Wine from the Swiss canton of Valais will soon be more readily available to buy in the UK after producers announced plans to ship more of their produce to Britain.
Despite being home to a nation of "passionately obsessive winemakers" who cultivate some 37,000 acres of land for viticultural purposes the Swiss have historically only exported between 1 per cent and 2 per cent of its total production abroad.
Domestic demand and high production costs have limited overseas appeal with countries such as the UK typically looking to neighbouring nations such as France and Italy which can produce in scale.
But the quality of Swiss wine has made an eventual climb-down inevitable, and soon a number of stockists will have a wide variety of wine from Valais available to purchase.
Located in the south of the country Valais has a long and proud viticultural heritage. The Swiss canton is home to some of the most beautiful valleys in the Alps with magnificent scenery stretching the length of the Rhone as it winds its way towards Lake Geneva.
The result is an incredible diversity of landscapes and ecosystems. Rich and complex soils sit atop terraced vineyards which climb the mountainous landscape of the region. More than 50 grape varieties grow across its almost 5,000 hectares, producing award winning wines across the spectrum.
A large selection of wines from four Valais growers will be soon available to buy, including a selection of wines from Provins Valais and the historic Domaine Jean-René Germanier. Thierry Constantin and Domaine des Muses will also be on sale.
Provins is the largest wine producer in Switzerland. From this you might assume that the wines would be uninteresting, but far from it. Provins is still small on the international stage but they take their responsibilty to represent the Valais region very seriously indeed. The oenological group at Provins includes five oenologists and a head of production – that small team makes an amazing number of very diverse wine ranges. Provins vinifies grapes for over 3,300 vine owners spread between Sierre and Lake Geneva. In the cellars, 22 varieties are cellared. In 1920, while the wine economy in Switzerland faced a major crisis many winemakers began to organize themselves regionally. So between 1930 and 1932 four co-producers were created, each with their own facilities in steeping and pressing to avoid dependence on private cellars for steeping their crops. In 1932 the private cellars refused to sell wine to co-operatives so the growers created their own sales organization, la Fédération des Caves de Producteurs de Vins du Valais, Provins.
Founded in 1886, making it one of the oldest Swiss wineries, this family owned company is now headed by 3rd generation Jean-René and his nephew Gilles Besse. They cultivate their vines with maximum respect for the environment. They are integrating natural factors; for example the spider mite is controlled by means of its natural enemy, the typhlodrome mite. They also grass through their vineyards as part of a transition entirely to certified organic production.
In 2001 Thierry Constantin established himself with a cellar and a tasting room in the village of Pont-de-la-Morge, a few stone-throws from Vétroz. Having made his debut as a winemaker in 1995, he now holds vineyards totaling 5.5 hectares, with the great majority in the communes of Sion and Vétroz. Today he boasts wines made from such celebrated terroirs as Cuirassiers in Sion, or from some of the bestknown plots of Vétroz such as les Platys, Radford, Plan des Vignes, and Loves. Thierry is no less demanding in the care of his vines than he is in the choice of his vineyards. Out of the firm belief that it constitutes one of the surest paths to a great wine, the extreme limitation of yield forms the object of his unwavering attention in the vineyards. In the cellar, he vinified his harvest with wise deference to both typical varietal character and the quest for definitive structure; the goal always being complex wines that leave a distinctive impression.
Domaine des Muses was founded in 1992 by Louis and Nicole Taramarcaz in Sierre, Valais. Their son Robert joined the family winery in 2002. Granges located in the heart of Valais, the main vineyard consists of five acres nestled in the foothills of "Pintset" near Sierre.
The winery applies techniques of integrated production. The vines are grown using methods consistent with the requirements of ecology, limiting the use of insecticides, fungicides and pesticides. The vines are planted in relation with the land. The method of cultivation favors grape quality and harmony with the landscape. The grapes are harvested by hand and picked at optimum maturity. The goal is to produce healthy and quality grapes, as well as retain the richness of the indigenous flora of the vineyard and its environment.


Headquartered in Buffalo Grove, IL, InFlow Technology serves clients around the world from its North America network of full-services facilities. InFlow operates as part of the Computer Aided Technology.
Computer Aided Technology (CATI), headquartered in Buffalo Grove, IL, operates a nationwide network of full-services facilities serving clients in Illinois, Iowa, Indiana, Kansas, Kentucky, Missouri, Minnesota, Ohio, Wisconsin, Alaska, Colorado, Nebraska, New Mexico, Oregon, Utah, Washington, and Wyoming.


There has been a growing and, in many cases, spirited debate around the value and viability of cloud marketplaces. Those who oppose the marketplace construct point to the fact that cloud services are easy to procure; in fact, in most cases a buyer is just a few clicks away from having an infrastructure environment supporting any number of application use cases. How much easier and what value could a third party marketplace then offer to users?
Another widely accepted challenge deals with the ability to standardise the requisite IaaS resources required to provide market comparability of resources across the growing number of cloud service providers who offer such resources, albeit with varying technical units of measure and specifications. Lack of comparable standards clearly presents challenges. However, proponents would point out that marketplace brokers themselves are already establishing product catalogs that define common elements for basic compute and storage to which participating cloud service providers must adhere. How and if marketplace brokers will be able to standardise and support the growing set of higher value cloud solutions for disaster recover, big data, security, application management, content delivery and many others presents a much more formidable challenge.
One could argue that the growing model of cloud marketplaces has its roots in the notion of interconnecting IaaS providers' cloud environments to load balance traffic, accommodate spikes to better match supply and demand, or cloud federation. Federated clouds are also about providing buyers with geographically dispersed infrastructure to support low latency sensitive applications that are a critical element to the success of all forms of digital businesses. Federated cloud models were further envisioned to provide the interoperability and portability of workloads that would provide the benefit of not being locked-in to any single service provider platform.
So, given the wealth of economic and business benefits, why hasn't the pure federated cloud model been fully adopted? Technology standards for data normalization and interoperability are evolving issues being addressed by industry innovators and various standards seeking committees. The lack of a strategic focus and business value placed on federated clouds by service providers themselves present the overriding business obstacle. The proliferation of so many new IaaS providers and fierce competition for market share are just a few of the realities that have subordinated the priority of federated clouds for many service providers.
In the meantime, cloud marketplaces have been evolving to offer some of the same supply and demand side benefits to buyers that were the promise of federated clouds. For example, cloud brokers work as intermediaries to offer single sign-on, immediate provisioning and aggregated billing across many cloud service providers.
While the outlook for cloud marketplaces is uncertain, what is clear is there are already a growing number of industry leading cloud providers that are offering their services through third party cloud brokers. The ability to choose from a fairly dense set of cloud providers and, in some cases, to select the specific city location of the underlying service globally is both impressive and increasingly user-friendly. Some brokers are also aspiring to create cloud exchanges with the vision of trading compute and storage, not unlike the commodity trading typically associated with agriculture, metals or energy.
The bottom line is that cloud marketplaces are a reality today and as brokers enhance the added value they offer as intermediaries this business model has great growth potential. The key elements that will likely determine how this growth is realized and the benefits of cloud marketplaces themselves are topics saved for follow-up blogs.


text:
How to Make the Most of Fairy Tales (and a Surprising History)
Gail Cornwall
As a lover of books, I thrilled when my first child finally stopped squirming during storytime. Reaching for the beautiful green and gold volume of Grimm's Complete Fairy Tales she'd been given at birth, I began to read: "'I will tell you what, husband,' [said] the wife; 'we will take the children . . . into the forest . . . then we will go to our work and leave them alone; they will never find the way home again, and we shall be quit of them." Gah! I skimmed ahead: "Then Gretel gave her a push, . . . and she shut the iron door . . . . Oh how frightfully she howled! But Gretel ran away, and left the wicked witch to burn miserably."
I snapped the book shut and shoved it under our chair, having no interest in adding the encouragement of separation anxiety or the normalization of violence to our bedtime routine. My reaction is quite common. In a 2009 poll of parents conducted by TheBabyWebsite.com, three-quarters "try to avoid stories which might give their children nightmares and half of all parents wouldn't consider reading a single fairy tale to their child until they reach the age of five."
Unfortunately, experts say that succumbing to this protective impulse does our kids a disservice. From a young age, children intuit life's constant threat of death, illness, abandonment, maltreatment, and betrayal. When presented in a certain way, traditional fairy tales actually help kids process their fears of physical and emotional tragedy, as well as provide a slew of other developmental benefits.
A brief history of fairy tales
The stories we think of as fairy tales began as folk tales with paranormal elements crafted for an adult audience in the tradition of oral storytelling. Well-known collections produced by the Brothers Grimm—as well as the works of Hans Christian Andersen and George MacDonald—are based upon these "fast-paced adventure stories filled with bawdy episodes, violent scenes, and [bathroom] humor," writes Maria Tatar in Off with Their Heads!
The goal was to entertain, and there was no need to sugarcoat. In the original "Sleeping Beauty," for example, the king doesn't awaken the slumbering princess with a kiss; he rapes her. An early version of "Rumpelstiltskin" reportedly ends with the little man lodging himself in the miller's daughter's genitalia.
In producing their first edition, the Grimms made drastic changes, mixing versions of the tales, filling in plot holes, resolving paradoxes, and eliminating off-color humor. They also added a Christian sensibility, including moral instruction and happy endings. The resulting tales were still awfully intense. The wicked stepmothers in "Snow White" and "Hansel and Gretel" were biological mothers, Rapunzel got pregnant, and Cinderella's stepsisters cut off parts of their feet to fit into the glass slipper.
In subsequent editions, the Grimms further "censored…to make the tales more accessible to [middle-class reading audiences] and more considerate of children as readers and listeners of stories," explains Jack Zipes by way of introducing The Original Folk and Fairy Tales of the Brothers Grimm. They left in the violence, however, and actually added quite a bit of bloodshed to cautionary tales.
Over the last 200 years, countless versions have further modified the original tales. We are left with stories that feature adult themes like love without the sex, subversive plots with abrupt happy endings, and gruesome violence described in a nonplussed tone.
Why can't our kids get enough of this strange genre?
In almost all versions, the "descriptions are bare; the dialogues, curt; and the action, swift. The storytellers get to the point quickly," writes Zipes. In Enchanted Hunters, Tatar explains that children are drawn in by "wow" moments "that offer up the exquisite, the terrifying, and everything in between." Though many tales moralize, quite a few feature excitingly illicit behavior like lying and stealing. Moreover, she tells us, the blood and gore that result when fairy tale characters are disobedient, "meant to repel children," can actually prove "a source of unending fascination."
Kids are also attracted to the simplicity of fairy tales. The characters' problems are ordinary, and the "figures are clearly drawn"; they are "either good or bad, nothing in between," explains Bruno Bettelheim in his famous Freudian treatise on the subject, The Uses of Enchantment. "All characters are typical rather than unique," he tells us, and as a result they are known only by their roles like "girl," "stepmother," or "giant" (when they do have names they tend to be either descriptive, like Cinderella, because she was covered in the grime of cinders, or common, like Gretel was in the Grimms' Germany).
As a result, the characters are readily relatable. Kids see themselves in exploited Cinderella, who's forced to do chores, impish Pinocchio, who fails to be good despite multiple attempts, innocent Snow White, who suffers at the whim of a grown-up dealing with her own issues, and impetuous Jack, who is denied the wonderful things that big people have. They see others as well. Archetypes such as kings, queens, and giants stand in for power-wielding adults; wolves, witches, and tricksters represent predators and evil impulses; charming princes, helpful animals, and wise old people personify the forces of good; and fairies, godmothers, and other meddling magical creatures symbolize the vagaries of life outside one's control.
The transparency and familiarity of fairy tale characters and their woes—in addition to quick plot development, shock value, and repetition—greatly appeal to children.
The benefits of reading fairy tales
Whether we should read the dark tales that so enthrall them is another matter. As it turns out, there are many reasons to do so:
Enable kids to work through fears and conflict
In both literal and symbolic fashion, fairy tales address what Bettelheim calls "the psychological problems of growing up": issues such as sibling rivalry, transformation, being tested, forbidden fruits, feeling oppressed, powerlessness, and learning to identify those who wish one ill, as well as fears of abandonment, being unloved, and death.
According to Bettelheim, by "project[ing] themselves onto fictional characters, [children] work through real world fears and internal conflict on an imaginary stage." Under this school of thought, children need "dreadful creatures of the imagination to conserve idealized images of their parents," Tatar writes. In Bettelheim's most famous example, the "typical fairy-tale splitting of the mother into a good (usually dead) mother and an evil stepmother" allows kids to feel angry about the small injustices they suffer at the hands of their mothers without threatening that bond. Similarly, he says, "since a giant is an imaginary figure, the child can fantasize . . . to overpower . . . him, and still retain real grownup people as protectors."
When we attempt to hide life's ugliness, children are left feeling that they alone have destructive impulses. But "these older tales legitimize the murderous and violent instincts that all children experience, freeing them from…guilt," British author Tim Lott writes. And when we read them the stories, we tacitly credit the difficulties they face and sanction their stormy internal worlds.
Foster imagination
The fantastical elements of fairy tales—such as supernatural creatures and magical powers—provide children with a framework for their own imaginings. Make-believe play, in turn, enriches children cognitively, socially, and emotionally.
Teach history and promote cultural literacy
Fairy tales offer a springboard for historical discussion ("What is churning, and why is she doing that to the butter?"). Also, since they are part of a shared culture, familiarity with fairy tales means understanding references to things like "the Goldilocks principle" down the line.
Encourage literacy through storytelling
Reading tales aloud leads to compounding literacy growth, since kids who hear stories develop a "sense of story"—a basic understanding of style, setting, narrative voice, character, plot, sequencing, and theme—that makes them more likely to tell stories themselves, and in so doing learn to comprehend, and then relate, more complicated stories. Beginning with "once upon a time" starts our kids on the path to reading and writing "happily ever after."
Impart morals
Modern parenting guru Harvey Karp describes "side-door lessons" as a way to "sneak into our children's minds and plant seeds of kindness and good character without our little ones feeling lectured to." By relating fantastical struggles with right and wrong, but not explicitly stating morals, fairy tales provide one such "gentle, indirect, undemanding, and therefore psychologically more effective way" to convey "the advantages of moral behavior," writes Bettelheim. "[A] compelling vision of the goodness of goodness itself [is] presented in a way that is attractive and stirs the imagination," adds Vigen Guroian, author of Tending the Heart of Virtue.
Build problem-solving skills and resilience
Although the specific solutions of fairy tales, like chopping down a beanstalk, rarely apply to our kids' problems, they model how the downtrodden and overwhelmed can get out of a pickle with ingenuity and fortitude. In How Children Succeed, Paul Tough reports social science data linking character skills like "effort, diligence, and perseverance" with success. The best way to foster these skills is to teach children that we all face obstacles, and that both intelligence and creativity can be enhanced through hard work. As Bettelheim writes, "Amoral fairy tale[ characters such] . . . as 'Puss in Boots,' who arranges for the hero's success through trickery . . . giv[e children] the hope that even the meekest can succeed in life." This hope is what promotes the effort and tenacity required to successfully venture out into the world.
How to make the most of fairy tales
These general benefits leave quite a few loose ends. At what age should we start? With which version? Do we allow kids to stew over the story independently or add our own thoughts?
According to Bettelheim, "[E]nchantment can be experienced, only from the story in its original form. . . . The simplified and bowdlerized fairy tale loses all value." Yet, as Tatar notes, there is "cultural dissonance generated by telling nineteenth-century stories"—written for children growing up with high mortality rates, and thus already surrounded by death—to today's kids. She also highlights the sexism inherent in the originals: "Curiosity and disobedience, along with a variety of other vices, are seen as the besetting sins of both children and women." Then again, Disneyfication usually only exacerbates the problem. For example, in "American rewritings of 'Snow White,'" Tatar points out, two types of femininity are contrasted: a power-obsessed, "forbiddingly cold woman [and] . . . a girl who makes her dreams come true through her flirtatious good looks and her effortless ability to keep a house clean."
Fortunately, "each [generation] creates its own folklore through rereadings as well as retellings," notes Tatar. "The places where we wince, cower, laugh, comment, whisper, [or] shriek . . . determine the way the child perceives the story." We should therefore read the original tales conscientiously, and in tandem with explicit discussion about social mores and violence. Zipes agrees that sanitizing the tales is misguided, even hypocritical. By instead acknowledging the physical and social brutality of the stories, we can teach our children to think critically about their world.
As for age, luckily there are hundreds of well-known tales with varying degrees of complexity and explicitness. In "Choosing Fairy Tales for Different Ages," Joan Almon provides a handy guide:
Be brave of heart
In The Genius of Natural Childhood, Sally Goddard Blythe writes, "If as parents or society we seek to protect children from all unpleasant events, we do not equip them to deal with the real world." Having internalized this message, I eschewed helicopter parenting in favor of inculcating independence when exploring the city streets. And yet, I overprotected my kids in the safety of their own bedroom.
Seeking untold emotional and developmental riches, I recently tackled my own fears and stepped into the mean world of fairy tales. After just a few readings, my kindergartener sees herself in "Little Red Riding Hood," my 3-year-old relates to Jack, and I . . . well, with a new baby in the house, I deeply identify with all the sleepy characters.
Originally published in the Golden Gate Mothers Group Magazine – June 2015
The books mentioned in this article are available below. These are affiliate links and we earn a small percentage of any purchase at no additional cost to you. We only recommend what we use and love!
Frustration ToleranceThis post was last updated on January 7, 2023Building frustration tolerance in children is a great way to help them develop emotionally – and save your sanity at the same time. Have you ever watched your child struggle to put on a pair of shoes?Try to shove puzzle pieces into the wrong spots?Pack a
[thrive_headline_focus title="Okay, you think, these guys are little." orientation="left"]I can do this. You're about to enter the three-year-old daycare room. With a deep breath, you open the door that's decorated with construction paper lily pads and cartoon frogs.Every eye in the place is instantly glued to your face."Mommmyyy!" a little girl shouts, then realizes her
Gail Cornwall is a former public school teacher and recovering lawyer who now works as a stay-at-home mom of three and writes primarily about parenthood. Born in St. Louis and raised in the Bay Area, she's a serial monogamist of urban living who resided in Berkeley, New York, D.C., Boston, and Seattle before committing to San Francisco. You can read more at gailcornwall.com.
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Charla says:
i totally agree!! i decided to go short hair just few days ago (kinda like yours) and i couldn't say more. i always apply hair serum to somehow lessen the volume and most of the time, i comb it with my fi.ehrsngowever, i realized i became more confident of my femininity and always love the contrast between boy-ish haircut/look and feminine style/outfit :)czarina♥
Kate Bryant says:
This is a fabulous history of fairy tales and I love the points made. It's so true when you start reading you suddenly realize how crazy the stories are. I too wanted to toss the books and change the stories for my LOs ears. But, I decided to use them as lessons and he loved them. He loved the lessons and anytime he sees a cartoon of the fairy tale, or he reads another fairy tale, he remembers the lessons. They really are learning tools in so many ways even though we tend to freak out as adults at first!
Thanks so much for sharing this information!
Cover their ears… yes! I always thought Brothers Grimm fairy tales were the bad ones. Had no idea of how much they cleaned them up for us. Such a neat history and the lessons are definitely ones we remember. Hansel and Gretel, anyone?! 🙂 Thanks for reading, Kate.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: iPhone: How to set repeat daily/hourly local notification? I want to test add local notification. I want it repeat daily/hourly. How can I do that?
NSCalendar *calendar = [NSCalendar autoupdatingCurrentCalendar];

 // Get the current date
    NSDate *now = [NSDate date];

 // Break the date up into components
NSDateComponents *dateComponents = [calendar components:( NSYearCalendarUnit |       NSMonthCalendarUnit |  NSDayCalendarUnit )
           fromDate:now];

NSDateComponents *timeComponents = [calendar components:( NSHourCalendarUnit | NSMinuteCalendarUnit | NSSecondCalendarUnit)
           fromDate:now];

 // Set up the fire time
NSDateComponents *dateComps = [[NSDateComponents alloc] init];

[dateComps setDay:[dateComponents day]];
[dateComps setMonth:[dateComponents month]];
[dateComps setYear:[dateComponents year]];

[dateComps setHour:[timeComponents hour]];
 [dateComps setMinute:[timeComponents minute]];
 [dateComps setSecond:[timeComponents second]+10];

 // Notification will fire in one minute

NSDate *itemDate = [calendar dateFromComponents:dateComps];
[dateComps release];

UILocalNotification *localNotif = [[UILocalNotification alloc] init];
if (localNotif == nil)
    return;

localNotif.fireDate = itemDate;
localNotif.timeZone = [NSTimeZone defaultTimeZone];

 // Notification details
localNotif.alertBody = @"Hello World";

 // Set the action button
localNotif.alertAction = @"View";
localNotif.soundName = UILocalNotificationDefaultSoundName;

applicationIconBadgeNumber++;

localNotif.applicationIconBadgeNumber = applicationIconBadgeNumber;

 // Schedule the notification
[[UIApplication sharedApplication] scheduleLocalNotification:localNotif];
[localNotif release];

A: Your code would be much simpler if you used dateByAddingComponents:toDate:options:.
(dateByAddingTimeInterval: does not handle calendars properly, e.g. time zone changes.)
If you want it to repeat, I think you have to add several, or re-add them when your app is next launched. Otherwise, a notification that repeated every second would be incredibly annoying.

A: If you want to set the Notifications at a particular time on daily ... .then you need to set the notification repeatInterval property.iOS handles of it;s own about the notification.Just add this single line ...which you missed out. Otherwise you code is fine & will work.
notif.repeatInterval = NSDayCalendarUnit;

A: UILocalNotification *localNotif = [[UILocalNotification alloc] init];
if (localNotif == nil) return;

NSDate *fireTime = [[NSDate date]   dateByAddingTimeInterval:900]; // 15 minutes

localNotif.fireDate = fireTime;
localNotif.alertBody = @"15 min reached";
localNotif.repeatInterval=kCFCalendarUnitMinute;
[[UIApplication sharedApplication] scheduleLocalNotification:localNotif];

redpajama_set_name: RedPajamaStackExchange


Groundhog's Day was in April, like who can't figure out when winter is over by then?
February had 29 ¾ days, then traded places with June every fourth year.
Value Days was an actual thing in September.
Three-day weekends didn't include Sunday.
Boss's Day was an authentic holiday with a postage stamp and everything.
Until the 12th of Never? Not that very long a time.
Most popular Mayan family restaurant was TGIMonday's.
Boxing Day was a World Wrestling Entertainment pay-per-view event.
Rainy days and Mondays didn't get the Mayans down.
Saturday night was a terrible night for fighting.
Friday the 13th movies were considered "art house" films.
People ate ice cream thursdaes.
Ruby Tuesday was a dude.
To get out of paying people, Mayans postdated all their checks to 12/12/2012, and that's why their civilization collapsed.


Subjects Chemistry, Analytic. ; Environmental chemistry. ; Environmental monitoring. ; Milieuchemie. ; Analytische Chemie.--(DE-588)4129906-1 ; èOkologische Chemie.--(DE-588)4135167-8 ; Chimie de l'environnement. ; Surveillance environnementale. ; Chimie analytique.
The second edition of this textbook has been thoroughly revised to take full account of the rapid changes and development in the field over the last five years of the 20th century. Self-assessment questions have been added.


Comments : Trawled by chinese commercial fishing boats.
Please keep me informed when a similar specimen (Austrasiatica-hungerfordi-[CHINA](Sowerby,1888)) is available.
Very selected specimen. Superb pattern & quality.


text: I am a plain text. I am the most important leaf node of the document composite.

redpajama_set_name: RedPajamaGithub


text:
Allied Pilots Association: "We Cannot Afford Any Interference by 5G"
FORT WORTH, Texas (Dec. 8, 2021) – The Allied Pilots Association (APA), representing the 14,000 pilots of American Airlines, emphasized the need for close collaboration between the aviation and mobile wireless industries to safeguard against radio altimeter interference by 5G C-band wireless broadband signals.
Radio altimeters are cockpit instruments that show pilots how close their aircraft is to the ground, and they enable pilots to fly instrument approaches and perform auto-landings in low-visibility conditions. Radio altimeters are susceptible to interference by 5G, which can in turn also impair the functioning of terrain-avoidance systems. Currently, AT&T and Verizon are planning to roll out 5G on Jan. 5.
"Pilots rely on radio altimeters to help ensure a safe landing, and we cannot afford any interference by 5G," said APA President Capt. Eric Ferguson. "It's a known safety risk that must be properly managed and mitigated."
The Federal Aviation Administration issued two related airworthiness directives this week that it said are intended "to provide a framework and to gather more information to avoid potential effects on aviation safety equipment." The FAA noted it is working closely with the Federal Communications Commission and wireless companies and "has made progress toward safely implementing the 5G expansion. We are confident with ongoing collaboration we will reach this shared goal."
Capt. Ferguson said the temporary restrictions that Verizon and AT&T have offered to place on 5G transmissions would provide insufficient protection against radio altimeter interference.
"If the rollout proceeds as planned, without implementing mitigations that the aviation community is recommending, we believe a significant number of flight diversions would occur, with flight crews acting out of an abundance of caution," he said. "We do not want the passengers we serve to experience this unnecessary inconvenience.
"We agree with the FAA, the Air Line Pilots Association, and other interested parties that have expressed concerns – 5G can be deployed safely, but it must be done in close consultation with aviation safety experts," he said. "Maintaining our country's high standard of aviation safety must always remain our top priority."


"Dialogue is a written or spoken conversational exchange between two or more people, and a literary and theatrical form that depicts such an exchange" (Wikipedia). Through this collection, the designer takes a different approach of the term.
Through their elongated and non-linear shape, the rings included in this collection open a dialogue between the tip of the finger and the middle of the hand. A dialogue is established between different textures, between full and cut-out shapes, dark and light areas, silver and gold, shiny and matt details. A somehow vintage, romantic look negotiates primacy with an unusual shape. All the elements used in the making of these rings are engaged in dialogues, negotiating their role in the composition of each piece of jewelry. Diversity, beauty and balance are the results of these dialogues.
Part of the "Dialogues" collection, Sterling Silver.
Part of the "Dialogues" collection, this ring has a hint of darkness with a strike of light. Open/ adjustable size. Dark oxidized Sterling Silver with golden detail.


Mr. Mason: We all figured you boys had headed for FA by now.
Mr. Mason: Free America. That's the safe zone.
Jed Eckert: Well, where are we?
Mr. Mason: Hell, you boys is in the occupied territory. You're 40 miles behind enemy lines. That's smack dab in the middle of World War III.
Well, I cant honestly say this movie evoked any sort of political argument or emotive response from myself, unlike a lot of some of the reviewers on here (in fact a few seem to have taken the film or its reviews as a personal affront!). The film was an entertaining, nostalgic and highly commercial action movie from a time past.....and on a base level I just plain enjoyed it. It made me smile! The trailer reminded me of a video game called Freedom Fighters (set in New York, you play the part of a plumber leading a resistance force against a Russian invasion) which I had enjoyed too, i liked the premise, so my flatmates and I (2 English, 1 Irish and 1 American) sat through the movie last night. Once the giggles from the girls had subsided (yes Swayze and Sheen look like babies and have not aged too well!) the opening parachute invasion got quite a buzz. Handled clumsily and probably with an extremely limited budget it took a good 20 minutes for the B-movie ethic to settle in, but once over that the premise really started to work, and you could actually begin to empathise with the kids in their situation. The story became a bit strung out in places, the action was cardboardy and basic and the acting was...well....not there really, but I don't think that was down to a lack of talent. But it hung together, and we all enjoyed it. Where peoples readings of political messages come from I have no idea. I understand that America has it's extremists who hide in the mountains, stash mountains of weapons and food for just such an event, but the movie certainly doesn't satirise them. The joke in the film of the NRA bumper sticker and the dead guys "cold, dead hand" falls flat if it was intended as a purposeful message and therefore seems more to be an attempt at acknowledging the certain irony of such events in the states. The rhetoric of the kids in their internal arguments is hollow and situational, not political, and just about manage to hold some water. The movie is and was just a great "what if.....?" and an amusing 80's Hollywood schtick action movie, no more, no less. If a backstory of a continued Cold War was introduced I can well see this being ripe for a remake, and perhaps then you can apply your knee-jerk reactionary theories to it with more basis then...who know?


text:
import graphene

from graphene_django import DjangoObjectType
from endpoint.models import YearlyCourseAverage, YearlyDegreeAverage, YearlyRecordAverage

class SimpleStudentType(graphene.ObjectType):
    niub = graphene.Int()
    first_name = graphene.String()
    last_name = graphene.String()
    year_started = graphene.Int()
    dropout = graphene.Boolean()
    average = graphene.Float()
    percentile = graphene.Int()

class FloatType(graphene.ObjectType):
    id = graphene.Int()
    value = graphene.Float()

class StatisticsType(graphene.ObjectType):
    item = graphene.String()
    year = graphene.Int()
    icon = graphene.String()

    value = graphene.Float()
    prev_value = graphene.Float()

class YearlyDegreeAverageType(DjangoObjectType):
    class Meta:
        model = YearlyDegreeAverage

class YearlyCourseAverageType(DjangoObjectType):
    class Meta:
        model = YearlyCourseAverage

class YearlyRecordAverageType(DjangoObjectType):
    class Meta:
        model = YearlyRecordAverage


Whether speaking, writing, or working one-on-one with her clients, Sandi combines her skill, talent, humor and warmth to create simple solutions that bring about immediate results.
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After winning Miss Oregon, Sandi was selected to tour with several USO troupes worldwide including Miss America. Soon after, she began a successful broadcast career spanning over four decades as an actress, model, singer and film narrator.
In 1995, Sandi won the title "Breck Girl" and served as national spokesperson for Dial Corporation's line of Breck hair care products. Along with Breck Girl alumni Jaclyn Smith, Brooke Shields and Kim Basinger, her portrait hangs in the Smithsonian Museum.
A graduate of the prestigious Western School of Feng Shui, Sandi developed a thriving consultation, speaking and coaching practice based on her popular book, "The Art of Living: Feng Shui YOUR Way!"
Following her adventurous nature, Sandi achieved International Tour Director status through ITMI's rigorous certification program. Her world-wide travels included much of Europe, Canada and the United States. Sandi also pursued a Masters Degree in Spiritual Psychology at the University of Santa Monica. Currently Sandi is enjoying flying the friendly skies as a flight attendant for a major US airline.
As a licensed Image Consultant, Sandi brought her lifelong vision to reality by developing a unique approach for creating a congruent personalized outer appearance that is in total alignment with one's true inner nature: True You Makeovers. Makeovers from the inside out!
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Everyone experiences fear in their life. There are big fears we are very aware of and little ones we may not even realize we have.
I've learned that it's very important to understand what fear is and how it works against us because if we don't, it can keep us from becoming what God created us to be, which means we won't fulfill our purpose in life.
Fear is a tool the devil uses against us to make us miserable and destroy our lives. It begins as a thought and then creates emotions that can rule us. It often becomes a strong, intense feeling that tries to move us to make a foolish action or tries to prevent us from doing something that would be good for us. Because it's such a common way that Satan attacks people's lives, I think of it as the master spirit he uses to manipulate people and keep them out of God's will.
Simply put, fear is the opposite of faith. God wants us to walk by faith, and Satan wants us to walk by fear. When we learn to live by faith and not let fear rule our life, we can live a fulfilling, satisfying, peaceful and joyful life in Christ.
Like I said before, fear begins with a thought. Proverbs 23:7 tells us that "as [a man] thinks in his heart, so is he" (NKJV). I like to say it like this: Where the mind goes, the man follows.
This is why the Bible talks about meditating on the Word of God and having our minds renewed (see Romans 12:2) so we can know what God's will is. Meditating means you roll the Scripture over and over in your mind until it becomes part of you. Meditation takes information and turns it into revelation.
When you get revelation about something, then you know that you know that you know it, and the truth of it sets you free from the lie that was holding you back from something God had for you.
I wonder how many people actually have gifts and talents from God, but aren't using them because they tried and failed?
So many people are frustrated because they know they're not doing what they are meant to do and are letting fear rule them instead.
When we become born again through a relationship with Jesus Christ, we actually become ...recreated in Christ Jesus, [born anew] that we may do good works which God predestined…for us…[living the good life which He prearranged and made ready for us to live] (Ephesians 2:10 AMPC).
So whatever Jesus is, we are too. He is strong, and in Him, we are strong. He is courageous; in Him, we are courageous. He is a conqueror, so we can be too. He has peace and joy, so we have peace and joy. He's capable and bold. In Christ, we can do whatever we need to do with His boldness.


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Labels vs. independent. Playing shows vs. leading worship. Compromise vs. collaboration. These are just a few of the topics we cover on this amazing podcast with Josh McCabe of the band Caves. We talked for nearly an hour about what it means to be doing music full-time, which is interesting because doing that was something Josh himself said he would never do. But the heart of this conversation is all about following God's path and owning the ministry he has asked you to lead. This episode is really what this podcast is all about, so make sure you subscribe and listen in as we get Between The Grooves with Josh McCabe.


August 3, 2018 (Niagara-on-the-Lake, Ontario)– Bravo Niagara! Festival of the Arts and the Oscar Peterson International Jazz Festival are proud to announce Meyer Soundas a Major Sponsor and Official Sound Provider.
Meyer Sound's internationally-renowned audio and acoustic systems are relied upon for respected concert venues and festivals such as Jazz at Lincoln Center, Walt Disney Concert Hall, and Montreux Jazz Festival, as well as for international concert tours featuring artists such as Michael Bublé, Celine Dion, Ed Sheeran, Dead & Company and Metallica, among many others.
Meyer Sound systems will be appreciated by audiences in all of Bravo Niagara!'s festival venues. "Bravo Niagara! strives to create extraordinary concert experiences featuring the world's leading artists. We are thrilled to have Meyer Sound as a Major Sponsor and Official Sound Provider, which will ensure we provide an optimum experience for both artist and audience," says Bravo Niagara!'s Artistic DirectorChristine Mori.
"Bravo Niagara!'s world-class performances speak for themselves. Our job is to guide the team that ensures they are heard transparently by every patron, it's what we do," says Bob Snelgrove, Presidentof GerrAudio Distribution.
In addition to supporting Bravo Niagara!'s concerts, Meyer Sound will be the Official Sound Provider for the Oscar Peterson International Jazz Festival beginning with the second annual festival February 15-17, 2019. Led by Artistic Director Renee Rosnes, Artistic Producer Kelly Peterson, and Executive Producers Christine Mori and Alexis Spieldenner of Bravo Niagara!, the Oscar Peterson International Jazz Festivalis the first and only jazz festival bearing the name of Canada's greatest jazz artist and is dedicated to showcasing the rich history and the future of the music Oscar loved.
Bravo Niagara!'s first concert to feature Meyer Sound systems will take place August 18, 2018 as internationally-acclaimed classical guitarist Miloš Karadaglićtakes the stage with the Marc Djokic string quintet at the historic St. Mark's Anglican Church in Niagara-on-the-Lake.
Bravo Niagara! is a not-for-profit registered charity founded in 2014 dedicated to presenting the world's leading Canadian and international artists in Niagara-on-the-Lake and the surrounding wine country. Bravo Niagara! produces the annual Spring into Music Series, Voices of Freedom Festival, and the Oscar Peterson International Jazz Festival.
As the world's first (and only!) jazz festival bearing the name of Canada's greatest jazz artist, the Oscar Peterson International Jazz Festival (OPIJF) honours and celebrates his legacy of excellence. The festival is not intended to simply present concerts in tribute to Oscar Peterson, but rather to truly present jazz, showcasing the rich history and the future of the music Oscar loved. Led by Artistic Director Renee Rosnes, Artistic Producer Kelly Peterson, and Executive Producer Bravo Niagara! Festival of the Arts, the OPIJF takes place in the Niagara wine country of Ontario and stands poised to become one of Canada's most anticipated winter music events.
Bravo Niagara!'s Voices of Freedom Concert will bring together some of the best in Canadian jazz and soulful music, to highlight inclusiveness, empowerment, and the importance of freedom.
Curated by Céline Peterson, daughter of jazz great Oscar Peterson, the evening will feature performances by Officer of the Order of Canada, singer/songwriter and philanthropist Molly Johnson, as she sings selections from her latest release 'Meaning To Tell Ya' including "Better Than This," "L.O.V.E.," and "Protest Song." These songs were written to inspire hope, change, and love, which we believe to be the perfect narrative to fit the Voices of Freedom concert. Along with Molly's performance, we will see NAACP Image Award, Gemini, Dora, and JUNO Award-winning singer/actress Jackie Richardson take the stage to perfectly take us on a journey of bravery through unimaginable struggle, with her performance of Paul Novotny's "Railway Porter's Song," which was written as an ode to the Fathers and Grandfathers of icons such as Joe Sealy and Oscar Peterson, who worked as Porters during the early days of the CP Railway.
The evening will also feature performances from GRAMMY Award winner Larnell Lewis on drums (Snarky Puppy), multi-JUNO Award winners Robi Botos on piano and Mike Downes on bass, and up and coming saxophonist from Barbados, Joseph Callender. Robi's recently released "Old Soul" features powerful original compositions, which perfectly fit the message of "Voices of Freedom." With "Hope," and "Praise," Botos perfectly conveys a feeling of comfort through his luscious phrasings in these gospel-inspired tunes. The evening will conclude with Botos and Richardson coming together for an untouchable rendition of Oscar Peterson's "Hymn to Freedom," which was written during the peak of the Civil Rights Movement. With Harriette Hamilton's lyrics perfectly complimenting Peterson's melodies, the audience is sure to be left inspired.
In Fall 2018, the Town of Niagara-on-the-Lake's Voices of Freedom Park will be unveiled. Voices of Freedom Park gives expression to the silenced and forgotten stories of people of African descent, enslaved, freed, and free, whose sacrifices, labour, skills, and talents contributed to the development of Niagara-on-the-Lake. This significant art installation permanently inscribes these Black men and women on the historical and cultural landscape of the town.
The Globe and Mail: "Oscar Peterson festival brings true jazz to Ontario"


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Charlotte Palmer, 3, gives off a toothy smile in her home on Sept. 13. Charlotte has a rare genetic condition known as Mirage Syndrome, and is a recipient of the Cops for Kids Ride fundraiser. Jordyn Thomson/Western News.
Former Cops For Kids cyclist in Penticton now receiving their help
RCMP Officer Christina Palmer used to participate in the ride, now it helps care for her daughter
Jordyn Thomson
As the Cops for Kids Ride tours through the Okanagan for the next 10 days, the families of those they are supporting with their ride pledges and donations are coming out to cheer on the riders.
The event fundraises for local children in need and one Penticton family, the Palmers, is particularly grateful for the help. Their daughter Charlotte, 3, was born prematurely in May 2015 at just 29 weeks. At just over the age of one, she was diagnosed with Mirage Syndrome, a rare genetic condition.
Related: Cops for Kids Ride to roll into Penticton
While the genetic testing performed on Charlotte at birth in the NICU didn't bring any results, a second round of testing was done when she at the B.C. Children's Hospital for five and a half months, which revealed her condition. According to Christina, just months prior to her diagnosis, a Japanese researcher had published a paper outlining the symptoms of Mirage Syndrome and the gene associated with it. Charlotte was the first person in Canada to be diagnosed in Canada with this syndrome.
There have since been two been more diagnosis's of the syndrome in Canada, all at the B.C. Children's Hospital. Sadly, one of the patients with the condition has died, leaving just two in Canada living with condition — Charlotte being one of them.
"A lot of the kids (with this syndrome) have a high mortality rate under the age of two. Most of these kids pass away due to complications with Mirage, whether it's an infection, or a lot of the kids develop cancer. They also have issues with their feeding, so we honestly didn't know that we would get here," said Christina.
Related: Cops For Kids' southeast B.C. tour rolls on
Christina says a lot of Charlotte's treatment plan was developed by networking with other families around the world that have a member with Mirage Syndrome to find out what has been successful for them. She's grateful her family resides in Canada where Charlotte has access to top medical care.
The Cops for Kids Ride assists Charlotte's family in covering the costs associated with her medical care, such as in-home equipment, hospital trips and accommodations, etc. For example, Charlotte is hooked up to a BiPAP machine at night to ensure she is breathing properly. If she is not, the machine can open her airway and initiate a breath for her.
"Charlotte has spent over two years in hospital, most of it in Vancouver. As a family, things start to add up with expenses," said Christina. "You know, you've got food bills, travel costs, accommodations and such like — and Cops for Kids has been able to help with those expenses."
Riders and families pose for a group picture at the Penticton stop of the 2018 Cops for Kids Ride. This is the end of the first day of what will be a ten-day trek throughout the Okanagan for the cyclers. Jordyn Thomson/Western News
The Palmers' involvement with the Cops for Kids charity actually predates Charlotte's birth as Christina is an RCMP officer out of Osoyoos and frequently rode in the Cops for Kids Ride as a volunteer. She is happy to go and show her support for this year's riders at the Penticton stop on Sept. 14.
"I was happy to go around on the ride and see the family's that we were helping out," said Christina. "Having been on that other end, when you're on the bike and you get to see that big crowd of people welcome you into communities, it pumps you up."
With the help of amazing medical care and charities like Cops for Kids, Charlotte has been given the chance to live her life.
"We don't know how long we have with Charlotte, obviously we want her to have a long life-expectancy. But she has come so far, when she was little we didn't expect her to be able to do things like lift her head up or roll over and sit up," said Christina. "Now she's walking with a walker, she can play and interact with her brother, and she has a cute little personality."
Joffrey Lalonde and Sophie Fillion with their 5-month-old daughter Cloe at the Penticton stop for the Cops for Kids Ride. The charity helped Fillion with hospital visits and stays when she was pregnant with Cloe. Jordyn Thomson/Western News
Christina and her family would like to thank all the families and police officers involved with the Cops for Kids Ride and charity. Charlotte is just one of four kids who receives funding from this event.
"It definitely takes a community when you have a sick child. They become a part of your family, rather than an organization in the background," said Christina. "They care about us and they care about the other kids, so we just want to see them have a successful ride and power through those hills."
To report a typo, email: editor@pentictonwesternnews.com.
Jordyn Thomson | Reporter
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Update: Police arrest B.C. sex offender wanted on a warrant
Maverick MP Maxime Bernier says racists have no place in his party
Wildfire crews working small blaze in South Okanagan
BC Wildfire said a fire north east of Oliver was ignited on Sunday night


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A modern twist on the traditional Rosary and Prayer beads is to turn them into a wrap bracelet.
The range shown below are all based on the popular traditional five decade design. We are also able to make a Franciscan seven or fifteen decade rosary or the Islamic thirty-three bead or ninety-nine bead prayer beads as well.
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Gerspach, C; Imhasly, S; Gubler, M; Naegeli, H; Ruetten, M; Laczko, E (2017). Altered plasma lipidome profile of dairy cows with fatty liver disease. Research in Veterinary Science, 110:47-59.
Gerspach, C; Schwarzwald, C C; Hilbe, M; Buczinski, S (2016). Clinical and echocardiographic findings in an 8 year old Brown Swiss cow with myocardial abscess. Journal of Veterinary Cardiology, 18(2):194-198.
Hilbe, M; Robert, N; Pospischil, A; Gerspach, C (2015). Pulmonary arterial lesions in new world camelids in association with dicrocoelium dendriticum and fasciola hepatica infection. Veterinary Pathology, 52(6):1202-1209.
Egloff, C; Gerspach, C; Rütten, M; Dettwiler, M; Reichler, I; Bleul, U (2013). Pyometra mit persistierendem Hymen bei einem Alpaka. Tierärztliche Praxis. Ausgabe G, Grosstiere/Nutztiere, 41(3):185-189.
Gerspach, C; Bateman, S; Sherding, R; Chew, D J; Besier, A S; Grieves, J L; Lakritz, J (2010). Acute renal failure and anuria associated with vitamin D intoxication in two alpaca (Vicugna pacos) cria. Journal of Veterinary Internal Medicine, 24(2):443-449.
This list was generated on Tue Apr 23 10:23:19 2019 CEST.


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'The West Wing' Cast Reunites Fueling Series Reboot Rumors
Denise Caputo
CR: NBC Universal
Last weekend, actor Rob Lowe had West Wing exuding excitement at the possibility of a series revival. On Saturday, Lowe playfully tweeted, "New "Will And Grace"! New "Sopranos"! New "The Office"! I wish I had been in something that would make a good reboot. Maybe something timely, that would have relevance in this divided political climate?"
While he did not comment any further, other cast members joined in the fun by replying, retweeting and helping to fuel the excitement from fans. Could there really be a West Wing reboot in the early stages of development? We're not really sure and no one is commenting officially, but West Wing star Josh Malina is adding even more fuel to the reboot fire.
Last night, several cast members from the political NBC series reunited and, according to Malina, they were, "Talking reboot." Check out the below tweet from Malina showing cast members, Bradley Whitford (Josh Lyman), Janel Moloney (Donna Moss), and Joshua Malina (Will Bailey) having dinner with series creator Aaron Sorkin.
Talking reboot. pic.twitter.com/waUkxm10DV
— (((New York actor))) (@JoshMalina) July 12, 2018
The NBC series The West Wing was created by Sorkin and followed the inner workings of the White House under the fictional Bartlett administration. Starring Rob Lowe, Martin Sheen, Richard Schiff, Bradley Whitford, Alison Janney, Dule Hill, John Spencer, Janel Moloney and Josh Malina, the series ran for a total of seven seasons from 1999 through 2006 during which the cast of the series was awarded numerous Emmys for their performances.
The West Wing would most certainly hold relevance in today's politically charged climate so, could a reboot possibly be on the way? What do you think? Would you like to see The West Wing return to television? Let us know your thoughts in the comment section below.
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A karaoke obsessed, craft beer enthusiast and lover of all things pop culture, Denise enjoys all facets of entertainment from Broadway to box office blockbusters. In her spare time, she enjoys photography, concerts (lots and lots of concerts), volunteering, reading and playing with her rescue kitten, Samantha (who rescued who, right?). Denise currently resides in New York and is honored to be a part of the Fan Fest News team!
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Knuckleheads Return
About Knuckleheads Return
luismminski started following Knuckleheads Return August 3, 2017
Knuckleheads Return started following luismminski August 3, 2017
8/2/17 Lecture Note Discussion: Who Would be a Hitchcock Collaborator in 2017?
Knuckleheads Return replied to Dr. Rich Edwards's topic in The Master of Suspense: 50 Years of Hitchcock
Who would be Hitchcock's new Bernard Herrmann? Who would be his Edith Head? What contemporary writer would Hitchcock have loved to collaborate with?  There are so many highly talented and creative people in the current movie industry that this is a very difficult assignment. However, I have selected three candidates to be Hitchcock's modern collaborators. For music I have selected Howard Shore. He is a two time Academy Award winner. He created the music for The Hobbit series and all three of the Lord of the Rings films. He also created the music for Silence of the Lambs and The Aviator. He has also tackled several comedic films to include the Saturday Night Live Christmas! I think he would have the versatility and range to meet Hitchcock's needs. Being able to collaborate with Peter Jackson gives him great credibility. For costume designer I have selected Lindy Hemming. She is an award winning costume designer. She won the 2000 Academy Award for the film Topsy-Turvy. She has been nominated for eleven other awards. These include such films as Dark Knight, Batman Begins, and Harry Potter Chamber of Secrets. She has also done two James Bond films. For writer I would recommend Michael Connelly. He is known for Lincoln Lawyer, Bloodwork and Bosch. I think his style would suit Hitchcock.
8/1/17 Lecture Note Discussion: Remakes, Homages, and Films Inspired by Hitchcock
To try and capture as many of these Hitchcock inspired films will be a herculean task. Imdb has an interesting list at: http://www.imdb.com/list/ls071418428/ which gives 97 Hitchcock films not directed by Hitchcock. One of my own favorites is Duel from 1971. How much more of German Expressionism can you get then a 5,000 gallon fuel tanker following you with malice and being unstoppable. Man versus machine! Can't leave out Bogart's Dark Passage from 1947. A few others from the list mentioned above are Play Misty For Me, Jaws, Abandon Ship (Tyrone Power 1957) , and Witness For the Prosecution (Tyrone Power innocent man indeed). BBC's 2016 spy thriller "Secret Agent" with Toby Jones. 1993 sci-fi Lifepod... sorta of Lifeboat in space.
Re censorship: Could someone please explain?
Knuckleheads Return replied to Lover-o-Classics's topic in The Master of Suspense: 50 Years of Hitchcock
Hard to believe but the term Hot Box originally was used by the railroad industry to describe a problem with overheating bearings. Wikipedia defines it as :"A hot box is the term used when an axle bearing overheats on a piece of railway rolling stock.[1] The term is derived from the journal-bearing trucks used before the mid-20th century. The axle bearings were housed in a box that used oil-soaked rags or cotton (collectively called "packing") to reduce the friction of the axle against the truck frame. When the oil leaked or dried out, the bearings overheated, often starting a fire that could destroy the entire railroad car (and cars coupled to it) if not detected early enough" Interesting choice for a club's name?
Knuckleheads Return started following D'Arcy July 30, 2017
D'Arcy started following Knuckleheads Return July 30, 2017
Questions for Alexandre Philippe for August 1st Shindig
My question is: Why do you think Hitchcock detested method actors? Was it a question of control or lack of control? I'd enjoy some specifics. Thanks.
Daily Dose #20: Look! (Opening Scene of Frenzy)
1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. Frenzy opens almost like a travelogue. We have the initial postcard like image of the Thames flowing through London. We than see the crowd gathered on the side of the river listening to the politician. We then have the line "Look!" and the crowd diverts their attention to the dead body floating along. We see the cameo of Hitchcock very early in this film. He is even wearing a bowler hat to fit right in to the London scene. The Lodger is different in that we see the victim first in a close up of her face than a crowd forms and gathers around to look at her body. In Frenzy there are reporters present but they are covering the pollution speech while in The Lodger the reporters are covering the murder of the "golden haired" girl. In The Lodger we don't see Hitchcock until a little later in the opening when he is on the telephone with his back to us. The body floating by in Frenzy does not rate a close-up like the face of the victim in The Lodger. In The Lodger the crowds are made up of poor London folk but in Frenzy they appear to be of a higher class in London society. Obvious differences are the use of sound, color and the use of the titanic aerial shot. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. A few of the common Hitchcock touches that I see are the crossing symbolism that is exhibited by the tugboat steaming across the Thames from right to left; the red and white striped graphics used in the title Frenzy; using an exotic setting (London); the strong use of music to set a rather British theme; close-ups used to draw attention i.e. the man who hollers "Look!" and the ladies near him and of course the Macguffin which is the whole deal about pollution in the Thames and fighting it! 3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.  I believe that some purposes that Hitchcock had in mind when creating his openings were to draw the audience in and get them hooked as to what is this all about; get the audience's curiosity up; use an exotic place to get attention; plant the seeds of the Macguffin; introduce us to certain characters (unfortunately in The Lodger and Frenzy they are dead); interject some hints about the film through the use of the opening graphics; his use of music to help set the tone and finally make us realize that this is a Hitchcock film!
Daily Dose #19: Real Identities (Opening Scene of Marnie)
Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects.  We learn that how she looks, how she dresses and how she appears are very important to Marnie. Her hair, makeup and color coordination must be just perfect. We see that she has good taste in her clothes and accessories. They are of very high quality and from name brand boutiques. She has a real fashion sense about her. She has plenty of cash in her possession. She is changing her identity is this scene. She changes her hair color, loads every stick of her previous identity into the grey suitcase and than ditches it all in the locker at the train station. She does not plan to return to it as evidenced by ditching the key. She changes her name and selects a new Social Security card to go along with this change. This of course leaves us with many unanswered questions as to why and who is she really. Is she involved in criminal activity? Is she a secret agent? Notice that each of her fake id's have a first name that starts with the letter "M"... ease to remember or an homage to Dial M for Murder? Objects are very valuable and important to Marnie but if necessary she can walk away from them all. 2.How does Hitchcock use Bernard Herrmann's score in this scene?  Hitchcock uses Herrmann's music to add to the mystery as to who Marnie really is. We hear horns and strings playing variations on the same theme over and over again. After Marnie has locked the train station locker the music stops and all we hear is the announcer listing the train departure schedules as Marnie shoves the locker key into the drain. There is no train station sort of theme as we heard in Strangers on a Train. We just hear this theme which may be Marnie's theme over and over again. 3. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means?  In the previous cameos, we have never seen Hitchcock make eye contact with the audience. Usually he is walking across the set as in The Birds, boarding a bus or sitting at a desk with his back to us. He usually strives to be there but not to be noticed, not to be too obvious. The variation in Marnie is that Hitchcock goes to the point of making eye contact to make sure we don't miss him. As far as its meaning I can only conjecture that Hitchcock is trying to have fun with this cameo. Perhaps Hitchcock is saying "look I know that you won't settle down until you have spotted me.. so alright here I am... you can't miss me, I looked right at you! Now lets get back to watching Marnie." His television openings may have really emboldened him.
Daily Dose #18: Love Birds (Opening Scene of The Birds)
In what ways does this opening scene seem more appropriate to a romantic comedy than a "horror of the apocalypse" film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? In the opening scene we have the playful interchange between Mitch and Melanie. When mistaken for a clerk in Davidson's Pet Shop by Mitch, Melanie decides to have some fun and string him along. Instead of saying "Sorry, I don't work here" (which I am sure many of us have experienced) Melanie acts the part as a less then knowledgeable clerk. Mitch, upon realizing that he is being had, decides not to tip (not Tipi) his hand and continues to play along. This indeed becomes a flirtatious interlude just like in a romantic comedy of the classic period. We also have the first bird "expert" trying to explain the odd behavior of the seagulls to Melanie. 2.How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? The first scene is on the streets of San Francisco with the appropriate traffic and street noises i.e. Cable car gongs, motorcycles roaring, cars passing and feet walking on the sidewalk. However, we hear over this the sounds of the seagulls... something is stirring them up, something perhaps ominous. Once inside the Davidson's Pet Shop, the sounds of the birds are more peaceful and docile. Canaries, "red birds", love birds all merrily chirping and cooing with an occasional screech thrown in. The store counter clerk does remark about the possibility of a storm at sea upsetting the seagulls to account for the loud sounds emanating from them in the sky. 3. The opening scene contains a famous Hitchcock cameo. Describe the cameo and if you think it has any particular meaning in relation to this scene.  The cameo shows Hitchcock and his own two Sealyham terriers Geoffrey and Stanley walking out of the pet shop. They must have been out for a walk and have just popped into the shop to look around. They appear to have not purchased anything. Hitchcock and crew walk out of the store and head to the left along the sidewalk. Possible meanings... dogs are truly man's best friend through thick and thin. Another hint may be that its time to "get out of Dodge" because mayhem is ahead.
Daily Dose #17: What Do I Do With My Free Afternoon? (Title Sequence and Opening Scene of Psycho)
Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? With only Saul Bass' graphics before us for the opening and Bernard Herrmann's music we begin to experience a feeling of frenzy; a sense of fleeing with no destination in mind; a jumbled storm inside our brain and finally a sense of no peace!! 2. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: "FRIDAY, DECEMBER THE ELEVENTH" and "TWO FORTY-THREE P.M." What is Hitchcock seeking to establish with such specificity? Also, why do you think Hitchcock elects to enter the hotel room through the semi-closed blinds from the outside? Does this shot remind of any other Daily Doses we have watched? Giving us the location, specific day, date and time is in keeping with one of Hitchcock's touches i.e. giving the audience plenty of information perhaps more then the characters know. This is not completely correct for this scene because obviously the characters know the location and date etc. but we are in on the fact it is 2:43 pm and that "check-out" time at the hotel is 3:00 pm. Only 17 minutes away. Hitchcock may also be trying to let the audience know that this is a contemporary story not years ago or as Dr. Gehring said "not set in Transylvania". This is a story set in the now! Giving such specific day, date and time also supports Hitchcock's rule about no one allowed into the movie once it has started... the timetable has begun. Entering into the room through the window enhances that theme of voyeurism, we are not just a peeping Tom but rather a full watcher as we seat ourselves in the armchair just inside the window and through the POV shots we are definitely in the room with the Marion and Sam. This scene is almost a mini-Rear Window opening. We are not looking at several windows but just one specific one...again Hitchcock's use of specificity in this film. 3. In the remainder of this sequence, we are introduced to Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). The scene pushed the boundaries of censorship, especially considering our last Daily Dose for North by Northwest was edited for a line of risqué dialogue. Since this is the opening scene of Psycho, how does the hotel room scene function as a way to establish Marion Crane as a main character? Defend your answer. In an era when Lucy and Ricky could not be shown even having a double bed in their bedroom but only twin beds, we see Marion and Sam together on the hotel room bed, We see at various stages of undress ( Marion in bra and slip) with the obvious conclusion that they have made love right before we snuck in. We understand that Sam is cheating on his spouse with Marion who is single. I believe that the scene establishes Marion Crane as a main character by having her inform us that this has been a repeat ongoing relationship and not just a one time hook up. We also learn that Marion cannot continue with this secret affair and that this is "the last time" and that she is in control of the situation and is bringing their relationship to an end. She is effecting the plot as a main character.
Daily Dose #16: It's a Nice Face (Scene from North by Northwest)
Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene.  As discussed in the class lecture, Cary Grant and Eva Marie Saint are perfect in being complimentary to each other. They both bring their respective images as stars into this scene and we of course build onto this with our pre-existing knowledge of who they are and how we see them. Cary Grant is the suave, handsome, elegant gentlemen and Eva Marie Saint is also beautiful, elegant and sexy. Since the two stars compliment each other so perfectly we find it so easy to follow along with their flirting and hope that they are successful. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, discuss how Hitchcock uses the R.O.T. matchbook as an important piece of acting business (or as a prop) in this scene.  The R.O.T. matchbook provides Roger and Eve with an opportunity to flirt a little more. Roger being gallant and offering to light Eve's cigarette. She inquiring about his monogram tries to figure out a bit more about him. Finally, as he lights her cigarette the acting business leads to her steadying his had, bringing again closer to her and than blowing out the match. I wonder if Hitchcock's years with UFA in Germany may have given him the idea for this bit with the match. In the "olde Germany" if a gentleman lit a ladies cigarette and she blew out the match, this was the signal that she was interested and would follow along with him to his room. Who can say for sure. How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer. We have the constant clickity caick of the train on the steel rails, we have the various musical themes by Bernard Herrmann which range from light dreamy to romantic to one of the reoccurring themes of the film, and we have the sounds of silverware clinking at appropriate times. Case in point is the clanking of Roger's silverware when Eve mentions "but you haven't eaten yet" as the Trout is delivered.
Daily Dose #15: Lissajous Figures (Title Design Sequence from Vertigo)
Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and "the story" (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. Just want to interject that this is my favorite Hitchcock film. What's not to like Kim Novak and Jimmy Stewart being directed by Hitchcock and oh did I fail to mention San Francisco in the 1950s! WOW!! Based on the sounds and images I think that the story is going to be about a beautiful sophisticated woman who is psychologically troubled. The spinning graphics (evocative of hypnosis), the dissonant music and the emphasis on the woman's eye support this view. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer.  I think that the experimental use of the computer graphics is cutting edge and exciting for the 1950s but to me the most powerful image is that of looking into the woman's eye just at the point where we see the "Directed by Alfred Hitchcock". It has always been said that "the eyes are the window into the soul / mind" and I think that this makes it the most powerful image as we begin the film. How do Saul Bass' images and Bernard Herrmann's score work together? How different would this sequence be with a different musical score? The combination of Saul Bass' images and Bernard Herrmann's score play off each others strengths. The topsy turvy spinning world is brought forward by Bass' graphics and Herrmann's dissonant music adds to the spinning by never letting us grasp on to a mellow theme but rather jolts us with blaring brass instruments etc. whenever we try to settle down to the opening music. The opening is trying to prevent us from getting comfortable in our seats. I think that a different musical score would have caused friction between the graphics and the audio. A mellow little theme song running through just would not have fit in with the images that were appearing on the screen. What would have been worse would have been the introduction of a theme song with words over the opening. Hitchcock captured the psychological dilemma to come in this film by wisely selecting Bass and Herrmann help him create the opening to Vertigo.
Daily Dose #14: Here Lie the Broken Bones of L.B. Jefferies (Opening Scene of Rear Window)
How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window?  I would say that Hitchcock is trying to have the POV shots explore the environs that can be seen from Jeff's apartment with each of us realizing as the shot continues that the vantage point is ours. We are the "watchers"! What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff's leg cast)? How does Hitchcock gives us Jeff's backstory simply through visual design? Without any pertinent lines of dialogue, we learn the backstory that Jeff is immobile and in a wheelchair; we learn that he is an action photographer by profession; we learn that he has taken some very famous / exciting photos; we learn that he also takes portrait photos and that some of them have been used on a "Life" type magazine's covers; we learn that the negative he has blown up must be someone special to him since she is on one of the covers; we learn that he may have been injured due to attempting an exciting photo as evidenced by the destroyed camera that he has kept as a reminder. Does this opening scene make you feel like a voyeur or, at a minimum, remind you of being a an immobile spectator? What feelings does Hitchcock elicit from you as his camera peers into these other people's apartments?  I know that Dr. Edwards has tried to not use "Voyeurism" to describe Jeff and us so I will use the terms "spectator", "watcher", "viewer" and yes even "peeping Tom" to describe how we feel as this scene unfolds. The funniest feeling is that we are not only seeing what Jeff sees but we also see Jeff and his apartment ! We are watching the watcher! We get the sense of wanting to know more about each resident that we see. We want to know who they are, what makes them tick, what is their relationship with the others around them and we also want to learn the full story on Jeff! Bonus question: if you have seen the entire film before, do you agree with Hitchcock that this film is his most cinematic? I am afraid that I can't disagree with Hitchcock. If he believes "Rear Window" to be his most cinematic film then it is. Note to watchers (viewers): Watch for Hitchcock's cameo. Hint: Think clock repairman and composer's apartment.
Daily Dose #13: Criss Cross (Opening Scene of Strangers on a Train)
In how many ways does Hitchcock play with or visually manifest the metaphor of "criss cross" or "criss-crossing" in this introductory sequence. [For those who haven't seen the film yet, the idea of "criss cross" is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific.  "Criss cross" (CC) ...We see of course the CC of the railroad switching tracks as we POV shot the arrival of the train into Union Station in Washington DC; We see the diamond emblem which is sort of a CC on the cabs that Bruno and Guy arrive in; we even see that the cab doors open differently CC at the curbside (Bruno's open to the left while Guy's opens to the right); we see a CC in the direction that Guy and Bruno walk along inside the main concourse of the train station (one walks from viewers left to right, the other walks from the viewers right to left); each actor CC at the entrance gate to the track for boarding of their train; Bruno wears black and white wingtip shoes which is a CC of colors to me; when Bruno shakes hands with Guy he uses both hands that CC Guy's hand. Bruno has a tie that has come printed lobsters facing left and some facing right as a CC; they each cross their legs when they finally sit down --CC; and finally Guy is wearing a CC pattern crosshatch sort of necktie. Another Criss Cross is the casting that Hitchcock used. Farley Granger had played one of the Loeb-Leopold killers in Hitchcock's Rope whereas Robert Walker was the squeaky clean actor from such films as the "Private Hargrove" series and Thirty Seconds Over Tokyo . The audience discovered that Hitchcock criss crossed them on who was good and was evil In this film! Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothing and shoes, to dialogue and speech, for example. Hitchcock uses several techniques to create the sense of contrast between Guy and Bruno: We see initially their shoes and of course Bruno wears the flashy two tone shoes whereas Guy wears just plain one color shoes; Bruno is super outgoing with flair whereas Guy wears more conservative clothes; Bruno wears a "Lobster" printed design tie with a "Bruno" name tie clip; Guy wears a sweater vest and a ordinary tie just peeking out from his sweater vest; Bruno dominates from body language to posture to speech while Guy is more inward and quit. We see close-ups of Bruno like when he shows Guy his "Bruno" tie clip. Guy's dialogue so far is pretty near non-existent... he can't get a word in against Bruno's smooth talking. Even the characters names make a point "Guy" simply rolls off your lips without any great effort whereas "Bruno" is said with force and noise. While the visual design gets the most attention typically, how does the Dimitri Tiomkin score function as part of the mood and atmosphere of this opening sequence?  The musical score from Dimitri Tiomkin utilizes a varied selection of instruments to open the picture. We hear violins, trumpets, trombones, and cymbals. Tiomkin uses heavy motifs, blaring fanfares and some music that is almost comical to help set the mood, there is the sense of motion, this sense of activity and this sense of hustle and bustle as these to men move to their accidental meeting. Note to viewers: Watch for Hitchcock's cameo in this film...Hint: Think double bass fiddle and train station.
Daily Dose #12: Why Do You Care How I Feel? (Early Scene from Notorious)
What Hitchcock "touches" do you see in this early scene from the movie?  As pointed out in the lecture, we see Hitchcock's use of very tight close-ups particularly of Ingrid Bergman in this scene. We also see his "crazy" use of the camera in giving the upside down shot of Cary Grant. We learned from Dr. Edwards that Hitchcock had used this technic in the British film Downhill. He also uses some POV shots as if we are looking through Alicia's eyes to include seeing upside down. How does Hitchcock choose to light, frame, and photograph his two stars in this scene? What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? We see Hitchcock film the early shots of Cary Grant in less light almost in darkness with him wearing a dark business suit. We see Hitchcock film Ingrid Bergman in light with extreme close up shots and wearing the clothes she had worn the night before. The backgrounds in this scene are out of focus, again emphasizing that we as the audience should be focused on Grant, or on Bergman or both but shouldn't be concerned with the background set. We see Cary Grant as standing perpendicular in this scene and for most of it we see Bergman horizontal. Are we to view this as Grant being dominant and Bergman being vulnerable or subservient? Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? As discussed in some of the class materials Ingrid Bergman was the most popular star in Hollywood in 1946. She never played a "bad" woman before so this casting by Hitchcock challenges her well-known star persona. Being a "party girl" with drunken hangovers is not her style. Cary Grant is viewed as the sophisticated gentlemen yet in this film he is he is cast has the "heartless" spy master. This is also against his usual persona. I am of the opinion that big stars enjoyed leaving their usual persona to work for Hitchcock and to in essence be challenged. Note to viewers: Watch for Hitchcock's cameo in Notorious.  Hint: Party guest at the champagne table
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Daily Dose #11: Thought I'd Left (Opening Scene of Mr. and Mrs. Smith)
What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc?  We hear the childlike calliope style music that helps us to realize that this is a comedy. Initially, I thought that the setting was a couple on their honeymoon in a hotel but as the scene unfolds we discover that this is a married couple held up in their bedroom trying to make up for the last three days! We see that they are sloppy beyond belief, that they are well to do based on the elegant furnishings in the room, the high quality of the china and silverware, the fact that they have servants and of course their talk about "the Yale Game". The man appears bored waiting on his wife to wake up but he doesn't seem to dare bug her. We learn that Mr. Smith is a prominent lawyer. We also learn that this is not the first time that they have had to make up. The lighting seems to reveal that this is broad daylight. The camera angles seem to give close-ups to Carole Lombard as the key figure in the scene. Her look of fear?/concern? when she hears the door slams and thinks Mr. Smith has left her in violation of the rules of making up. 2. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? I am going to play devil's advocate and state that I don't think that this is a typical "Hitchcock opening" based on the others that we have seen. Some of the other typical Hitchcock openings were very fast paced, almost frantic. Some were set in exotic places, some were set in public places like theatres and music halls and some used POV shots to introduce us to such places as Manderley. As we saw in The 39 Steps we do however learn several things about Mr. & Mrs. Smith in the opening scene as addressed in the response to question 1 above. 3. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not?  As the lecture has indicated, Carole Lombard was known as a screwball comedienne but Robert Montgomery was also known for many roles in light comedy films of the 1930s. He even would sing a cappella in many of his comedy films. I think the pairing was a good one. Matching one comedian with another allowed them to play off each others strong points in comedy. Montgomery could certainly portray himself as hen pecked even though he was a born leader as evidenced by his service in World War 2 in the US Navy as a Lt Commander. In this scene in the film we see him being a different person around Carole Lombard as opposed to snapping his fingers to get a response out of Sammy, the law clerk, who arrives with the documents that need signing. Note to viewers: Watch for Hitchcock's cameo in Mr. & Mrs. Smith Hint: The building where Mr.& Mrs. Smith reside.
Daily Dose #10: Nothing on Me (Opening Scene of Shadow of a Doubt)
As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific We learn that the name Uncle Charlie is using is " Mr. Spencer" (real or fake name?). Early middle age. He is a passionate smoker of cigars (he savors them), He has plenty of money and he doesn't really care about it (way it lays around the room). He is a dapper dresser, maybe even a dandy but there is something shabby about his dress too (note the hole in the back of his suitcoat). Uncle Charlie has a temper as evidenced by the glass throwing incident. If he is a criminal he is bold about his crime in terms of no fear..."Nothing on me!" Being set in WW2 America we don't know if he is a criminal, a wronged man or a spy. 2. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the opening of a noir film like Siodmak's The Killers? (Note: If you haven't seen The Killers, it is fine to answer this question in general terms about your own personal expectations) As discussed in the notes, the first thing that hits me about the opening of this 1943 film and the 1946 "The Killers" is the completely different treatise on basically the same scene a'la Hemingway. In Hitchcock / Wilder version, we see the "man in the bed" as a fighter, he is not going to give in / up, in fact he is bold in presenting himself to the two "friends on the corner". "Nothing on me!"  In Siodmak's treatment in "The Killers", Swede (Burt Lancaster) is fatalistic, he knows he is a dead man, he doesn't even want to attempt any resistance even when warned. Swede just waits for the door to open and the shots to finish him off. Hitchcock's opening is set in the daytime. Siodmak's in the dark of night. We don't see any interaction with the two guys in Hitchcock's version. We only learn everything from the landlady. The menace if there is not as great as the real menace in Siodmak's version. The killers threaten and boldly hunt down Swede whereas in "Shadow of Doubt" the two guys just wait around across the street on the corner and then eventually follow Uncle Charlie. The differences in the music are evident also...Hitchcock uses a reoccurring lite motif in the "Merry Widows", Siodmak uses an intense drum beat mood to ratchet up the tension. 3. As we move into Hitchcock's Hollywood years, his scores will take on more importance than they did during the British years. Music will play a big role in Shadow of a Doubt. The film's score is by Dimitri Tiomkin, the first of four film scores that the composer will create for Hitchcock. What effect does the Tiomkin score have on the mood, atmosphere, and even the pace of this opening scene?  Tiomkin's score controls the mood, atmosphere and even the pace of this scene. We start out with a light motif followed by the "Merry Window" theme which will reoccur throughout. We also have spots of no music at all... and this silence effects the mood also. We hear deeper themes with drums and challenging notes that let us know that Uncle Charlie is angry and is headed to a showdown. His throwing of the glass has an appropriate musical signature.The music adds tension to the later parts of the scene. To be honest I could hear the kind of Tiomkin musical themes that he would later excel at in "High Noon". It sounds like Uncle Charlie is heading to a showdown in this unnamed town a'la Will Kain in Hadleyville. "Do Not forsake me cause Ya got nothin on me!" Note to viewers: Don't forget to look for Hitchcock's cameo. Hint: train to Santa Rosa


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Zalando also ends free delivery in UK, Ireland and Spain
April 23, 2019 by Ecommerce News. About Logistics with tags Ireland, Spain, The United Kingdom. 5687 views.
Zalando is introducing shipping costs in the United Kingdom, Ireland and Spain. The German fashion giant has taken this step after an earlier test in Italy. Although Zalando claims there are no plans to further expand this measure, it seems like the end of an era.
Half a year after Zalando asked for shipping costs for the first time, in Italy, the fashion company is now ending free delivery in more European countries. Customers in the United Kingdom, Ireland and Spain will now have to pay a couple of euros on orders under a certain value.
Delivery fees in the UK, Ireland and Spain
In the United Kingdom, Zalando's customers need to pay 3 pounds for orders that are below 19.90 pounds. In Ireland and Spain, customers need to pay respectively 3 and 3.50 euros for orders that are worth less than 24.90 euros.
The new policies seem to mark the end of an era. Zalando was one of the first major companies in Europe who tried to attract new customers by offering free shipping and returns. But after all these years of happy ordering, customers now need to pay a few euros for having their shoes, clothing and accessories shipped to them. It seems like the costs of free shipping are not sustainable anymore for Zalando.
'Other ecommerce companies will follow'
"There's a turning point in terms of free shipping", Els Breugelmans, an ecommerce expert from KU Leuven, tells Belgian newspaper De Tijd. "It's typical that Zalando, the company that has changed the rules of the game in this sector, is now changing the rules again. Others will follow."
A Zalando spokesperson said there are no plans to introduce shipping costs for small packages in other countries, but as De Tijd points out that has also been said after the first tests in Italy.
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