsenal with a £100,000-a-week contract that will run until 2020 with the option for an additional year.
According to the same story, the Arsenal target will put pen to paper on the new deal later this week to end transfer speculation surrounding his future at Old Trafford.
Manchester United have already signed Brazil international Fred in a £52m deal from Ukrainian Premier League champions Shakhtar Donetsk earlier in the summer transfer window.
The Red Devils have also completed a deal to sign Portuguese full-back Diogo Dalot in a £17m transfer from FC Porto.
Manchester United finished in second place in the Premier League table last season to secure their best finish since Sir Alex Ferguson's retirement in 2013.


We are available to conduct funerals for all parishioners. You do not have to be a church attendee to have a funeral in church. We take crematorium services for those who prefer this. Increasingly families are choosing a short cremation service followed by a thanksgiving service in church. We are happy to help you plan a service which honours your loved one.
For further advice and help please contact the Parish Office.


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text:
Trey McIntyre on His World Premiere The Big Hunger for San Francisco Ballet
February 7, 2020—This month San Francisco Ballet will perform the world premiere of choreographer Trey McIntyre's The Big Hunger, set to Prokofiev's Concerto No. 2 with costumes and sets designed by Thomas Mika. Trey McIntyre sat down with Michael Phelan of BayDance.com to discuss what The Big Hunger is about and how he's been working on it with the SF Ballet dancers.
Michael Phelan: Tell me about The Big Hunger. I understand the idea comes from the Kalahari Bushmen?
Trey McIntyre: It's from a Korean film I saw about the Kalahari Bushmen. One of the characters cites this story that they have two hungers in life. Little hungers, literally hunger for food, but I take it to mean, and I extrapolate, it's about an iPhone, a career, romantic love. It's really a lot of things that we made up. Whereas the big hunger is the hunger for meaning, the thing that exists outside all of it, that gives us purpose. So what I wanted to explore in this piece, and something that I found in the score, especially at this moment in history, our over-investment in the little hunger. Things become more and more important. The more we need those things, the more natural destruction comes from it. You can push the lust for status or money only so far before that collapses.
Trey McIntyre
There's so much complexity built on top of complexity in Prokofiev's score that it sort of winds itself up into this destructive force. So those things really felt aligned. I worked with the piano score in the studio because I had to. I had the notes in front of me, and there were certain sections where I absolutely couldn't associate the note with the sound until I realized I just couldn't believe how many notes were crammed into one measure. I didn't think it was possible to play that. (laughs) I had to have a little paradigm shift. I truly love it. It's one of my favorite pieces of music. I had not heard it until it was suggested by the musical director at Queensland Ballet when I was in Australia. I always ask people what is the dance piece you always thought somebody should choreograph, what music. He's a pianist, and that's the first thing he thought of.
MP: So that's how you decided on Prokofiev. You're a classical pianist yourself.
TM: Well, when I was very young. I haven't touched the piano since then, but it informs my understanding of music now. It certainly informs the way I approach music and my relationship with music and, I think, also my respect for music. I don't think I would ever choose to work with music if I didn't feel I had something additional to say with it. I'm not satisfied with merely aping the music or simply illustrating what's already there. If I don't feel that I have at least something in the attempt to add, then I won't approach it. That really comes out of respect for other artists and what they've already made.
MP: In an interview with you about your piece Pass, Away you said that you stay away from choreographing classical music because it can make you lazy. It's just too easy to fall into the music and create a credible dance that just follows the score.
TM: It certainly can be for sure. I tend to focus on pop music because it's pretty much always a very simple kind of arrangement. So it requires, for me at least, a very detailed construct. I think what was maybe interesting about this classical piece was there's just sooo many layers to it. In some ways it's the opposite—how do I filter all these layers into two people on stage? How do two people express the gravity of certain moments of what's happening? That was part of the challenge with this piece.
MP: The Big Hunger has how many dancers?
TM: Fourteen. Eight men and three duets. Three pas de deux.
MP: Prokofiev's Concerto No. 2 is pretty wild.
TM: It's so soothing to watch Yekwon perform. He's so confident in front of the piano and adept.
MP: How did you connect with Yekwon Sunwoo?
TM: Through Martin West, the Music Director here (San Francisco Ballet). He's conducted Yekwon before. If I'm not mistaken, it was Prokofiev's 3rd Piano Concerto.
MP: The San Francisco Ballet web site describes Prokofiev's 2nd Concerto as "fiendishly difficult." It has rapid, complex passages. The pianist has to have rapid dexterity. It's frenetic and serious at the same time.
TM: You'd think it would be a showy thing, but there's such complexity to it you never feel that it's complex for the sake of complexity.
MP: How challenging is that for the dancers?
TM: I thought it would be more challenging. For making choreography, not at all. I did work differently in terms of phrasing because I knew that there are long solo passages where the pianist is at liberty in terms of phrasing. Knowing that going in, I also left a lot of room for the dancers in their own phrasing because I knew it would be different from show to show. And so deciding what the right thing was was different, in a way, from what I normally do. So I thought there would be a lot of adapting that would need to happen once Yekwon got here, but almost nothing. It was so easy. I mean I had some nerves about it, for sure. He asked me for notes, but I really didn't have anything. He plays with such clarity and consistency that it's been great. And the dancers are quite inspired by it. He's such a thoughtful and emotional performer.
MP: Did you give the dancers a lot of latitude and freedom of expression?
TM: Yeah. I'm quite specific in the creation of movement until I feel the dancers understand the big picture and the why of the movement. As long as they have that in mind, they can make any choice they want along the way to get there. I'm not collaborative in terms of creating movement so much. I don't prepare any movement coming into the studio. I do it all myself in the moment. But I will react to what a dancer may do when I give choreography. When I'm watching what they're doing, somehow that tells me what happens next. It's not giving them exercises so they will give me choreography. It's "oh, it's interesting the way they did that." And we'll see where we can take that further. Collaborating in that way. In personalities it's collaborative. For example, I cast Dores André and Ben Freemantle in the first pas de deux, which is, I think, the most sustained and complex musically. And they're both so like pedal to the floor every day in rehearsal. They are meant to exhaust themselves in the pas de deux. They really stayed with me, continuing to push themselves every day in rehearsal. They were kind of joking, because we made it in October, and they put it away all these months. Ben told me they were laughing when they went back into the studio. They said they couldn't believe they let this get so hard. But they can do it.
MP: How many sections?
TM: There are four sections in the piece, but three duets. It's kind of structured: a duet, then a second section with all the corps men, then a duet and a duet. The corps men kind of weave their way in and out.
MP: Somewhere you said that, "in choreography the technique and theory behind the artistry of dance is about making sense of the human body." How does your choreography in The Big Hunger do that?
TM: I think it's about what ballet technique is. As much as I want to push myself as an artist, I keep returning to the language of ballet because I think it's the system that does it the best so far. In this piece I would relate it to what I was saying about the first pas de deux. They need to push themselves to exhaustion in order to do it well. It's an interesting puzzle, right? As a dancer all their work is about being pristine and not showing that they're working. So, how to push themselves to that kind of wildness, but still convey the thing that they want to convey and how to be kind to their bodies in the process. I think there's a real discovery from that. It's always important to me that the dancers are having a real experience on stage and not acting. So anything I can do to help them have that real experience is great. If it's a moment of love on stage, to find the love for their partner and not portray that. I think in particular that the body must convey going beyond what's comfortable. I think there's something wonderful that comes out of them when they dance that.
MP: Do you usually let dancers interpret a piece?
TM: Oh yes. Always. I was able to find words through studying the Meisner technique of acting. There was a quote that always stood out for me: Your experiences on stage should be real experiences in imaginary circumstances. I think there's a particular, a special version of that in dance because it's so abstract. It's imaginary in an abstract way. But there is also more primal access to those real experiences by sweating and breathing and touching and moving together. There is an access to a certain emotional plane or vibration that is quite real. In my opinion when we really respond to a dancer on stage it's when they're finding that.
MP: On your Patreon web site you said, "People often tell me that they enjoy my work because it's not sexual, but I will defend to the bitter end that it is indeed sexual." Is there any sexuality in The Big Hunger?
TM: Yes, for sure. I wouldn't say that the piece is a representation of sexuality any more than any expression of the human body is. I think that ballet in particular, and this is changing, certainly right now, is a restriction of that sexuality. Classical ballet is a hemming in of it. I think we're in a particular moment of change around that, which I think is wonderful. I would certainly argue that any time a dancer walks on stage their sexuality is a big part of it. There is a lot in the piece that deals with gender, though. There's a certain, not unisex, but there's a certain evening of gender in it.
Part of that comes from when I was in Australia with the designer Thomas Mika we were working on a different piece. I was saying the whole work needs to be rooted in some kind of symbol that we can all identify, that we've all given great meaning to. But it's really just an invention. Like an exit sign; it had a figure of a guy running. We all think we know what it means and we're passively made comfortable by it. We think it will save us in an emergency or get us out of the room. But we only think those things because we agreed to it and we made it so. It means nothing.
MP: Today was the first day you saw the costumes and sets. Are you happy with them?
TM: Yeah. Very. We made the set as a giant figure just kind of looming. The costuming is a variation of that. There's certainly gender delineation; women are in pointe shoes, as is the language of classical ballet. For example, every person on stage has a bobbed wig to make their head kind of round like the stick person on the exit sign. There's a section where men are in long trench coats, but they're cut so they're tight on top and flare out like dresses. The leotards are cut like women's leotards, so everyone's wearing the same even though there are variations representing different genders. There's kind of evening and industrialization of the way they're costumed.
MP: And the set?
TM: The set is also by Thomas Mika. The set changes and explodes and all kinds of stuff. It starts in a small room and pieces fall away so it gets more open and you get more sense of space as the piece goes on. I think it's quite beautiful. It turned out great. There's modifications that have to happen. The wigs for example. It's hair moving around. You don't know what it looks like until you see it on stage.
MP: What would you like audiences to come away with from The Big Hunger?
TM: Hmm. I have a lot of trepidation in expectations of what the audience should take away just because it's okay for people to get anything they want out of it. They could come and have the exhilaration of some very impressive dancing. The dancers look incredible. They really impress me in the work. I would love it if people would bring their own experience to it and hold it up the way you would look at a painting, without knowing a backstory, and see if they can find themselves in it. At the very, very best any reminder that our big hunger is the real thing and will bring us to a greater place of enlightenment. If I can give people a reminder of that in the piece, then that would be pretty great.
MP: What are you working on next?
TM: I'll go back to Houston to put a piece on stage with the music of David Bowie. Back to my pop roots. It's a piece for eleven men that Thomas (Mika) is also designing. And then I'm diving headfirst into a Youtube channel that I'm real excited about. It's the kind of thing I just do naturally, like when I had a dance company. I really like audience engagement. I like making people feel more bought in and more comfortable and more creative. I enjoy social media for that reason and only for that reason. On Instagram I would do stories. San Francisco Ballet had me take over their Instagram for a day. I did an epic! I ran all over the city! I produced films! It's kind of natural for me, so I want to share my creative adventures with people and give some insight while I'm here in San Francisco behind the scenes and try to be really vulnerable and talk about what's hard and insecure about choreographing. What's a good day, and what's a bad day. What are artists I'm really interested in and share insights. In the next two days I'm going to release the first episode of that.
MP: You're a busy guy.
TM: Yeah. I was up till two in the morning last night editing. But I like it that way. It also gives meaning to being a traveller. I'm fifty now and I started travelling when I was twenty. It took me a long time to get used to that and not feel anchored and to be okay with it. I think part of the Youtube channel is being out in the world and feeling more connected to people by sharing my experience.
MP: What's your big hunger?
TM: For me the spiritual path is detachment from all those little hunger things. For me it's in what ways can I be of service to the world. In what ways can I engender more love. It gives me confidence that there's more than making the best ballet I possibly can. Service to the world and to create more love. That's my big hunger.
San Francisco Ballet will perform The Big Hunger, as part of the Dance Innovations program, from February 13-23. For more information see www.sfballet.org.

redpajama_set_name: RedPajamaCommonCrawl


Mark Moyer was appointed Chief Financial Officer of Freedom House in July of 2017. For the past several years, Mark had been providing interim and part-time CFO services, principally to non-profit organizations, where he helped implement business practices learned over a 25+ year career with several international companies. Mark has served in such sectors as: primary and secondary education, community services, and environmental awareness. He began serving non-profit organizations in 2008 upon being appointed as Chief Financial Officer for the Institute of International Education, a large administrator of US State Department scholar exchange programs. Mark also serves as a board trustee overseeing a family of mutual funds and had lectured for several years as an adjunct professor of accounting at a regional university.
Mark obtained his BBA in Accountancy from the University of Notre Dame and MBA in Finance from New York University, and he is also a CPA.


Challenging first article of the New Year from Youth & Policy.
Paul Andell and John Pitts explore, through local research, young people's gang involvement and subsequent engagement with the national and international drugs trade.
This article describes a Rapid Assessment Exercise commissioned by a local authority to inform an evidence-based multi-agency response to the involvement of vulnerable children and younger adolescents in illicit drug trafficking. The research was commissioned by a local authority in an English County Town, The researchers analysed relevant quantitative data held by social welfare, health, educational and criminal justice agencies. Interviews were conducted with professionals from these agencies and three key informants previously involved in the illicit drugs trade. Two focus groups were conducted with professionals and three with gang-involved and gang-affected children and young people. The quotations in this article were all derived from these individual interviews and focus groups. The article considers whether the emergence of this problem is simply a result of local contingencies or whether it represents an instance, and a moment, in the evolution and transformation of, the English street gang and the 'County Lines' model of drug distribution. In an attempt to answer this question the article considers three models of gang and drug market evolution and assesses their relevance to developments in the Town.
Next Generations of Activism – 1918 – 1978 – 2018, to celebrate 100 years of women's enfranchisement, feminist youth work and current feminist activism.


text:
Hellraiser IV: Bloodline (1996)
Alan Smithee (Kevin Yagher and Joe Chapelle)
Bruce Ramsay - Philip LeMarchand/Dr. Paul Merchant/John Merchant
Doug Bradley - Pinhead
Valentina Vargas - Angelique
Kim Myers - Bobbi Merchant
Christine Hamos - Rimmer
Adam Scott - Jacques De L'Isle
Mickey Cotrell - Duc De L'Isle
Courtland Mead - Jack Merchant
Mark & Michael Polish - Twins
Charlotte Chatton - Genevieve
Genre - Horror/Science Fiction/Slasher/Supernatural/Demons
On a space station named Minos in the year 2127, a scientist named John Merchant (Bruce Ramsey) is the last descendant of the man who created the Lament Configuration puzzle box - the portal to hell that sets the infamous Pinhead (Doug Bradley) and his Cenobites free. Wanting to end Pinhead's reign of terror on his family and the world, he willingly opens the box to set him free in order to destroy him. Once Pinhead is freed, however, Merchant is taken prisoner by space marines who want to know what he's up to.
As Merchant is prisoner, he tells a marine (Christine Hamos) about the history of his family and the puzzle box, starting way back in the 18th century. Supposedly, the box was unknowingly created to unleash hell on earth in the form of Angelique (Valentina Vargas) - a demon who enjoys seducing humans in order to feed and torture them. She's obsessed with the Merchant bloodline, following the family through 1996 and into the future. With Pinhead helping her in destroying the Merchant bloodline, can Dr. John figure out a way to stop Pinhead and Angelique? Or will the demons finally bring their "pleasures" to Earth?
- The intention and the concept. HELLRAISER IV: BLOODLINE continues the unfortunate decline of an original Clive Barker project that was considered special, due to it being very different from the slasher era that surrounded the film's release. Now, HELLRAISER has become a forced slasher franchise in its own right, diluting what made the first two films unique. However, I do respect and appreciate that BLOODLINE wanted to be its own film that would make it stand out from the previous entries.
BLOODLINE, written by Peter Atkins [who also wrote HELLBOUND: HELLRAISER II and HELLRAISER III: HELL ON EARTH], is sort of done in an anthology type of way - having three different timelines tell three different stories about the Lament Configuration's origin and the curse it has had on the Merchant bloodline [oh...that's where the title comes from!]. I'll get into the stories themselves shortly, but I thought it was an interesting storytelling tactic that separated itself from the previous installments. A lot of people complain about why an origin for the puzzle box was even needed, but where else could the franchise had gone at this point? We already knew about Pinhead's deal from HELLBOUND and HELL ON EARTH, so the logical step was to explain why this Lament Configuration is the gateway to Hell. It explains the strange final shot from HELL ON EARTH [the 1996 portion finally answers my question from the last HELLRAISER review I wrote] and actually makes this box feel important. In fact, the box is more dangerous than any of the Cenobites that come out of it. I liked that we saw three different time periods and how the box played in each one. I wish the execution was better [I read the original script to this film and it's a whole lot better than what we eventually got], but the intent and ambition was there. Too bad Miramax had to stick their greedy hands into the project and ruin it.
- The gore and SFX. While it's not the greatest special effects due to Miramax cutting the budget somewhat compared to HELL ON EARTH, it's not a surprise that they still manage to be a highlight when Kevin Yagher was on the project [at least for a while anyway]. Yagher is best known for his work on one or two of the NIGHTMARE ON ELM STREET sequels and he handled the looks of all the demonic characters here. Pinhead still looks great. Angelique, in demon form, looks pretty hot. The twin Cenobites look pretty awesome in my opinion. And while the demon dog is a silly addition, at least it looks pretty creative. The Cenobites looked closer to Barker's vision rather than the ridiculous ones of HELL ON EARTH. That's a good thing.
I also thought the gore was pretty nifty here. The melting of a space marine by the twin Cenobites is probably the memorable one in this film. Not sure how they managed to do that, but it looked awesome. A guy getting decapitated by a mirror he's stuck into is pretty cool. The twins merging into one is a visual highlight. And we get the usual bites, scratches, stabbings, and cool stuff like that.
The space CGI looked weak, but it was 1996 and CGI was still being developed and played around with. It looked like effects from a TV show, but that's the budget they had had to work with. So I'm okay with it. I didn't mind the SFX at all.
- The acting. This was a toss up for me. I didn't particularly find a lot of the actors inspiring, but I didn't think they were all that terrible either. And compared to a lot of other issues with BLOODLINE, the acting here was the least of the film's problems.
Bruce Ramsay played three roles in the film, all members of the Merchant bloodline. I personally thought he was a bit bland for the most part. I thought his performance in the 18th Century portion was his best and it just sort of deflated once the other sections presented themselves. He wasn't bad or anything, but he never had that heroic lead impression on me.
Valentina Vargas, however, was much better as the mysterious Angelique. She was definitely a seductive presence who just screamed "bad news" anytime she appeared. I loved her accent and I really thought she brought some interest into her role. Too bad once Pinhead appears, Vargas becomes a background player. But I really dug her.
Everyone else was decent. Kim Myers, best known as Lisa from A NIGHTMARE ON ELM STREET 2: FREDDY'S REVENGE, is still a good actress and does her best with the role of Bobbi. Charlotte Chatton was cool as Genevieve. A young Adam Scott was good as Angelique's boy toy, Jacques De L'Isle. Even better was Mickey Cotrell as Duc De L'Isle, coming across as very maniacal. Christina Hamos didn't do much as Rimmer, but she was kind of cute.
And of course, we have Doug Bradley returning as Pinhead. He still brings a lot of passion and deviousness to the role. But he looks kind of bored by this point at times, as he isn't really given much to do but just stand around and play with doves. He still brings a presence to the film though, so it's okay.
- The 18th Century portion. Of the three different timelines in BLOODLINE, I found myself more glued to the past storyline where the Lament Configuation was actually created and used for evil. Learning that the box was never intended to be a gateway to Hell was interesting, and I liked the characters involved in making it happen. Duc and Jacques De L'Isle wanted the box and cast some sort of spell on it, allowing them to conjure up Angelique into the skin of a woman they had murdered [in a very cool moment]. In a lot of ways, it reminded me of the first two HELLRAISER films, with a human opening the box to gain some sort of power that he/she failed to understand. The presence of Angelique, using sex to seduce and torture her victims, reminded me of the more positive aspects of this franchise. I also thought the setting fit the Clive Barker vision of HELLRAISER very well and wish the entire film took place during this time period. Hell, I would have been happen if the portion was longer like it was in the original script [where character development and the motives of Angelique were presented more clearly]. But Miramax wanted Pinhead to appear sooner [he doesn't appear at all in the past story], so the best part of the film was edited down. Bastards.
- The 1996 and 2127 portions. Here is where the tone of HELLRAISER changes from supernatural/demonic story to full on slasher mode - losing me in the process. The 1996 portion is the soap opera part of the film, dealing with relationships between Merchant and his wife - as well as Pinhead and Angelique. Angelique is obsessed with Merchant for whatever reason. I wasn't sure if she wanted him to make a box that would open the pathway to Hell, or close it completely so she could remain on Earth in the guise of a human [which she seemed to enjoy]. But Pinhead appears, feeling that Angelique is wasting too much time seducing Merchant when she should be torturing him to get the job done. Angelique, who was an interesting addition to the story, now becomes a supporting player once Pinhead appears to speak monologues and one-liners. Pinhead also refers to Angelique as "Princess", I guess implying that she some sort of demonic princess in Hell. While the original script explores this more, the film never bothers to elaborate other than that.
We also get Pinhead turning twin guards into Cenobites [I guess he'll make anyone one these days - which goes against what was established in the earlier films], and Pinhead kidnapping Merchant's wife and son to get his attention to open up the pathway to Hell. Pinhead has now resorted to blackmail out of desperation. What the hell has happened to this character? Pinhead could just murder everyone if he wanted to with a single snap of his fingers. Now he's resorting to blackmail? And why is Pinhead taking care of a demonic dog and petting doves? What the hell am I watching here?
The future scenes are no better. It's just your generic slasher flick, with shallow characters getting murdered in various ways. Nothing here really captivated me. I could care less about these paper-thin space marines getting murdered by Pinhead and his Cenobites. Sure, the deaths were cool looking. But this goes against what HELLRAISER is about. And I won't even get to the film's ending. Just ridiculous.
The best thing I can say about these sections of the film is that they're not boring and never made me want to turn off the film. But once Miramax bought this franchise, HELLRAISER quickly became a shell of its former self. It starts out promising, but once we get to the present and future stuff, we're back to mediocrity. Such a shame.
- Most of the visual presentation. The "Alan Smithee" name should give away that the direction is going to be an issue in BLOODLINE. Kevin Yagher planned for BLOODLINE to be his first directorial movie after mainly being a popular horror special effects artist. He had a pretty good script to work with, decent actors, and enough money to make his vision come to life. But then Miramax stepped in and started changing things. They slightly cut the budget. They eliminated certain things from the story, just so Pinhead could appear in the film sooner. They also didn't like the structure of the film either. Yagher tried to work with the studio, but eventually realized it was a losing battle. With reshoots and edits done behind his back, Yagher submitted the "Alan Smithee" pseudonym and left the project.
Miramax, needing the project completed, went to their go-to guy Joe Chapelle to finish BLOODLINE. Having already butchered the theater version of HALLOWEEN: THE CURSE OF MICHAEL MYERS, yet doing a decent film in PHANTOMS, Chapelle seemed to be the golden boy of Dimension. Rand Ravich, who would later direct THE ASTRONAUT'S WIFE, wrote the scenes that weren't filmed so Pinhead could be in them more. The project was obviously a behind-the-scenes mess, which results in a very confused sequel.
It's hard to say who directed what, although it's believed that Chapelle shot all the space scenes while Yagher directed everything else. Either way, the visual presentation doesn't click for the most part. The best scenes, like I mentioned, are the ones involving the 18th Century subplot. This portion feels like an actual HELLRAISER film and have a really surreal and bleak atmosphere that's welcomed. But then the rest of the film looks cheap, almost as if it were made for television rather than for the big screen.
It doesn't help that once the 18th Century stuff is over, the mood and atmosphere is all but gone. Sure, there are some nice shots and hints of style throughout the film. Hell, I thought the set for the space station looked pretty cool. But the editing is a bit off. The pacing has issues. And the mood is no longer there. BLOODLINE isn't sure what film it wants to be - an anthology film, a slasher film, or a moody supernatural film like the original HELLRAISER? This confusion bleeds into the direction, especially when two different directors that don't compliment each other are helming a single film. A nice looking film, sure. But nothing particularly interesting besides the expected gore scenes.
It's really sad what became of HELLRAISER IV: BLOODLINE. It has such a cool premise, yet the execution was severely flawed for two-thirds of it. It's a nice looking film. The acting is pretty decent. The special effects work. And the 18th Century portion was very interesting. But the visual presentation is suffering from schizophrenia and the other two portions within the film aren't as captivating as what was before it.
This was intended to be the final HELLRAISER film, yet it was only the final released in theaters as the sequels went straight to video. The film pretty much bombed at the box office and it's really no surprise - what brought people into HELLRAISER to begin with was pretty much gone by this point anyway. I totally blame Miramax and Dimension Films for sticking their noses where it didn't need to be. I get that they need to have some input, but not on the level that they had here. Those who read the original script know this sequel had so much potential and could have revived it for many. But the potential just got wasted over greed. Just a by-the-numbers sequel that isn't as bad as many say, but is nowhere close to the quality of the first two films. Time to stick this one back into the box until next month, where I'll begin the straight to video sequels with HELLRAISER: INFERNO - a film I haven't seen. That should be interesting - at least more interesting than what this sequel was.
1.5 Howls Outta 4
Posted by Fred [The Wolf] at 12:15 AM
Labels: 1.5 Howls, 90s, clive barker, demons, Hellraiser franchise, horror, sci-fi, sequel, slasher, supernatural
Franco Macabro August 30, 2012 at 8:45 AM
I'm with you on this one, it feels good at times, at others it doesn't. I hate it when a studio messes with a film! I enjoyed the scenes where they go into how the lament configuration came to be, that part was cool. And I also enjoyed the actual bit about the spaceship being a giant lament configuration...but the lazer guns? What? This is Hellraiser for crying out loud not Star Crash! I want to re-watch this one, just to review it.
Fred [The Wolf] August 30, 2012 at 12:31 PM
I would really love to read your thoughts on this one. Yeah, it's a shame what happened to this film. It was delayed for a year due to Miramax putting their hands all over it, trying to make the film they wanted instead of the film that was intended. This could have been a cool film if they had just left it alone.
And yeah, I should have mentioned the ship becoming the Lament Configuration at the end. It's a great image, but by that point, you don't really care anyway. And I hated the ending to this film. So weak. I thought the original script had a more interesting demise for Pinhead and the Cenobites. Just potential wasted here.
Jeremy [Retro] August 31, 2012 at 9:00 AM
i think i enjoyed this one, due to the amount of information it gave out... and i still think pinhead is still one creepy dude on earth, the underworld and hell in space. hell on earth was hollywood throwing money at it... made it to hollywood, but i believe that this one being scaled back went back to the eeriness of the first two...
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The Cobra to end all Cobras!
Since most American automakers offer only a small fraction of their vehicles in Europe, it's not surprising that the U.S.-based brands skipped the 2018 Paris Motor Show. But surprisingly enough, Shelby American came to France to showcase its latest products, including the new-old Series 2 sports car.
One of the most iconic American cars of all time, the Shelby Cobra, came to be in 1962 when Carroll Shelby combined Ford-made V-8 engines with British-designed AC Ace bodies. Although the Ace was fairly old and close to discontinuation in 1962, it's lightweight structure helped Shelby create one of the greatest American sports cars. Built until 1968 in various road-legal and race-spec configurations, the Cobra reached its performance peak when the Super Snake was launched in 1966. Called the "Cobra to end all Cobras," the Super Snake is the rarest of the bunch, and it still holds the title for the most expensive American car sold at auction.
"When I built this dual supercharged 427 Cobra in 1966, I wanted it to be the fastest, meanest car on the road," Shelby told Barrett-Jackson in 2007 when the roadster was auctioned for its record price. "Forty years later, it will still kick the tail of just about anything in the world. It's the fastest street legal Cobra I've ever owned."
Let's find out more about this tremendous classic in the review below.
Continue reading to learn more about the Shelby Cobra 427 Super Snake.
The Shelby Mustang Super Snake has been updated for 2018 and 2019 with extra power, new looks, and a desire to eat anything that comes near it – all for a price of $113,445.
If you're in the market for a Mustang with excessive power and an excessive price tag, then look no further than the update Shelby Super Snake. For that $113,445 price tag, you get a base Mustang GT with a whole host of add-ons that bring power output up to 710 horsepower in standard form. Standard performance equipment includes Ford Performance 710-horsepower supercharger, Shelby's extreme cooling package, performance half shafts, short throw shifter, one-piece driveshaft (manual transmission only,) Ford performance exhaust, 20-inch wheels, and a Shelby Brembo brake system with break and bearing cooling.
That's not the best of the Super Snake, though. If you really want something more, you can opt for the 800+ horsepower supercharger. It's a Whipple unit and comes pre-polished. According to Shelby, the 800+ horsepower upgrade can deliver a 60-mph sprint in 3.5 seconds. It might be more powerful and a bit faster, but we'd rather get our hands on one of those 10 1967 Shelby GT500 Super Snake continuation cars instead. Either way, go ahead and watch the video below to get your Super Snake on full tilt.
Carroll Shelby's very own 1966 Shelby GT350H Fastback Hertz Rent-a-Racer is going up for sale at the Bonhams auction in Scottsdale, Arizona. As if 1966 G350H Fastbacks aren't rare enough by themselves, the provenance behind this model is on another level because of its association with the man who created the Shelby brand, to begin with. If you're looking for the chance to own this one-of-a-kind model, you'll need to be in top form at the Barrett-Jackson auction later this month. By all accounts, this car is not going to come cheap.
The quickest Shelby in history!
It's been only four three model years since the sixth-generation Ford Mustang arrived in showrooms, and the pony has already spawned an impressive number of versions wearing the Shelby badge. Although the iconic GT500 has yet to be revived, Ford has already launched the GT350, the Super Snake, GT-H, and GTE, just to name a few. The GT500 may still be a year away, but sixth-gen Mustang, but Shelby just launched yet another performance model. This time around it's the Shelby 1000, the brand's most menacing creation in terms of output and straight-line speed.
The Shelby 1000 is closely related to the GT500, as the first model to wear this badge, launched in 2011, was based on the fifth-generation GT500. Offered in both street and 1000 S/C track versions, the first iteration of the car was discontinued in 2012. The 1000 returned in 2013, once again based on the GT500, but now with the 5.8-liter V-8 instead of the old 5.4-liter unit under the hood. Both the street package and the S/C track package were offered. Also available as an upgrade for the GT500, the package was discontinued in 2014, after only two years on the market. The new Shelby 1000 is the first such model based on the sixth-generation Mustang, so everything about it is new compared to previous iterations. Let's have a closer look at the car in the review below.
Continue reading to learn more about the Ford Shelby Mustang 1000.
There's nothing like a Shelby Cobra 427 revving its big V-8 engine - it's even better when it happens at the race track. And, this footage recorded by YouTube user "bbrandle2" at the 2017 Goodguys Pleasanton Autocross is proof that the original Shelby Cobra is a crowd pleaser. And loud. And downright awesome!
Sure, modern Mustangs and Camaros are cool too, and a Dodge Viper lapping the Laguna Seca is something I could watch for hours, but nothing compared to the magnificent Cobra 427 that Shelby Carroll himself designed in the mid-1960s. It has the looks, the power (425 horsepower of it!), the exhaust note, and all the fame a muscle car can get. Seeing one in action is a real treat too, since the 427 was produced in less than 350 units, including S/C and Competition roadsters.
Continue reading for the video.
The history of the Ford Mustang extends more than 50 years, and in that span, a the muscle car's legacy has been defined by a number of custom tunes and special edition models. As rich as that history is though, there is one model that trumps them all, largely because Shelby only built one model of it as a prototype. That model was the 1967 Shelby GT500 Super Snake, and to this day, it remains as the most expensive Mustang ever sold when it fetched $1.3 million at a Mecum auction back in 2013.
Over the years, Ford has revived the Super Snake name a number of different ways, most recently with the 2015 Shelby Super Snake, a special edition Mustang that was limited to just 300 units. Fast forward to this year and the Super Snake name is making another comeback with the launch of the Shelby Super Snake 50th Anniversary Edition. Yes, the one-and-only original 1967 Shelby GT500 Super Snake is celebrating its 50th anniversary this year and for a car that has turned into arguably the most iconic Mustang in history, a special edition run of 500 units (499 more than the original Super Snake!) is the least Ford can do to commemorate the original Super Snake.
Like with most special editions, the 2017 Shelby Super Snake 50th Anniversary Edition comes with a long list of exclusive features and details, including new bodywork from Shelby, commemorative appointments to indicate its status, and best of all, the option to get the car's power up to 750 horsepower.
The 2017 Shelby Super Snake 50th Anniversary Edition may never have the lasting legacy of the legendary 1967 Shelby GT500 Super Snake, but it is a fitting tribute to a muscle car that was completely ahead of its time in more ways than one.
Continue after the jump to read more about the 2017 Shelby Super Snake 50th Anniversary Edition.
The Mustang was Ford's biggest commercial success since the golden days of Model T production. Originally conceptualized as a strict two seater, Ford's senior executive, Lee Iacocca, realized that its success hinged on volume sales. And volume sales were exactly what Iacocca got, over 22,000 Mustang's were sold within the first day and more than 100,000 rolled off the production line inside the first four months. Within two years, more than a million would be sold, but come summer 1964, Ford's executives thought the bubble was about to burst.
All GT350s started life on the Ford production line as Wimbleton White K-Code DSO fastbacks with a 271-horsepower 289 V-8 and black interiors. The DSO code referred to the unique blend of upgrades these cars were built with, which included several special bits from the Ford parts bin – all before being shipped to Shelby. The front disc brakes were kept, but sintered metallic pads were used instead of the softer stock ones. Station wagon drum brakes with larger metallic-lined shoes were added at the back. Also added was a nine-inch Detroit Locker differential, under-hood 'Export' bracing, and close ratio T-10 Borg Warner four-speed manual transmission with an aluminum housing.
Cars were shipped from Ford's San Jose plant to Shelby America's Los Angeles facility without hoods, grilles, rear seats, exhaust systems, or emblems. Then the transformation really began.
In its first two years on the market, the Mustang has already received a handful of updates bearing the Shelby badge, including the GT350, GT, GT EcoBoost, and a revival of the iconic Hertz GT-H model. Come 2016, and Shelby launched a new nameplate, this time around featuring the "GTE" logo and offering a more diverse engine lineup, including the 2.3-liter EcoBoost, the naturally aspirated "Coyote" V-8, and a supercharged version of the latter.
Unveiled in December 2013, the sixth-generation Mustang introduced not only a new design language, but also a brand-new platform that features an independent rear suspension for the first time since the pony was launched in 1964. It also received a revamped interior with classic cues and an updated engine lineup that includes a turbocharged, 2.3-liter EcoBoost engine. The sixth-gen car also became the first Mustang to be sold in European Ford dealerships.
Available for all Mustang built for the 2015 to 2017 model years, the GTE package can also be had on convertible models, a feature not offered with many other Shelby upgrades. But much like other Shelby models, it can be optioned up with several features, ranging from exterior elements to carbon-fiber panels and drivetrain components. Keep reading to find out more about what sets it apart from the standard Ford Mustang.
Continue reading to learn more about the Shelby GTE.
If you ask any car enthusiast the name of the person who has been the most influential to the automotive world, nine times out of ten you'll get the answer "Carroll Shelby." And, rightfully so – Carroll Shelby had an amazing automotive legacy. And, that legacy all started out with the car you see here: a 1962 Shelby Cobra CSX 2000. While all early Cobras are special in their own right, this one is excessively special because it was the first Cobra built. Ever. It came to be at the hands of Carroll Shelby and a few other people in a small garage in California.
There's a lot more to this specific Cobra, though. See, this Cobra was built by Carroll Shelby and was owned solely by him. Furthermore, there is a funny story behind it. When the car was complete, it was shown at a number of different venues used by the motoring press and used for testing and development. The funny part is that Shelby had the world convinced that Cobra production was running at full force when in fact the CSX 2000 was the only Cobra at the time. To pull this off, the car was repainted prior to most appearances to give the illusion that there was more than just one for the first seven months of its existence.
With that said, this specific Cobra is ready to go home with a new owner and is being auctioned off by RM Sotheby's in Monterey in August of 2016. It is being offered by the Carroll Hall Shelby Trust and, as such, should come with proof of authenticity. The car isn't exactly in the best condition it has ever been in – there is definitely wear here and there. But, that is a part of the car's history. So, let's take a good look at it before it goes under the hammer in a couple of months.
Update 08-21-2016: This gorgeous car just broke the record for an American car sold at Auction. Check out the Prices section below for all the details.
Ford gave birth to the GT350 nameplate in 1965, the same year when Carroll Shelby was commissioned to build high-performance versions of the first-generation Mustang. Built in 1965 and 1966, the initial GT350 was not just lighter than a regular Mustang, but more powerful too. Originally rated at 271 ponies, the 'Stang's 4.7-liter V-8 was uprated to deliver 306 horsepower at Shelby American's shop, where it would also be equipped with heavy-duty rear axles, larger rear drum brakes, and front disc brakes. All 1965 models were painted Wimbledon White with Guardsman Blue stripes, while the 1966 model year brought more colors to the car. The GT350 continued in 1967, 1968 and 1969 with more cosmetic changes that performance updates. The GT350 moniker disappeared until 2011, when it returned for the fifth-generation Mustang. As the redesigned pony rolls into dealerships for the 2015 model year, the Shelby GT350 has made yet another comeback as a track-prepped version of the sixth-gen Mustang.
Introduced for the 2016 model year, the first Shelby Mustang GT350 to feature an independent rear suspension is Dearborn's answer to the Chevrolet Camaro Z/28. The body panels were reshaped into a more aerodynamic and aggressive shape, including a completely new front section, while the GT's standard 5.0-liter V-8 was replaced by a slightly larger unit specifically developed for this muscle car. But enough with the spoilers. Keep reading to find out everything there is to know about the new Shelby GT350.
Updated 06/28/2016: Ford dropped a new video featuring David Patterson "That Dude In Blue" tackling the GT350 Time Attack at the Ford Performance Octane Academy. Hit "play" to watch the new video.
The History of Mecum Auctions goes back to 1988 at the Rockford Airport, where the first Mecum Auction was held. Over the last 28 years, Mecum has grown tremendously, now being ranked No. 1 in the U.S. for collector cars offered at auction, collector cars sold at auction, total dollar volume of sales, and the largest number of auction venues. On top of that, it has become the host of the world's largest collector car auction that is hosted every year in Florida.
This last week, Mecum hosted an auction in Indianapolis, Indiana at the Indiana State Fairgrounds. This year there was a total of 1,859 lots that included plenty of collector cars, a few gas pumps, some neon signs, and even a few coin-operated kid rides. The big news from this auction, however, was the pair of Shelby Cobras that broke seven digits before the hammer dropped and a few other classics that are well worth taking an extra look at.
We've taken the time to cover the biggest sellers from the auction as well as a few of those that didn't sell at all. There was even a 1971 Plymouth Hemi Cuda Pro Stock that got as high as $750,000 but didn't get quite high enough to cross that thin reserve line. That was just one of many that didn't sell, and those two Shelby Cobras weren't the only models that found new owners last week. So, let's take a look at a few of the most notable vehicles that went under the hammer last week.
Carroll Shelby certainly created a name for himself in the 1960s, not the least of his accomplishments being the 1-2-3 win at the 24 Hours of LeMans in 1966. That marked the first time an American car had won the iconic race. Shelby's fame as a car builder skyrocketed in the fallout. To help celebrate the Shelby on his 85th birthday, Shelby Distribution USA and Shelby Automobiles reproduced 255 examples of the GT40 race car for the 2009 model year.
The car was offered the three color schemes, each mimicking the three racing liveries that saw action in the 1966 Le Mans race. In total, 85 examples of each were built. Each car could customized to have either left- or right-hand drive, and were completely road-legal. Each car received a Shelby Automobiles MSO and sales were recorded in the Shelby Registry, making the whole process even more historical. A dash plaque records each car's build number and authenticity as a legitimate and licensed replica.
The design of the replica Ford GT40 is an exact copy of the originals', though these 2009 examples were constructed from electro-galvanized sheet steel. This helps prevent rust, ensuring each car lasts for decades to come. The pieces were also laser cut to the exact measurements of the originals.
The only kicker to the MKII GT40 – it was only offered without an engine. Yep, in order to skirt emissions and crash testing regulations, the car was sold as a rolling chassis. Customers were expected to install their own engine, which of course, should only be a 427 Ford V-8. Anything else would be heresy. Those who wanted to track their Shelby MKII GT40 could opt for the available race version. The package included a roll bar, fuel cell, and air conditioner delete.
Caroll Shelby cherished one dream while racing in Europe and North and South America throughout the 1950s; building the world's fastest sports car. By 1956 he had already come up with a name for his car, it would be called the Cobra. Soon after his 1959 victory at the 24 Hours of LeMans for Aston Martin, Shelby was struck by heart problems. Reluctant to do so, he was forced to give up racing as a driver. This lifestyle setback turned out for the best, however, as Shelby had the opportunity to pursue his Cobra-building dreams.
A few years earlier and on the other side of the globe, John Tojeiro designed a small sports car, which sold under the AC Ace name. The open-top car was a simple tube-frame chassis with a Bristol 2.0-liter inline six-cylinder engine derived from the BMW M328 engine. The lightweight combination made the Ace a moderately successful racer. However, its success was jeopardized when BMW began phasing out the 2.0-liter. Other engines were tested, including American V-8s, but the AC Ace's future seemed dim. So dim in fact, Tojeiro decided to end production of the car.
That's when Shelby heard about the AC Ace and its lightweight design. He immediately contacted AC, along with his long-time associates at Ford Motor Company. He convinced AC to continue constructing the Ace and Ford to supply special versions of its Fairlane engine for installation in the AC chassis. Shelby and his team of engineers and builders shoehorned the V-8 into an AC at Shelby's Venice, California shop. Of course, these early AC Ace cars were the roadsters that became known as the Shelby AC Cobra. The cars enjoyed a successful racing career, but could never outrun Enzo Ferrari, Shelby's longtime Le Means rival, and his Ferrari 250 GTO.
That's where the Shelby Daytona Coupe comes in. Shelby had Pete Brock design a more aerodynamic body for the AC Ace – one that would allow for higher top speeds at Le Mans' Mulsanne Straight. The design worked, allowing the coupe to hit 190 mph. The car's debut race would be the 1964 Daytona Continental 2000 at the famed Daytona international Speedway in Florida.
Ford Motor Company and Carol Shelby have a long and rich history together. Shelby, a WWII flight instructor and test pilot turned professional racecar driver, started his company named Shelby America company in 1962 building a modified version of the AC Cobra. Shelby transformed the small, European roadster into an American muscle car thanks to a Ford V-8. He soon turned his attention to other vehicles as well, including the then-new Ford Mustang.
Shelby's relationship with the Mustang would be his most iconic. His first would be the 1965 Shelby Mustang GT350. It was followed by the Shelby Mustang GT500 in 1967 and the GT500KR in 1968. After 1969, Shelby stopped modifying the pony cars, but not before making a name for himself.
It was in 2005 that Shelby decided to revive his Ford heritage. The fifth generation Mustang had just been released and its retro design begged for Shelby's touch. Working with Ford's SVT team, Shelby and the crew developed the GT500 – a supercharged V-8 Mustang with 450 horsepower, a matching amount of torque, upgraded suspension components, brakes from Brembo, and a bespoke exterior treatment that make the Shelby Cobra GT500 unique. The car didn't hit showrooms until the 2007 model year, and within that development time, the GT500's horsepower had grown to an even 500 horsepower and 480 pound-feet of torque.
The GT500 was the most powerful production Mustang Ford had ever created and helped reignite the high-horsepower wars between Detroit's Big Three – Chevy, Dodge, and Ford. So without further introductions, let's take a look at the 2007 Shelby Cobra GT500.


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Every Tool's a Hammer: Life Is What You Make It (Hardcover)
By Adam Savage
(Science (New))
"An imperative how-to for creativity." —Nick Offerman
Adam Savage—star of Discovery Channel's Mythbusters and one of the most beloved figures in science and tech—shares his golden rules of creativity, from finding inspiration to following through and successfully making your idea a reality.
Every Tool's a Hammer is a chronicle of my life as a maker. It's an exploration of making and of my own productive obsessions, but it's also a permission slip of sorts from me to you. Permission to grab hold of the things you're interested in, that fascinate you, and to dive deeper into them to see where they lead you.
Through stories from forty-plus years of making and molding, building and breaking, along with the lessons I learned along the way, this book is meant to be a toolbox of problem solving, complete with a shop's worth of notes on the tools, techniques, and materials that I use most often. Things like: In Every Tool There Is a Hammer—don't wait until everything is perfect to begin a project, and if you don't have the exact right tool for a task, just use whatever's handy; Increase Your Loose Tolerance—making is messy and filled with screwups, but that's okay, as creativity is a path with twists and turns and not a straight line to be found; Use More Cooling Fluid—it prolongs the life of blades and bits, and it prevents tool failure, but beyond that it's a reminder to slow down and reduce the friction in your work and relationships; Screw Before You Glue—mechanical fasteners allow you to change and modify a project while glue is forever but sometimes you just need the right glue, so I dig into which ones will do the job with the least harm and best effects.
This toolbox also includes lessons from many other incredible makers and creators, including: Jamie Hyneman, Nick Offerman, Pixar director Andrew Stanton, Oscar-winner Guillermo del Toro, artist Tom Sachs, and chef Traci Des Jardins. And if everything goes well, we will hopefully save you a few mistakes (and maybe fingers) as well as help you turn your curiosities into creations.
I hope this book inspires you to build, make, invent, explore, and—most of all—enjoy the thrills of being a creator.
Adam Savage is a maker, designer, television host, producer, husband, and father. He was the cohost of all 278 hours of MythBusters on the Discovery Channel for fourteen years and host of its 2019 spinoff MythBusters, Jr., as well as several other TV shows. He also makes stuff and tells his stories on his website Tested.com. He lives in San Francisco with his wife, twin boys, and two amazing dogs. Every Tool's a Hammer is his first book.
"Adam has drawn for us an imperative how-to for creativity that goes well beyond scissors, saws, and glue, to include vulnerability, self-confidence, and self-deprecating humor. I am aware of no human outside of fiction more qualified to pen this rousing paean to making. I adore this book."
"This book is creative rocket fuel. Adam is a master maker, and this might be his greatest creation yet - a funny, vulnerable and soulful dive into the beautiful mind of passionate artist. It's about making stuff, but there is also philosophy, insight, and, most of all, inspiration. This book is so cool!"
"Adam has stocked up a lot of deep thought and deeper wisdom: about how to make things large and small, how to make decisions large and small, and how to make sure you're making the things that matter. Consider this book as a 3-D print out of Adam's brain, and be glad you have it."
–John Hodgman, New York Times bestselling author of The Areas of My Expertise and Vacationland
"Artists, inventors, and creators of every stripe will find Savage's work inspiring and informative, while Mythbusters fans and others will savor his many amusing "making" foibles and misadventures."
— Booklist
"A personal look at the importance of creativity in all walks of life."
— The Verge
"The handyman dad will love this book...Adam Savage challenges readers to take a deeper look at what inspires them when it comes to 'making and molding, building and breaking' offering his own tips and tricks along the way about his favorite techniques and tools."
— O, the Oprah Magazine
Publisher: Atria Books
Publication Date: May 7th, 2019
Science / Experiments & Projects
Business & Economics / Entrepreneurship
Self-help / Creativity
Compact Disc (May 7th, 2019): $39.99
Paperback (May 12th, 2020): $17.00
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