Ion: A Compound Building Game makes it into the hole for a par.
Fairway reviews a recent Kickstarter delivery from Genius Games: Ion: A Compound Building Game.
Ion: A Compound Building Game is a quick, card-drafting, compound-building game by Genius Games for two to four players. It takes about 20 minutes to play.
Nice box, heavy chits and components.
Feels a lot like Sushi Go!, but with a longer-term, three-round strategy.
Rules feel wordier than necessary, but were still comprehensible.
A game of Ion takes place in three rounds of card drafting. Players are dealt eight cards each round, pick a card from their hand to play into their play area, and, then, pass the remaining cards clockwise. The only cards that aren't used are the last two.
Each card is an element or compound and has a positive or negative "ionic charge." The cards are played to acquire point scoring combinations of either balanced compounds or unique noble gasses. Balanced compounds are those combinations of cards with equal positives and negative charges.
It's hard to escape comparisons to games like Sushi Go! But unlike Sushi Go!, the cards (and the compounds created) aren't scored until the end of the third round, and there are for more types of combinations.
Each player also has three special powers that can be used: take cards from a face-up assortment of cards in the middle of the table, cause a "reaction," and take two on one turn. When used, these powers let the player do the corresponding action at the expense of some points at the end of the game.
Ion uses nice components and looks very polished with nice graphic design and compelling color palette. The box, chits and cards are very nice, and the cards shuffle and play well. The cards feel very much like Sushi Go! cards-again, it's hard to escape that comparison.
Even with its rich science vocabulary, Ion is still easy to teach: pick a card, find cards that sum to zero, play the card, and pass the rest. There is not a lot of time commitment to play this game and should be easy enough for anyone especially if they've played Sushi Go!.
Ion has strong educational concept: basic math skills and chemistry. It includes science information, uses science vocabulary and teaches some basic concepts of ionic bonding.
The rules. It's a fairly short rulebook, which is good, but I felt the typography made it harder to read than if it were just done in a non-handwriting font. Also the lack of differentiation in the use of bold and red and lack of whitespace added to the feeling of reading large blocks of text.
Choices. During our games of Ion, we largely completed the compounds, and it didn't feel like there was a ton of "risk" in not completing the compounds that you're going for. There are lots of ways to get to get a balanced compound (where the ionic charges add up to zero) when a vast majority of the cards were +1 or -1. I wasn't nervous about completing one that I started. This fact also diminished an ability to really interfere with the other players' plans by taking a card that they were looking for.Relatedly, our first plays made it clear that playing for the high value +2 or +3 ions were almost always the right choice. These cards would inevitably score 10+ points and were readily achievable. And playing a Reaction Action Tile at the end of the game all but guarantees you'll score the point if you can't complete it with your hand.
Action Tiles. Action tiles cost points, but their value is often far outweighed by their power. The point losses you take for playing these action tiles is hidden information to everyone until flipped over, but the range is relatively small (1-4 points) compared to ending scores. More seasoned players will know the point range is small and certainly take advantage. And, if playing with the polyatomic ion cards, players can "undo" the most expensive point losses (usually a good deal). The advantage of action tiles like the Reaction Tiles make these hugely disruptive.
Game Variant Idea: one thought that we had was to use the "points" on the back of the Action Tiles to unbalance one of the molecules. So instead of taking away points, the values make one of the molecules have a larger negative charge.
Reaction Tiles. These seem really overpowered and, in two games, players all flipped them at the very end of the game. Reaction Tiles let players rearrange their own player area and take one unbonded card from another player! Yikes. At the end of the last round, this can work to undo almost all the decisions already made and to steal an unbonded, large point-scoring card from the other player.
Compound bonuses. We really wanted these to be more interesting compounds. Most require just two ion cards together and are usually the common compounds players build anyway.
Ion is a good, little game for teachers and parents with an interest in science education and for anyone who enjoys chemistry or science-themed games.
This review originally appeared on The Inquisitive Meeple.


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Antalya Centennial Archery Field () is an archery field located in Antalya, Turkey.

Situated in Meltem neighborhood, the archery field on lawn has the dimensions , where 50 targets can be placed. İt has a seating capacity for 500 spectators. The venue was leased to the Antalya Archery Club (Antalya Okçuluk İhtisas Kulübü) on November 17, 1998, for 49 years by its owner, the Directorate General of Youth and Sports.

The facility has also offices, lounge area and a meeting room. It is also home to Antalya Anadolu Archery Club (Antalaya Anadolu Okçuluk Kulübü).

The venue hosts the FITA Archery World Cup competitions organized by the World Archery Federation (WAF) and run by the Turkish Archery Federation since 2006.

International events
 2006 Grand Prix (2nd leg) - June 7–10
 2007 European Grand Prix (2nd leg) / Archery World Cup (Stage 3) - May 29-June 2
 2008 European Grand Prix (2nd leg) / World Cup (Stage 3) - May 27–31
 10th World Junior Outdoor Target Championships & 4th World Cadet Outdoor Target Championships - October 6–11, 2008
 2009 European Grand Prix (3rd leg) & FITA World Cup (Stage 3) - June 2–7
 2010 World Cup (Stage 2) - June 6–12
 2011 European Archery Grand Prix (1st leg) - April 11–16
 2011 World Cup (Stage 2) - June 6–12
 2012 World Cup (Stage 2) - May 1–6
 2013 World Cup (Stage 2) - June, 10-16
 2013 World Archery Championships - September 27–28

References

Archery venues
Archery in Turkey
Sports venues in Antalya
Sports venues completed in 1998

redpajama_set_name: RedPajamaWikipedia


text:
Q: How to generate .gcov intermediate text file with windows Mingw compiler and how lcov can use those .gcov file? My project is integrated with GTest Unit Test Framework and Gcov and Lcov Coverage tool is used generate Code Coverage report. The Coverage report was generating fine with QT version 5.9.1 and MingW compiler (mingw530_32).
The same project has been migrated to later version of QT   i.e. 5.15.2 and the MingW compiler is (mingw810_32), with this later version of software the Lcov is unable to generate the Code coverage report. The coverage.info file is generated with "TN:" field empty.
Few project details:

*

*The project is built in windows environment.

*The Project .pro file is added with the below options to generate .gcda and .gcno files:

QMAKE_CXXFLAGS += -g -Wall -fprofile-arcs -ftest-coverage  -O2 -ftest-coverage --coverage
QMAKE_LFLAGS += -g -Wall -fprofile-arcs -ftest-coverage  -O2

LIBS += \
    -lgcov

*For Lcov the modified lcov.perl and genhtml.perl is used to generate the report

Issue: The .gc* files are getting generated with the above setup but the Lcov tool is failing to generate propert .info file wherein the previous MingW compiler works fine.
I raised the same query in QT portal they suggested me to use "gcov intermediate text format" instead of .gcda and .gcno files.
From QT portal:
"As being developer of GCOV in GCC, I would recommend to use intermediate format (-i) of gcov tool instead of reading of *.gc{da,no} files. Thanks for understanding."
Can you please give the intermediate format a try?
I hope it helps!

My query is: How to generate these intermediate files of gcov ?
I googled about this and they say to use -i option, but I am not sure where exactly to use this option.
Do we need to add -i option in the .pro file (I tried that but getting  unrecognized command line option)
Do we need to add -i option while running lcov.perl file ? ( Even tried this but no impact on the report)
Do let me know how to generate the intermediate gcov file and how lcov can use those gcov files to generate the code coverage report.
Thanks in advance for your support.

redpajama_set_name: RedPajamaStackExchange


text:
Chapter 9 Vital Villages, Thriving Towns
NCERT Solutions for Class 6 History Chapter 9 Vital Villages, Thriving Towns
Three different kinds of people lived in villages in the southern and northern parts of the subcontinent. Large landowners were known as vellalar, whereas ordinary ploughmen were known as uzhavar. Meanwhile, landless labourers, including slaves, were known as kadaisiyar and adimai. Iron was essential for the growth of villages, cities and civilizations. Meanwhile, villages were a necessary part of large kingdoms. Kings extracted revenue from the villagers. Around 2500 years ago, there was evidence for the growing use of iron tools. These included axes for clearing forests and the iron ploughshare. Kings and kingdoms needed the support of flourishing villages to exist. The new tools and the system of transplantation increased production. Irrigation was also used. Irrigation works built during this time included canals, wells, tanks, and artificial lakes. Craftsmen such as blacksmith, weavers, carpenters and potters were present in both villages and cities. They played a crucial role in providing goods and services that ensured the smooth functioning of any settlement. Gramabhojaka was the village headman, and at times happened to be the largest landowner too. He was influential personnel of the village who collected taxes from the villagers in the name of the king, functioned as a judge and enforced the law of the king in the village. Wealth measured in terms of coins and archaeologists found several thousands of coins belonging to this period.
Vital Villages, Thriving Towns What, Where, How and When On the Trail of the Earliest People From Gathering to Growing Food In the Earliest Cities What Books and Burials Tells us Kingdoms, Kings and An Early Republic New Questions and Ideas Ashoka, The Emperor who gave up war Vital Villages, Thriving Towns Traders, Kings and Pilgrims New Empires and Kingdoms Building, Painting and Books
NCERT Solutions For All History Classes

redpajama_set_name: RedPajamaCommonCrawl


Joanne is the owner of Executive VPA, a Freelance Office Manager and Virtual PA.
Voted North of England VA of the year 2014, she helps clients realise their true value and build their businesses to another level, find their work-life balance with the emphasis on saving time and growing their business while assisting with time management strategies and forward planning.
She is passionate about educating people about out-sourcing and showing them that they need not worry that their business will suffer if they don't do everything themselves, it will in fact grow when they are freed up to market themselves and their business, which is what they set up to do in the first place.
Joanne also runs Interactive Boutique Social Media Workshops; no technical jargon, just aimed at giving business owners a good understanding of how to use the tools available.


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NeuStar Expands DNS in Europe
By Cablefax Staff | July 7, 2009
NeuStar has deployed a new UltraDNS network node in Amsterdam, Holland. The new node is the third in Europe along with London and Luxembourg. The new node is located at Telecity's Amsterdam facility, which is part of the Amsterdam Internet Exchange.
NeuStar's global managed domain name system (DNS) infrastructure consists of network nodes across five continents. Each node is a self-contained cluster of proprietary servers, systems, and data that improves response times for each region's Internet users. Within the UltraDNS network, end user DNS requests are typically routed to the closest geographic network node available. (For more on DNS technology issues, click here).
El Rey Makes Streaming Return
El Rey Network has launched on ad-supported streamer Xumo as both a FAST and VOD channel. The news comes just over a year after El Rey shuttered its linear network and five months after it


Varja Balžalorsky Antić (1979, Koper) is literary translator, critic and poet. She is working as assistant professor at the Department of Comparative Literature and Literary Theory at the Faculty of Arts in Ljubljana. She has translated from French (H. Michaux, P. Quignard, P. Bourdieu, J. L. Nancy, H. Lefebvre etc.) and Serbian (M. Pantić, I. Antić, B. Vasić, L. Blašković). Her poems were published in several literary magazines.
and sigh: yes, this is the new lyricism.


New single Bullets in the Bower out now!
Small Million releases the last single off their new EP Young Fools. Listen now on Spotify, Apple Music, and more.
Willamette Week : "Small Million Merges Americana and Synth Pop to Defy Superficial Genre Expectations"


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Section 4 Swimming: Horseheads, Watkins Glen, Lansing win titles
Andrew Legare
stargazette.com
Horseheads, Watkins Glen and Lansing captured team titles Saturday at the 17-team Dr. Jack Thomas Girls Swimming and Diving Invitational at Ernie Davis Academy's Thomas Natatorium.
Horseheads led Class A with 279 points, followed by Chenango Valley with 261.5 and Ithaca with 246.
Watkins Glen's win in the Class B division came with a 310-point effort that edged runner-up Vestal's 307.
In Class C, Lansing scored 244 points and was followed by the 228 of Southern Cayuga.
Craig, Kadlecik shine
Among the double-winners was Elmira Notre Dame junior Catherine Craig, who won the 200-yard individual medley in 2:10.61 and the 100 breaststroke in 1:07.26. Both times topped the standard to qualify for the New York state championship meet.
Lansing freshman Grace Kadlecik also beat the state standard in each of her two wins, taking the 50 free in 24.63 and the 100 free in 54.30.
Strong day for M-E
Other individual winners were Maine-Endwell's Laura Sarkisian in the 200 free (2:00.15), Ithaca's Willa Royce-Roll in the 100 butterfly (1:01.70), Chenango Valley's Katie Schultz in the 500 free (5:10.48) and Horseheads' Sophia Verkleeren in the 100 backstroke (1:00.63). Schultz's time was below the state standard.
Maine-Endwell's Sarkisian, Maria Pignatelli, Allie Hussar and Iris Incitti topped the state standard in the 200 free relay with a winning time of 1:41.35. The other relay wins went to Maine-Endwell's Incitti, Pignatelli, Brianna Owen and Hussar in the 200 medley (1:53.89); and Chenango Valley's Paige Lettera, Marlaina Giurastante, Taylor Potenziano and Schultz in the 400 free (3:43.04).
Follow @SGAndrewLegare on Twitter


The long awaited Mih-Ty album by the current bad boys of R&B, Jeremih and Ty Dolla $ign is finally here! After hearing the album was scheduled for release August 24th, it was unfortunately cancelled and pushed back to October 26, 2018.
While we were waiting, we had their joint singles The Light, Goin' Thru Some Thangz, and once the album was released, there was a third promotional single featuring Lil Wayne titled New Level. The album has features from Lil Wayne, French Montana, Chris Brown, and Wiz Khalifa, with production from Hitmaka, OG Parker, Ayo & Keyz, Go Grizz and so many more!
In this day and age, so much music is being released, and not being thoroughly consumed. I feel that we all are so quick to listen to music but not live with it, so we end up searching for the next thing. My initial reaction when I saw the track list was the same as everyone else's, "damn, it's short," but that's because I'm used to a great deal of music being released at one time, and because I always want more from these artists.
After living with the music for 2 weeks, which should be enough time to digest, I now consider "Mih-Ty" as one of my favorite R&B albums of 2018. The thing that I love most about Ty Dolla $ign and Jeremih is that they both know how to flip old R&B songs and make them sound like their own. They are amazing writers and they know what songs work for them and their style. Throughout the album, you hear throwback samples from In My Bed by Dru Hill, Rising to the Top by Keni Burke, with interpolations from All Night Long by Mary Jane Girls (produced and arranged by legend Rick James), Back in the Day by Ahmad, and F*ck You Tonight by The Notorious B.I.G.
Sometimes, for me, it's the little things, and I like hearing artists do their own spin on the oldies. Even though it's always hard to clear samples, it's always great to hear artists pay homage.
The flow of the Mih-Ty album is really smooth and you don't want it to end. Each song is catchy, but my top favorites are: Perfect Timing; New Level, which has the Dru Hill sample; These Days; Surrounded with Chris Brown and Wiz Khalifa, which samples Skeletons by Travi$ Scott from his latest AstroWorld album; Lie 2 Me; and Imitate.


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Naeto C Biography and Net Worth
Naetochukwu Chikwe popularly known by his stage name as Naeto C is a famous Nigerian hip hop rapper, singer, songwriter, recording artist, stage performer, record producer and a model. He was born on 17th December 1982 in Houston, Texas in the United States of America. He is currently 35 years old.
He is very handsome, creative, gifted, skillful and talented. Naeto C is originally from Imo State in the south eastern part of Nigeria. Naeto C completed both his primary and secondary school education in Lagos, Nigeria and obtained both his First School Leaving Certificate and West African Senior School Certificate.
After completing his primary and secondary school education in Lagos, Naeto C moved to the United States of America for his higher education. He attended Suny Old Westbury University for one year and later proceeded to George Washington University both in the United States of America and graduated with a Bachelor's Degree in Biology in 2004.
It was at this time that he met Uzikwendu and Ikechukwu in Washington, New York, United States of America, who was then an aspiring hip-hop artist. Naeto C, Uzikwendu and Ikechukwu went on to form the World Famous Akademy, a brotherhood of musicians. They planned to grow into an independent record label but could not get their hands on the proper funds.
After graduating from George Washington University in 2004, Naeto C intended to further his studies and become a medical doctor. After some deep self-searching he changed his mind and decided to pursue his dream and develop his talent as a musician.
In 2010, Naeto C obtained a Masters Degree in Energy Studies from the University of Dubdee in Scotland. In 2012, Naeto C got married to Nicole Chikwe and the marriage is currently blessed with beautiful kids.
Storm Records, a record company based in Lagos, Nigeria had been trying to sign Naeto C and his World Famous Akademy crew, but they did not return to Nigeria until early 2006, when Ikechukwu released his debut album "Son of the Soil". That album "Son of the Soil" laid the grounds for Naeto C and his World Famous Akademy crew.
Working as an in-house producer with his newly discovered production team "ET-Quake" consisting of TY Mix and VC Perez, Naeto C was able to display his production skills working with popular artists like Sasha, Dare Art-Alade, GT the Guitarman, Disconnect, Saro-Wiwa and Nkiru. Within a year of working with the aforementioned artists, Naeto C had successfully recorded over 60 songs including his most recent album "Material" an album which he co-produced with ET-Quake.
The most notable production achievement is the "I Believe" song Naeto C wrote and co-produced with VC Perez, member of ET-Quake crew, which features Naeto C, and up-and-coming R&B/Gospel artists such as Sheun and Hugh Masekela from South Africa.
Naeto C has recorded over 50 songs including his debut albums. He has also recorded hit sounds for MoHit records own by D Banj and Don Jazzy. Naeto C has broken all boundaries and surpassed more limits than any up and coming artist in Nigeria. In May 2008, Naeto C released his first debut studio album "You Know My P". In 2011, Naeto C released his second debut studio album "Super C Season". In 2015, Naeto C released his third debut studio album "Day 1" and also In 2015, Naeto C released his third debut studio album "Festival".
Naeto C in the cause of his career as a hip hop rapper has won several awards. In 2008, Naeto C won the award for New Musician at the MTV Africa Music Awards. In 2009, Naeto C won the award for Video of the Year at the Channel O Music Video Awards. Also in 2009, Naeto C was nominated for Best New Musician at the MTV Africa Music Awards.
In 2012, Naeto C won the award for Artiste of the Year at the Headies Awards. Also in 2012, Naeto C won the awards for Album of the Year at the Headies Awards. Naeto C has also won the awards for Best Breakthrough Act at the MTV African Music Awards.
Naeto C is currently one of the richest and most influential artiste in Nigeria with an estimated net worth of $7.5 million.
WATCH VIDEOS ON CELEBRITY RECORDS HERE
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Watch out this video on the success story, history, achievements, expensive lifestyle, personal records, biography and net worth of Nigerian famous musician Niyola and please subscribe to my YouTube channel for more videos.
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Want to tell a friend about Clip-on Chart and Reading Light for protected Night Vision? It's easy. Just enter the information requested below, click the "E-mail a Friend" button, and your message is on its way.


Enjoy up to 40% off our Best Available Rates at participating Best Western Hotels in Asia as listed below when stay for 2 consecutive nights.
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Direct links can be selected when you share an asset from a portal. They are the URL from within the embed code that links directly to an image, video, or document. Typically longer than share links, they're useful for apps that accept a URL directly, as it allows that app to modify how an asset is displayed.
In addition, the Portals app has a method to share a direct link to a portal.


Included in the annual Chimney Inspection service!
Caps are basicaly and mostly a steel net cage with a solid top that binds to the top end of your chimney system. Although it is a very old method - it stands for "Basic Is Best".
Self sufficiant tool that does not need any attention neither before/after use nor during the use.
Chase Covers are mounts that fit on top of your already built chimney chase (top for wood, metal and vinyl siding chimneys) in order to prevent water from penetrating in to the system. It's very important to install the chase cover properly so the water will run off the chase cover and not in to the chase or chimney. Because most chimneys replica Tag Heuer will already have their own chase, we will install custom made chase covers fitting your own chases. They are easy to install , cost worthy and long lasting.
If you feel like your chimney is not as efficient as it was before - THIS could be the issue!
Call in for an inspection and we will make sure you have all you need!
Dampers are the most efficiant model of chimney tops. They are a solid cover completely sealing the top of your chimney, mounted on a folding hydraulic ladder that can expand and contract on command.
It provides all year protection for your chimney, when closed it helps keeping AC work at maximum with no leaking out air from the top, keeps animals, derbis and nature away.
VERY IMPORTANT - using a damper does not mean that you don't need to inspect or clean your chimney! - hazardous combustible by-products are released in the chimney chamber with every use.


Galera, esse cara é demais... Tão bom que resolvi colocar a biografia dele no original, em inglês. Se alguém quiser, pode perdir por e-mail que eu traduzo algum pedaço que não entender. Não deixem de conhecer esse Monstro sagrado do Blues!!!
Better known as Howlin' Wolf, was an influential American blues singer, guitar and harmonica player.
With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match [Howlin' Wolf] for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." Many songs popularized by Burnett—such as "Smokestack Lightnin'," "Back Door Man" and "Spoonful"—have become standards of blues and blues rock.
At 6 feet, 6 inches (1,98m) and close to 300 pounds (136kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. Howlin' Wolf's voice has been compared to "the sound of heavy machinery operating on a gravel road". Although the two were reportedly not that different in actual personality, this rough edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters, to describe the two pillars of the Chicago Blues representing the music.
Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked of Chester Arthur Burnett, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.' " In 2004, Rolling Stone Magazine ranked him #51 on their list of the 100 Greatest Artists of All Time.
Born in White Station, Mississippi, near West Point, he was named after Chester A. Arthur, the 21st President of the United States, and was nicknamed Big Foot Chester and Bull Cow in his early years because of his massive size. He explained the origin of the name Howlin' Wolf thus: "I got that from my grandfather [John Jones]." He used to tell him stories about the wolves in that part of the country and warn him that if he misbehaved, they would "get him". As a youth he listened to Charley Patton, who taught him the rudiments of guitar, as well as to the Mississippi Sheiks, Tommy Johnson and Jimmie Rodgers, who was Wolf's childhood idol. Wolf tried to emulate Rodgers' "blue yodel", but found that his efforts sounded more like a growl or a howl. "I couldn't do no yodelin'," Barry Gifford quoted him as saying in Rolling Stone, "so I turned to howlin'. And it's done me just fine." His harmonica playing was modeled after that of Rice Miller (also known as Sonny Boy Williamson II), who had lived with his sister for a time and taught him how to play. He played with Robert Johnson and Willie Brown in his youth.
He farmed during the 1930s, served in the United States Army as a radioman in Seattle during World War II, and by 1948 had formed a band which included guitarists Willie Johnson and M. T. Murphy, harmonica player Junior Parker, a pianist remembered only as "Destruction" and drummer Willie Steele. He began broadcasting on KWEM in West Memphis, Arkansas, alternating between performing and pitching farm equipment, and auditioned for Sam Phillips's Memphis Recording Service in 1951.
According to the documentary film The Howlin' Wolf Story, Howlin' Wolf's parents broke up when he was young. His very religious mother Gertrude threw him out of the house while he was still a child for refusing to work around the farm; he then moved in with his uncle, Will Young, who treated him badly. When he was 13, he ran away and claimed to have walked 85 miles (137 km) barefoot to join his father, where he finally found a happy home within his father's large family. During the peak of his success, he returned from Chicago to his home town to see his mother again, but was driven to tears when she rebuffed him and refused to take any money he offered her, saying it was from his playing the "Devil's music".
Howlin' Wolf quickly became a local celebrity, and soon began working with a band that included Willie Johnson, and guitarist Pat Hare. His first recordings came in 1951, when he recorded sessions for both the Bihari brothers at Modern Records and Leonard Chess' Chess Records. Chess issued Howlin' Wolf's How Many More Years in August 1951; Wolf also recorded sides for Modern, with Ike Turner, in late 1951 and early 1952. Chess eventually won the war over the singer, and Wolf settled in Chicago, Illinois c. 1953. arriving in Chicago, he assembled a new band, recruiting Chicagoan Joseph Leon "Jody" Williams from Memphis Slim's band as his first guitarist. Within a year Wolf enticed guitarist Hubert Sumlin to leave Memphis and join him in Chicago; Sumlin's terse, curlicued solos perfectly complemented Burnett's huge voice and surprisingly subtle phrasing. Although the line-up of Wolf's band would change regularly over the years, employing many different guitarists both on recordings and in live performance including Willie Johnson, Jody Williams, Lee Cooper, L.D. McGhee, Otis "Big Smokey" Smothers, his brother Abe "Little Smokey" Smothers, Jimmy Rogers, Freddie "Abu Talib" Robinson, and Buddy Guy, among others, with the exception of a couple of brief absences in the late '50s Sumlin remained a member of the band for the rest of Wolf's career, and is the guitarist most often associated with the Chicago Howlin' Wolf sound.
In the 1950s Wolf had four songs that qualified as "hits" on the Billboard national R&B charts: "How Many More Years", his first and biggest hit, made it to #4 in 1951; its flip side, "Moanin' at Midnight", made it to #10 the same year; "Smoke Stack Lightning" charted for three weeks in 1956, peaking at #8; and "I Asked For Water" appeared on the charts for one week in 1956, in the #8 position. In 1959, Wolf's first album, Moanin' in the Moonlight, a compilation of previously released singles, was released.
His 1962 album Howlin' Wolf is a famous and influential blues album, often referred to as "The Rocking Chair album" because of its cover illustration depicting an acoustic guitar leaning against a rocking chair. This album contained "Wang Dang Doodle", "Goin' Down Slow", "Spoonful", and "Little Red Rooster", songs which found their way into the repertoires of British and American bands infatuated with Chicago blues. In 1964 he toured Europe as part of the American Folk Blues Festival tour produced by German promoters Horst Lippmann and FriIn 1965 he appeared on the television show Shindig at the insistence of The Rolling Stones, who were scheduled to appear on the same program and who had covered "Little Red Rooster" on an early album. He was often backed on records by bassist and songwriter Willie Dixon who is credited with such Howlin' Wolf standards as "Spoonful", "I Ain't Superstitious", "Little Red Rooster", "Back Door Man", "Evil", "Wang Dang Doodle" (later recorded by Koko Taylor), and others.
In September, 1967, he joined forces with Bo Diddley and Muddy Waters for The Super Super Blues Band album of Chess blues standards, including "The Red Rooster" and "Spoonful".
In May 1970, Howlin' Wolf, his long-time guitarist Hubert Sumlin, and the young Chicago blues harmonica player Jeff Carp traveled to London along with Chess Records producer Norman Dayron to record the Howlin' Wolf London Sessions LP, accompanied by British blues/rock musicians Eric Clapton, Steve Winwood, Ian Stewart, Bill Wyman, Charlie Watts and others. He recorded his last album for Chess, The Back Door Wolf, in 1973. Chess released a Howlin' Wolf compilation album, Chess Masters, in 1981.
Unlike many other blues musicians, after he left his impoverished childhood to begin a musical career, Howlin' Wolf was always financially successful. Having already achieved a measure of success in Memphis, he described himself as "the onliest one to drive himself up from the Delta" to Chicago, which he did, in his own car on the Blues Highway and with four thousand dollars in his pocket, a rare distinction for a black blues man of the time. In his early career, this was the result of his musical popularity and his ability to avoid the pitfalls of alcohol, gambling, and the various dangers inherent in what are vaguely described as "loose women", to which so many of his peers fell prey. Though functionally illiterate into his 40s, Burnett eventually returned to school, first to earn a G.E.D., and later to study accounting and other business courses aimed to help his business career.
Wolf met his future wife, Lillie, when she attended one of his performances in a Chicago club. She and her family were urban and educated, and not involved in what was generally seen as the unsavory world of blues musicians. Nonetheless, immediately attracted when he saw her in the audience as Wolf says he was, he pursued her and won her over. According to those who knew them, the couple remained deeply in love until his death. Together they raised Lillie's two daughters from an earlier relationship, Bettye and Barbara.
After he married Lillie, who was able to manage his professional finances, Wolf was so financially successful that he was able to offer band members not only a decent salary, but benefits such as health insurance; this in turn enabled him to hire his pick of the available musicians, and keep his band one of the best around. According to his daughters, he was never financially extravagant, for instance driving a Pontiac station wagon rather than a more expensive and flashy car.
Burnett died at Hines VA Hospital in Hines, Illinois, USA on January 10, 1976 and was buried in Oak Ridge Cemetery, Hillside, Cook County, Illinois in a plot in Section 18, on the east side of the road. His large gravestone, allegedly purchased by Eric Clapton, has an image of a guitar and harmonica etched into it.
The Howlin' Wolf Memorial Blues Festival is held each year in West Point, Mississippi. Wolf's Juke Joint Jam is another annual Howlin' Wolf tribute festival held in West Point. Some of the artists who have played 'Wolf Jam' include Wolf's lead guitarist Hubert Sumlin, Muddy Waters' back band of Willie "Big Eyes" Smith, Calvin "Fuzz" Jones and "Steady Rollin" Bob Margolin, Willie King, Blind Mississippi Morris, Kenny Brown, Burnside Exploration, etc. The festival is held at the 500-acre (2 km²) festival grounds know as Waverly Waters Resort, and is sponsored by 2 Brothers Brand barbecue sauce and seasonings.
Burnett was portrayed by Eamonn Walker in the 2008 motion picture Cadillac Records.
A recording of Howlin' Wolf was inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."
The Rock and Roll Hall of Fame listed three songs by Howlin' Wolf of the 500 songs that shaped rock and roll.
On September 17, 1994 the U.S. Post Office issued a Howlin' Wolf 29 cents commemorative postage stamp.
Procurem ouvir bastante Jeff Healey, garanto que vale apena, mesmo!!! Sonzeira para todas as horas! Abraços a todos.
Esse cara dava até pra colocar nas duas categorias, Rock e Blues, mas vou colocar só no Blues, já que tocou bastante esse estilo durante toda sua espetacular carreira.
Nascido Norman Jeffrey Healey, em 25 de março de 1966 em Toronto, no Canadá. Era um músico canadense de Jazz, vocalista de Blues-Rock e guitarrista. Era cego e desenvolveu seu estilo próprio de tocar guitarra, no colo, chamado de "Lap-Top". Perdeu a vista aos oito anos de idade devido ao Retinoblastoma, uma espécie rara de câncer nos olhos. Aprendeu e desenvolveu sozinho seu estilo combinado com sua maneira de tocar o instrumento. Teve muita popularidade musical e pessoal, particularmente nos anos 80 e 90.
Healey começou tocar guitarra quando ainda tinha três anos de idade, desenvolvendo seu estilo único de tocar o instrumento no seu colo. Quando tinha 17 anos, formou a banda "Blue Direction", com 4 integrantes, que, no começo, tocava músicas cover de bandas de bar. Entre outros músicos, estavam o baixista Jeremy Littler, o baterista Graydon Chapman, e um colega de escola, Rob Quail, na segunda guitarra. Tocaram em vários clubes de Toronto, incluindo a "Colonial Tavern".
Rapidamente foi apresentado a dois músicos, o baixista Joe Rockman e o baterista Tom Stephen, com quem formou um trio, "The Jeff Healey Band". Essa banda apareceu em público pela primeira vez noBirds Nest, localizado em Toronto, no Chicago's Diner, na Queen Street West. Foram comentados na revista de Toronto NOW, e logo estavam tocando praticamente todas as noites em clubes locais, como, por exemplo, a Grossman's Tavern e o famoso clube de Blues Albert's Hall (onde Jeff Healey foi descoberto por ninguém menos que os virtuosos Stevie Ray Vaughan e Albert Collins).
Depois de assinar com a Arista Records em 1988, a banda lançou o álbum See the Light, que tinha o hit "Angel Eyes" e a música "Hideaway", que foi nomeada para o Grammy para Melhor Performance de Rock Instrumental. Enquanto a banda gravava See the Light, eles também filmaram (e gravaram para a trilha sonora) do filme de Patrick Swayze "Road House". Em 1990, ganharam o Juno Award por "Entertainer of the year" no Canadá. Os álbuns Hell to Pay e Feel This deram a Healey 10 posições nos "Charts" de singles do Canadá entre 1990 e 1994, incluindo um cover dos Beatles, "While My Guitar Gently Weeps" que tinham nada menos que George Harrison e Jeff Lynne nos backing vocals e no violão.
No lançamento do álbum Get Me Some, em 2000, Healey estava um pouco cansado do mundo do rock e começou a se concentrar seus consideráveis talentos numa direção mais próxima do seu coração, o "Hot Jazz".
Foi então que lançou três CDs de sua verdadeira paixão, o Jazz americano tradicional dos anos 20 e 30. Ele esteve com bandas de Jazz tradicional ao redor de Toronto desde o começo de sua carreira musical. Embora fosse conhecido primeiramente como guitarrista, também tocava trompete em performances ao vivo.
Healey era um colecionador inveterado de LPs e conseguiu fazer uma coleção de bem mais de 30.000 (sim, trinta mil) LPs de 78 rotações. Ele apresentava, de tempos em tempos, um programa de rádio na CBC,chamado My Kind of Jazz, onde ele tocava seus álbuns de sua vasta coleção. Também apresentava um programa semelhante na rádio Jazz de Toronto CJRT-FM, também conhecida como JAZZ FM91.
Também viajava com seu outro grupo, The Jazz Wizards, tocando hot Jazz americano. Quando morreu, estavam planejando uma série de shows no Reino Unido, Alemanha e Holanda, em Abril de 2008.
Healey apareceu no DVD "Gillan's Inn", do vocalista do Deep Purple Ian Gillan's. Também descobriu e ajudou a desenvolver as carreiras de outros artistas, incluindo Amanda Marshall e Terra Hazelton.
Em 11 de janeiro de 2007, Healey foi submetido a uma cirurgia para remoção de metástases nos dois pulmões. Durante os 18 meses anteriores teve dois sarcomas retirados de suas pernas.
Em 2 de março de 2008, morreu de câncer no St. Joseph's Health Centre na sua cidade natal, Toronto. Tinha 41 anos de idade. Sua morte ocorreu um mês antes do lançamento de seu álbum, Mess of Blues, que é o seu primeiro álbum de rock/blues em oito anos.
A memória de Healey se mantém viva através de sua esposa, Cristie, e de suas duas crianças.


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31 Days of Halloween 31DOH 2019 Articles Horror The Think Tank
Celebrating Five Years of "Spring"
October 12, 2019 October 10, 2019 Ernie Rockelman 1 Comment aaron moorhead, film, Horror, justin benson, spring
Directors Justin Benson and Aaron Moorhead gained universal approval with their 2012 debut, Resolution. Serena Whitney of Dread Central gave the picture a perfect score, dubbing it a "remarkable achievement" that "provides the breath of fresh air the genre sorely needs." An intricately constructed examination of the way horror stories are told, the film is witty and amusing, if a bit amateurish.
Their follow up is even stronger. An affecting love story camouflaged as a down and dirty horror fantasy, Spring skillfully blends the emotional complexity of a Linklater flick with the messy grotesqueries of early Cronenberg.
Really good horror tends to hold a mirror up to society and reflect some ugly part of our existence; they lay bare our hidden fears and anxieties to frightening effect. Spring leans on gore and grue to examine the apprehension of its central characters.
Evan (Lou Taylor Pucci), a spirited young American, loses his mother to cancer. Following her funeral, he gets in a fist fight with a man at the bar where he works and is fired. On the advice of friends, he departs his California home for Italy to clear the mental cobwebs. There he meets a mysterious native called Louise (Nadia Hilker).
The image of Evan leaning with sunken eyes against a flat green wall that opens the picture establishes a tone that will carry throughout the movie. Green, which often denotes rebirth and conjures images of flourishing spring foliage, instead draws to mind thoughts of decaying vegetation amid a harsh winter. Its drabness clings to Evan's body as if infectious, its melancholy spilling across his face. Evan contorts his lips into a false smile and leans in to greet his dying mother. The sequence serves to introduce the film's themes concerning mortality and other obstacles life puts in our path.
Spring is a very quiet film. The gentle rhythm of footsteps on cobblestone, the hush of the wind and soothing birdsongs condense to stir ideas in the minds of viewers. Music plays a key role in the more horrific sequences, its unnerving use of notes matched with off-putting clicks and scrapes agitate the parts of the brain controlling fear.
When Evan arrives in Italy he visits a bar. Unlike the desolate pub he left behind, the saloon has a more vigorous vibe. Dozens of conversations compete with one another, laughter and smiles dominate the room. Shortly after, Evan bumps into a passerby. Rather than erupting with anger like the patron in the bar in his hometown, the man responds with kindness.
Benson and Moorhead succeed where several horror filmmakers fail by developing relatable characters worthy of our concern before delving into more gruesome territory. The opening act of the film unfolds like a moody expressionist pic concerned more with talk than action.
Moorhead's camera captures Southern Italy with a texture and compositional beauty that transcends the picture's meagre budget. The muted brown landscapes and pale green groves of the farms, the mosaics of pitted gray stone that stretch across the ancient city lend a sense of dreariness to the proceedings. It's a beautiful marriage of romanticisms and realism. In one scene, after sharing their most intimate secrets, Evan and Louise visit an old church. Evan comments, "Fear of the unknown makes a lot of really pretty stuff" while distant candles emit imperfect halos of soft light.
The filmmakers make the most of the ancient city. Like the characters that dwell there, it appears bleak and gloomy around the edges but shelters bold structures and intricate walkways within. High angles of the vast city emphasize the frailty of the meager people walking its streets.
Evan doesn't go head over heels for Louise immediately, rather he initially falls in lust with her body. Those chocolate brown eyes, her plump, velvety lips and chestnut hair flood him with sexual euphoria. Like King David of Israel in the second book of Samuel who showed feelings for Bathsheba after watching her bathe, Evan isn't filled with love, he's experiencing what most guys do when they see a girl nekkid.
Still, it's not long before Evan realizes Louise is his heart's desire. Louise though is more reticent. She harbors a dark, primordial secret that keeps her from getting too close to someone. Her social malady is no match for the emotional impact Evan has on her however, and over time, the two fall madly in love. They wander the city and talk openly about their pasts and their plans for the future. With every stolen glance, every light touch and every hopeful kiss, their romance blossoms.
Depicting emotion is a difficult task. To show affection for someone you've only just met, to weep for a character because a scene calls for it requires skill. Pucci and Hilker pledge themselves to their roles. The feelings of their hearts shine through their eyes, their passion for one another moves across their lips. Their interplay is what makes the movie work. Their personalities clash at the start—Evan is an awkward romantic, Louise is a sultry sex-bomb—but they are destined to be together. Their relationship blooms as they grow as individuals.
The two complete each other. Without someone with whom to share a warm, personal attachment, Louise felt inhuman, like an alien in her own skin. Her inner feelings manifest via sequences of gorgeously disgusting special effects. Flesh bends and crawls, limbs detach and ooze life fluid.
Spring is frightening because it's about the crises and milestones we all face in life: birth, maturity, reproduction, death. Its ability to depict the frailty of the human body and spirit, to illustrate the uncertainty and inevitability of death allows it to rise above its brethren. Its title is perfect. Evan and Louise commit to their affair, they liberate themselves from the constraints of their former lives, and are reborn as new beings.
SINCE ITS RELEASE:
Benson and Moorhead contributed their directing talents to Bloody Disgusting's V/H/S: Viral in 2014 as well as created a pseudo-sequel to Resolution dubbed The Endless in 2017. While the story is quite different, the picture contains characters and locations prominent in the duo's first flick. Spring did well on the festival circuit where it received praise from horror personalities the likes of Guillermo del Toro. The movie is available on an extras-packed blu-ray from Anchor Bay.
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Ernie Rockelman
Ernie loves movies. He's not so great talking about them, but he's pretty okay writing about them. He worked as a critic for the Press of AC for a number of years. Now he teaches film to high school kids and occasionally makes movies that nobody sees.
One thought on "Celebrating Five Years of "Spring""
The best articles are the ones that make me want to sit down and immediately rewatch the movie. This one did just that. Great writing!


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New Shepard to Launch Sixth Suborbital Crewed Flight
August 4, 2022 Leave a Comment on New Shepard to Launch Sixth Suborbital Crewed Flight
Blue Origin is scheduled to launch six space tourists to space onboard New Shepard for the NS-22 mission.
The suborbital mission is scheduled to launch on August 4 at 13:30 UTC (08:30 am CDT) from Blue Origin's Launch Site One located near the town of Van Horn, Texas. The crew will consist of Coby Cotton, Mário Ferreira, Vanessa O'Brien, Clint Kelly, Sara Sabry, and Steve Young.
Sara Sabry will become the first Egyptian astronaut, and Mário Ferreira will become the first Portuguese astronaut on NS-22. Colby Cotton, the co-founder of the Dude Perfect YouTube channel, was selected for this mission by an online vote.
The area around Launch Site One is also known as Corn Ranch, located near Blue Origin's test site for their BE-4 engine, which will power both United Launch Alliance's Vulcan Centaur rocket and Blue Origin's New Glenn rocket.
In addition to this mission being the twenty-second flight for both Blue Origin and the launch vehicle, it is also the third mission for Blue Origin this year.
For the NS-22 mission, Blue Origin will use the RSS First Step capsule along with the NS4 first stage booster. The booster of the launch vehicle is also called the Propulsion Module.
Both RSS (Reusable Space Ship) First Step and the booster (NS4) first flew into space during the NS-14 mission in early 2021. RSS First Step is the same spacecraft that flew on Blue Origin's first crewed flight, NS-16, which launched on July 20, 2021.
The launch marks a 61-day turnaround for the launch vehicle between NS-21 and NS-22.
Prior to launch, the crew will be driven to Launch Site One in Rivian trucks. After arrival, they will climb the launch tower and be helped into the RSS First Step spacecraft.
At T-0, the single BE-3 engine on the main booster of New Shepard will ignite.
The BE-3 runs on Liquid Oxygen (LOX) and Liquid Hydrogen (LH2). The engine operates in the combustion tap-off cycle. Another version of the engine, known as the BE-3U, will fly on the second stage of Blue Origin's future New Glenn rocket.
The NS-22 mission patch. Credit: Blue Origin.
The BE-3 will subsequently spool up, and the launch vehicle will lift off from Launch Site One at around T+7 seconds.
Around 57 seconds after launch, New Shepard will go through the region of Maximum Dynamic Pressure, also known as MAX-Q. During this time, the BE-3 engine will throttle down. At this point, the launch vehicle will be at an altitude of around 21,400 feet.
The capsule is fitted with an abort system powered by a single solid rocket motor known as the Crew Capsule Escape Solid Rocket Motor (CCE SRM) built by Aerojet Rocketdyne.
At around 2 minutes and 20 seconds after launch, the single BE-3 engine will shut down–a milestone known as Main Engine Cut Off (MECO). New Shepard will be situated at around an altitude of 182,700 feet, and it will continue to ascend.
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The capsule and the New Shepard Propulsion Module will then separate around 20 seconds later. At around the same time, the space tourists on board will begin to experience the zero-gravity (Zero-G) environment. At this point, the crew will be around 262,400 feet in altitude.
The capsule will then cross the Kármán line, which is situated at 330,000 feet, 100 kilometers, or 62 miles. The line was named after the Hungarian-American engineer, Theodore von Kármán, and is generally used to divide aeronautics and astronautics.
Once the spacecraft passes above 100 km, the crew will meet most of the definitions of becoming astronauts.
RSS First Step, along with the crew inside, will then reach their apogee–the maximum altitude during flight–around four minutes into the flight. The apogee should be around 351,100 feet in altitude. The capsule and the Propulsion Module will then begin their descent back to earth.
Around four minutes and 50 seconds into flight, the crew of six space tourists will be given a one-minute warning to get back in their respective seats for the rest of the descent. Around a minute later, the crew should be strapped back into their seats prior to the end of the Zero-G portion of the flight.
Both the Capsule and the Propulsion Module will then reenter the atmosphere. Around five minutes and 40 seconds into the flight, aerodynamic fins on the top of the Propulsion module will deploy in order to guide the booster in the dense portion of the atmosphere.
Around T+6 minutes and 40 seconds into the flight, the Drag Brakes on the top of the Propulsion Module will also deploy as the vehicle passes through around 14,500 feet in altitude.
RSS First Step touches down in West Texas after the NS-20 mission. Credit: Blue Origin.
Soon after, sonic booms will be heard through the landing site in South Texas, marking the arrival of the booster.
The single BE-3 engine will ignite once again to slow the vehicle down, and the landing legs will subsequently deploy. The vehicle will propulsively land at the North Landing Pad at around T+7 minutes and 20 seconds.
Around a minute later, the drogue chute on the Capsule will deploy, which will slow the vehicle down. This will be followed by the deployment of the three main parachutes. At this point, the vehicle will be around 3,000 feet in altitude.
The capsule will then fire retro rockets (similar to the Russian Soyuz) and subsequently touchdown in West Texas around 10 minutes after launch. Soon after, the crew will be extracted from RSS First Step.
(Featured Image: New Shepard launches for the NS-20 mission. Credit: Blue Origin).
The post New Shepard to Launch Sixth Suborbital Crewed Flight appeared first on NASASpaceFlight.com.
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This is one of the largest warehouse properties that I have come across. The ceiling height in the main space is least 20 ft and the wrap around balcony adds to the flexibility.
Currently the loft has very little furniture in place, so it is well suited to be "dressed" as needed for your particular job. The 1st floor location and the large entry doors make it very accessible.


Our focus is to meet clients where they are. Whether they are participating in an individual session, a family session in equine assisted counseling or a group session in equine assisted learning. One of our goals and commitments is to provide an emotionally, physically, and spiritually safe environment for all participants.
Mental Health Professiona And Equine Specialist:Margot Luckman, M.S., C.R.C, L.C.P.C., E.S., C.M./F.


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Dave Eggers and Why It Sucks to be a New York Writer
by Pete Kotz
Dave Eggers discovered that even at the big New York magazines, they still make you show up for no reason, just like real jobs
Last night Dave Eggers, erstwhile writer of A Heartbreaking Work of Staggering Genius and the founder of the literary magazine McSweeney's, came to the Cleveland Public Library to talk about art — as well as the soul-killing experience of being a writer in New York, including his short-lived job at Esquire. "You had to go in every day, even if you didn't need to," he said, apparently alarmed by this basic concept of employment. "You also had to look stylish, and I'm not," he added, also alarmed by another basic concept of working for a magazine loaded up with really stinky perfume ads. "This is my one jacket – and I've had it for 14 years." Among other complaints, Eggers griped for five minutes about the ridiculous paperwork processes at the big magazines. "To even mail a letter, you needed to fill out an expense form, just so you could get a stamp." It was no surprise, then, when the Midwestern boy decided to hightail it out of the city after less than a year. "I never even finished one story while I was there. I got so paralyzed as to what would happen to it" -- the endless rewrites, the merciless edits, the beautiful, innocent sentences mercilessly killed on the copy-editing floor. "It's like you give birth to this child and he's whisked away from you and the next thing you know he's dressed in lederhosen." -- Rebecca Meiser


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The Agenda: Why does North East football lurch from crisis to crisis?
There's never a dull moment with North East football teams but why do they always seem to be in crisis?
If it's not Joe Kinnear, it's Paolo Di Canio.
North East football's ability to pass crises among its two biggest clubs like a hot potato knows no bounds.
After a summer bemoaning the appointment of a Director of Football at St James' Park who seemed ill suited to the role, Sunderland have taken on the baton with the sacking of the combustible Di Canio after just five months in charge.
Last week Alan Pardew bemoaned the "extremes" of the media covering Newcastle United, reckoning the collective coverage was either soaring skywards or plummeting down towards earth.
There is, perhaps, something to be said for a reassessment of our reaction to the fluctuations of fortune over the course of a football season.
Gary Neville penned a national newspaper column on Arsene Wenger last season which should be a must-read for anyone with an interest in the national game.
He wrote: "The speed at which the football media operate today is like a blender which is constantly having food chucked into it and chopped into a thousand pieces but never has any end product.
Neville's column was not meant as an assassination of the media that now employ him.
He goes on to say he believes there is a public thirst for the "frenzy" which follows a good win or a damaging defeat.
He has a good point either way and it is probably this Pardew was talking about.
What the Newcastle manager does not factor in, however, is every event at St James' Park is now coloured by Mike Ashley's mismanagement of the club.
That probably sounds extreme but it is a fact patience has been spread more thinly because the owner has created a club which does little to nurse its foundations.
To borrow Neville's analogy, Ashley tips stadium renaming, Joe Kinnear's appointment, the lack of recruitment and a steady decline in the team's fortunes into a blender and Newcastle supporters are expected to swallow whatever comes out. As witnessed by the attendance on Saturday, United fans are in no mood to abandon an entity which means so much to them - but if gates are holding up it is other things which suffer.
People are less patient. The result of being misled is that they are less inclined to accept explanations which might be proferred in good faith and any dispatch from the club is treated with suspicion. Defeats like Saturdays, where mistakes were made and Newcastle's lack of defensive shape was exposed, become more trying.
When a club is run properly and its public are listened to, the whole process becomes less "extreme" (Pardew's words, not mine). If Newcastle United's supporters felt there was a proper plan being implemented by people who understood the club's rich history and had a track record of success there would be a much more secure foundation for progress and success.
Instead, United's supporters are left trying to trickily traverse a third way - supporting the team while decrying the regime. It is not easy and it doesn't take much – a poor defeat, the failure to land players during the summer window – for that fragile consensus to be broken.
The contention of those of us who witness the way North East football works is not that the clubs themselves are destined to keep lurching from crisis to crisis because of something ingrained in the DNA. It is that until there is a proper understanding of what makes them tick from the people in charge there is bound to be further bumps along the road.
Unfortunately, there appears to be less room for people like Niall Quinn in the game these days.
Quinn was not perfect as chairman of the Black Cats: he made mistakes and called things poorly on the odd occasion - but his legacy at the Black Cats was an overwhelmingly positive one and his place as one of the most important figures in the club's history has been secured by his time in the boardroom.
In short, Quinn 'got it'. He had lived and breathed the club as a player and understood its culture, its quirks and the demands of its public. When he took decisions those things came into play and a trust flourished that gave Sunderland a foundation to build. That they are now an established Premier League club is in no small part down to his own efforts.
Ellis Short wears 'FTM' badges and drinks in the city but the greatest gift he could give to the people of Sunderland is to start communicating with them to explain the direction of the club again.
The decision to employ Di Canio was dropped on the Black Cats and left to others to explain.
To be honest, there didn't seem like a proper explanation an,d given the pace with which it unravelled, it is not stretching logic to assert Short made a mistake.
Two years ago, North East football was at the foothills. A tempestuous derby at St James' Park had finished 1-1 but Newcastle were battling for the Champions League places while Sunderland had an FA Cup quarter-final that looked winnable. Both teams were brimming with talent.
Since then, we've had Di Canio, Kinnear, Wonga and investment in transfers which has been dwarfed in other regions. It is little surprise the region's football clubs feel depressed.
It wouldn't take much to put both of them back on track. This morning, however, it feels further away than ever.
Mark Douglas: Can the FA stop ignoring the North East?


John is early in his first year as a practicing audiologist and is currently working in a private-practice setting. During the previous 3 months, he has attended educational trainings provided by various hearing aid manufacturers. During some of these trainings, the presenter was persuasive in recommending frequency-lowering technology (i.e., technology that lowers information from the high- frequency region to a lower-frequency region) for amplifying high-frequency sensorineural hearing loss. In other sessions, however, extended-bandwidth amplification (i.e., amplification with a wide spectral bandwidth out to approximately 8–10 kHz) was recommended as the standard of care for providing audibility of high-frequency information. John is conducting a hearing aid evaluation on Mr. Smith, a 50-year-old patient who has a bilateral, mild sloping to moderately severe sensorineural hearing loss (SNHL). Mr. Smith's otologic history is unremarkable and he has never used amplification. Mr. Smith reported recently experiencing a mild cerebrovascular accident (CVA) and is scheduled to begin speech-language therapy next week to address mild speech-production difficulties. Thus, one of John's goals is to maximize Mr. Smith's speech-recognition abilities to ease communication and facilitate maximum audibility of the speech signal during the therapy sessions. John does not yet know which amplification strategy to use to maximize speech recognition for Mr. Smith and has decided to conduct a review of the literature to help guide his decision.
Currently, there is a lack of agreement regarding the best way to provide audibility of high-frequency speech information through amplification devices, particularly for individuals like Mr. Smith who have moderate to moderately severe high-frequency thresholds. Some propose extending the spectral bandwidth of amplification (i.e., including additional high-frequency information) to improve speech-recognition performance. Others, conversely, recommend moving speech information from the high-frequency region to lower-frequency regions through various signal-processing techniques (for specific details see Alexander, 2013). Interest in these signal- processing techniques resulted from the potential limitations of traditional amplification for high-frequency hearing loss (Alexander, 2013). For example, prior to widespread use of digital feedback-suppression algorithms in amplification devices, providing gain in the high-frequency region was a significant clinical challenge.
speech signal is beneficial for listeners of all ages (Füllgrabe, Baer, Stone, & Moore, 2010; Monson, Hunter, Lotto, & Story, 2014; Pittman, 2008; Stelmachowicz, Lewis, Choi, & Hoover, 2007). For example, Pittman (2008) found improvements in novel word learning among children with normal hearing and children with hearing impairment when making more high-frequency information audible (i.e., extending the speech-signal bandwidth). For adults, Moore, Füllgrabe, and Stone (2010) found that including additional high-frequency speech energy (above 5 kHz) increased listener judgments of sound quality, with signals containing energy up to 10 kHz described as having improved "clarity" and "pleasantness." The authors also found a small, but significant, improvement in speech recognition when extending the spectral bandwidth (i.e., including additional high-frequency energy) to 7.5 kHz when the speech signal and noise were presented from different locations.
Clinical audiologists should strive to provide appropriate amplification that maximizes speech understanding and sound quality in all listening environments. Similarly, speech-language pathologists should understand the effectiveness and outcomes associated with amplification systems for patients with hearing loss.
John undertook the current review to explore the literature on the two approaches to improving speech recognition for patients with hearing loss. John used the PICO (population, intervention, comparison, outcome) format, as recommended by the American Speech-Language-Hearing Association (AHSA), to formulate his clinical question: For adults with mild sloping to moderately severe SNHL (P), is frequency-lowering processing (I) or extended-bandwidth processing (C) preferable in improving speech recognition performance (O) in quiet and noisy listening environments?
2) data analysis focuses solely on primary outcomes and ignores moderating variables that would allow for a deeper understanding of the outcomes (Larsen & Nye, 2010). Given the time constraints, John deemed this technique appropriate for the clinical decision at hand.
of phonemes as in the Plurals Test). John limited the dependent variable to examine the effects of various audible bandwidths and signal-processing techniques on the linguistic processing of the speech signal rather than simply phonemic detectability. For the purposes of this review, the term extended-bandwidth processing refers to instances where additional high-frequency energy (i.e., above approximately 4 to 5 kHz) is included in the speech signal through traditional processing (often carried out via low- pass filtering). Frequency lowering refers to conditions where the high-frequency portion of the speech signal is lowered, in some way, to a lower-frequency region. John understands that the speech signals used in the cited studies frequently underwent several forms of processing (e.g., low-pass filtering, frequency compression, frequency transposition, frequency translation) to accomplish the objective of the study. Keeping this in mind, the primary goal of his review was to examine, from a broad perspective, the effectiveness of these two signal-processing techniques for providing audibility of high-frequency speech energy.
only including studies where participants had precisely the same degree of hearing loss would not provide sufficient information from which to make an informed clinical decision.
the previous 10 years (i.e., 2006 through 2016), while the latter contains information from studies older than 10 years. John's discovered that many studies required listeners to identify speech in both quiet and noisy listening conditions. Therefore, to gain a thorough understanding of the data, his analysis focused on each listening condition individually.
A majority of the studies required listeners to identify the speech signal (e.g., phonemes, words, sentences) in listening conditions with competing background noise. Considering the cumulative results from all studies, extending the audible bandwidth to include more high-frequency information appears to enhance speech recognition for hearing-impaired listeners with hearing loss similar to John's patient, particularly in noisy listening conditions (e.g., Cox, Johnson, & Alexander, 2012; Pepler, Lewis, & Munro, 2106).
as compared to inactive. With NFC active, sentence- recognition performance did not improve or decrease.
The authors suggested that clinicians should take caution when activating frequency lowering for this population (i.e., listeners with gradually sloping hearing loss), as it may degrade speech recognition in noise for some listeners.
John also examined studies that provided high-frequency information through processing strategies that included additional high-frequency signal amplification.
18 without dead regions). Listeners without cochlear dead regions showed significant improvements in consonant identification when including additional high-frequency speech energy. The authors reported that there is no evidence to support limiting high-frequency amplification for adults with at least a moderate hearing loss, particularly in noisy environments. Additionally, Levy, Freed, Nilsson, Moore, and Puria (2015) obtained sentence reception thresholds among normal-hearing and hearing-impaired listeners with a mild to moderately severe sensorineural hearing loss. Sentence reception thresholds significantly improved when extending the signal bandwidth from 4 kHz to 10 kHz when the speech and noise were separated in location. The authors suggested that increasing audibility of high-frequency spectral energy may improve speech-recognition performance in the presence of spatially separated noise.
to determine the utility of amplifying the high-frequency region.
Souza, Arehart, Kates, Croghan, and Gehani (2013) examined how frequency lowering using a form of frequency compression influenced speech intelligibility for adults with mild to moderate hearing loss. In quiet, no benefit in speech recognition was observed with the frequency-lowered speech when compared to unaltered speech. The authors suggested that listeners with the poorest high-frequency thresholds benefited the most from the frequency-lowering technique used in their study, but individuals with hearing loss similar to John's patient showed no benefit. All studies considered, John determined that there was limited evidence to support increasing access to high-frequency speech energy in quiet conditions for listeners with hearing loss similar to his patient.
and in noise using each signal-processing technique. Many of the studies used simulated hearing aid processing or speech processed through computer programs and did not subject the speech signal to processing through clinically fit hearing aids. Although additional variables may complicate study design, studies using clinically available hearing aids that offer extended-bandwidth and frequency-lowering technologies can help inform clinical decision making regarding amplification of the high-frequency portion of the speech spectrum.
For Mr. Smith, it appears that John should begin with amplifying high-frequency speech energy through extended-bandwidth processing, keeping in mind the goal of improving speech-recognition performance in noisy listening environments. It is long established that many hearing aid users report poorer performance and dissatisfaction with their devices in degraded environments. In a recent MarkeTrak study, Abrams and Kihm (2015) reported that between 30 and 50% of respondents described substantial difficulty when attempting to recognize speech in noise. Given the data obtained in this Brief, the strongest evidence supports amplifying high-frequency speech energy through signal processing that includes as much unaltered high-frequency information as possible compared to techniques that artificially lower high-frequency spectral information. That said, audiologists should always verify hearing aid function through real-ear and aided speech- recognition measures and validate patient satisfaction in all listening environments. If John concludes that the current technique is unsuccessful at improving Mr. Smith's speech-recognition abilities, he should explore and offer additional signal-processing techniques to his patient. Souza et al. (2013) suggested that the use of high-frequency amplification techniques should be viewed in terms of the "audibility-by-distortion trade off " (p. 1354), which may vary substantially among listeners. As such, audiologists should consider each case individually and adjust the prescribed amplification technique accordingly.
When interpreting these results, John must acknowledge the lack of randomized controlled studies that directly examine speech-recognition performance between signal-processing techniques for amplifying the high- frequency portion of the speech spectrum. Clinicians would benefit from additional studies using currently available hearing aids that offer both signal-processing techniques (i.e., extended-bandwidth processing and frequency lowering). Such studies would inform clinical decision making for hearing healthcare providers when fitting amplification devices for listeners who require amplification of the high-frequency auditory region.
Dr. Donai is an Assistant Professor in Audiology at West Virginia University. He is co-director of the Speech and Hearing Laboratory. Dr. Donai has published numerous articles in areas related to speech perception.
Jeremy C. Schwartz is currently a Doctor of Audiology (AuD) student at West Virginia University.


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text:
Karen Michelle Barad /bəˈrɑːd/ (29. travnja 1956.) američka je feministička teoretičarka, osobito poznata po svojoj teoriji agencijskog realizma.

Biografija
Trenutno su (preferirana zamjenica "oni"; radi prilagodbe na hrvatski jezik u daljnjem tekstu "ona") profesorice feminističkih studija, filozofije i povijesti svijesti na Kalifornijskom sveučilištu, Santa Cruz. Autor je knjige Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Njezina istraživačka tema uključuje feminističku teoriju, fiziku, kontinentalnu filozofiju dvadesetog stoljeća, epistemologiju, ontologiju, filozofiju fizike, kulturološke studije znanosti i feminističke znanstvene studije.

Barad je doktorirala teorijsku fiziku na Sveučilištu Stony Brook. Njezina disertacija predstavila je računske metode za kvantificiranje svojstava kvarkova i drugih fermiona u okviru baždarne teorije na rešetki.

Barad je član savjetodavnog odbora za feminističke akademske časopise Catalyst: Feminism, Theory, Technoscience and Signs: Journal of Women in Culture and Society.

Agencijski realizam
Prema Baradinoj teoriji agencijskog realizma, svemir obuhvaća fenomene, koji su "ontološka neodvojivost unutar-djelujućih agencija". Unutar-akcija, neologizam koji je uvela Barad, signalizira važan izazov individualističkoj metafizici . Za Barad, fenomeni ili objekti ne prethode njihovoj interakciji, već 'predmeti' nastaju kroz određene unutar-akcije. Dakle, aparati, koji proizvode fenomene, nisu skupovi ljudi i neljudi (kao u teoriji glumac-mreža ). Umjesto toga, oni su stanje mogućnosti 'ljudi' i 'ne-ljudi', ne samo kao idejni koncepti, već u njihovoj materijalnosti . Aparati su 'materijalno-diskurzivni' po tome što proizvode određena značenja i materijalna bića dok istovremeno isključuju proizvodnju drugih. Stoga je ono što znači materija uvijek materijalno-diskurzivno. Barad svoju inspiraciju uzima od fizičara Nielsa Bohra, jednog od utemeljitelja kvantne fizike . Baradin agencijski realizam istodobno je epistemologija (teorija znanja), ontologija (teorija bića) i etika . Zato Barad uvodi neologizam onto-epistemologiju. Budući da specifične prakse materije imaju etičke posljedice, isključujući druge vrste materije, onto-epistemološke prakse uvijek su zauzvrat na-etičko-epistemološke.

Velik dio Baradinog znanstvenog rada vrti se oko njezinog koncepta "agencijskog realizma", a njezine teorije su važne za mnoga akademska područja, uključujući znanstvene studije, STS (znanost, tehnologija i društvo), feminističku tehnoznanost, filozofiju znanosti, feminističku teoriju, i, naravno, fizika. Osim Bohra, njezin se rad oslanja na djela mislilaca kao što su Michel Foucault, Judith Butler, Jacques Derrida i Walter Benjamin, između ostalih.

Baradino izvorno istraživanje blio je u teorijskoj fizici čestica i kvantnoj teoriji polja. Njezina knjiga, Susret svemira na pola puta, (2007.), uključuje poglavlje koje sadrži originalno otkriće u teorijskoj fizici, što je uglavnom nepojmljivo u knjigama koje se obično kategoriziraju kao " rodne studije " ili "kulturološke teorije". U ovoj knjizi Barad također tvrdi da je 'agencijski realizam' koristan za analizu književnosti, društvenih nejednakosti i mnogih drugih stvari. Ova se tvrdnja temelji na činjenici da je Baradin agencijski realizam način razumijevanja politike, etike i djelovanja bilo kojeg čina promatranja, pa čak i svake vrste prakse znanja. Prema Barad, duboko povezan način na koji je svaka "stvar" zapetljana sa svim ostalim na materijalno specifične načine znači da sve unutar-radnje rekonfiguriraju zaplete. Baradina inovativna i dalekosežna formulacija unutar-akcije, koja dovodi u pitanje uobičajeni pojam interakcije koji pretpostavlja metafiziku individualizma, nudi novu formulaciju kauzalnosti. Ne postoje stvari koje su u interakciji, već radije kroz i unutar radnji postoji razlikovanje-preplitanje, tako da se izvodi agencijski rez koji razdvaja stvari zajedno-razdvojno (jedan potez) tako da razlike ne postoje kao apsolutne odvajanja već u svojoj nerazdvojivosti (tj. "agencijsku separabilnost" kako to naziva Barad). Ništa nije inherentno odvojeno od bilo čega drugog, već se odvajanja odvijaju unutar fenomena. Ovaj pogled na znanje pruža okvir za razmišljanje o tome kako kultura i navike mišljenja mogu neke stvari učiniti vidljivima, a druge lakše zanemariti ili nikada ne vidjeti. Iz tog je razloga, prema Barad, agencijski realizam koristan za feminističku analizu i druge oblike političke i društvene misli, čak i ako veza sa znanošću nije očita.

Baradin okvir donosi nekoliko drugih argumenata, a neki od njih dio su većih trendova u područjima poput znanstvenih studija i feminističke tehnoznanosti (sve se mogu naći u njezinoj knjizi iz 2007., Susret sa svemirom na pola puta):

 Ona definira agenciju kao odnos, a ne kao nešto što netko "ima".
 Znanstvenik i društveno uvijek su dio aparata i o tome treba voditi računa u njegovoj neodvojivosti u analizi sustava. To se razlikuje od gledišta da političke kritike znanosti nastoje potkopati vjerodostojnost znanosti; umjesto toga, Barad tvrdi da ova vrsta kritike zapravo čini bolju, vjerodostojniju znanost.
 Oni tvrde da su politika i etička pitanja uvijek dio znanstvenog rada i da se čine odvojenima samo zbog specifičnih povijesnih okolnosti koje potiču ljude da ne vide te veze. Jedan primjer o kojem raspravljaju je etika razvoja nuklearnog oružja kako bi argumentirali ovu tvrdnju, tvrdeći da su etika i politika dio načina na koji je takvo oružje razvijeno i shvaćeno, te stoga dio znanosti, a ne samo "filozofije znanosti" ili "etiku znanosti". To se razlikuje od uobičajenog gledišta da se može težiti bespolitičnoj znanosti bez pristranosti.
 Ipak, ona se protivi epistemološkom relativizmu i nudi važnu alternativu uobičajenoj koncepciji objektivnosti.
 Ona također odbacuje ideju da je znanost "samo" jezična igra ili skup fikcija proizvedenih samo ljudskim konstrukcijama i konceptima. Iako je znanstvenik dio "unutar-akcije" eksperimenta, ljudi (i njihovi kulturni konstrukti) nemaju potpunu kontrolu nad svime što se događa. Barad izražava ovu točku govoreći, u "Dobivanju stvarnosti", da, iako znanstvenici oblikuju znanje o svemiru, ne možete zanemariti način na koji svemir "vraća udarac".

Ove točke o znanosti, djelovanju, etici i znanju otkrivaju da je Baradin rad sličan projektima drugih znanstvenika znanstvenih studija kao što su Bruno Latour, Donna Haraway, Andrew Pickering i Evelyn Fox Keller.

Odabrana bibliografija

Knjige

Poglavlja u knjigama

Članci iz časopisa

  Abstract.
  Reprinted in various anthologies.

Vidi također

 Queer teorija
 Feminističke studije
 Michel Foucault
 Niels Bohr
 Epistemologija
 Donna Haraway
 Tehnoznanost

izvori

 UCSC web stranica Karen Barad
 Rasprava Josepha Rousea o agentskom realizmu, dostupna na MUSE
 Pregled Getting Real u Nordic Journal of Feminist and Gender Research

Teoretski fizičari
Feminizam
Epistemologija


Kasch clear sound on the stage or in the studio with this guitar.
This pure wood guitar grabs your attention easily due to the compact design.
Enjoy crystal-clear sound on the stage or in the studio with this medium size guitar.
The guitar is the perfect solution for beginners who want to learn guitars and other musical instruments. You can take it with yourself anywhere and anytime.
It has a silky balance to the tone that supports vocals beautifully.
It gives you a enjoy with the humanized design.
Best choice for you, or you can buy it for your family or friends. Offer you passionate and chipper melody.
Excelente guitarra acústica. Vale apena o investimento.
É pena que não venha com a correia e o saco de transporte.


text:
import Listener from './base-listener';
import { buildDashboard } from '../charting/show-dashboard';

export default class DashboardListener extends Listener {
  constructor(robot, client, transform) {
    super(robot, client, transform);

    this.title = "Dashboard";
    this.capabilities = [];
    this.room = client.notificationsRoom;

    this.respond(/show (?:oneview ){0,1}(?:dashboard|status).$/i, ::this.ShowOneViewDashboard);
    this.capabilities.push(this.indent + "show (OneView) dashboard");

  }

  ShowOneViewDashboard(msg) {
    this.transform.send(msg, "Ok " + msg.message.user.name + ", I am going to generate your dashboard. This might take a little while.\nFor a more comprehensive view, see " + this.transform.hyperlink("https://" + this.client.host + "/#/dashboard", "Dashboard"));

    let promises = [];

    promises.push(this.client.Dashboard.getAggregatedAlerts());
    promises.push(this.client.Dashboard.getAggregatedServerProfiles());
    promises.push(this.client.Dashboard.getAggregatedServerHardware());
    promises.push(this.client.Dashboard.getAggregatedServersWithProfiles());

    Promise.all(promises).then((res) => {
      buildDashboard(this.robot, this.room, res[0], res[1], res[2], res[3]);
    }).catch((err) => {
      this.robot.logger.error("Error getting dashboard data", err);
      this.transform.error(msg, err);
    });

  }
}

redpajama_set_name: RedPajamaGithub


text:
November 17, 2006 November 17, 2016 Chris Thilk Marketing Recap
Movie Marketing Madness: Casino Royale
Bond is back.
Sorry, has that line been used? Hmmm.
007 has a new license to thrill.
This is not the first James Bond movie sporting the Casino Royale moniker. Back in 1967, the title was used for a comedy starring David Niven as the super-spy and Woody Allen as his son Jimmy Bond. The movie was a spoof, a satire of the nascent spy genre. It barely, if at all, used Ian Fleming's book – the first Bond book he wrote and the introduction to the character – as a source of story points or anything like that. When I first saw it as a kid I didn't know it was supposed to be a comedy and so was very confused and wound up hating the film. Once I understood it for what it was I realized it wasn't a half-bad comedy but still, hardly a proper usage of the Casino Royale name.
This Casino Royale, though, is anything but comedy. Daniel Craig makes his first appearance as James Bond in the first Bond flick since Sony took over control of much of the MGM catalog and franchises. So here are the stumbling blocks in place in trying to market this latest entry:
● Craig is blond, which irritated a good bit of the series' fans and stirred up all sorts of coverage.
● Craig is not a mainstream star. He has a good rep among cinephiles but not in the suburbs.
● Continuity is going to be a bitch. Bond in Royale is new to the Double-0 program but we've already watched 20 Bond films that, even if they ignore the time-space continuum, at least keep the character going. Plus, Dame Judi Dench reprises her role as M. So she's supposed to be shepherding Bond through his initiation even though we've seen her as Bond's boss throughout the Peirce Brosnan-era films. Plus, the movie takes place in present day. Again with the continuum ignoring. All of this might is fine if you're paying attention but might be a bit tough for the casual movie goer. Cinematical, in their Q&A with the film's team, seems to be the only one that's noticed this .
● Pre-production was a mess. Peirce Brosnan seemed to not know whether he was in or out. P. Diddy said he wanted to be the first black Bond. Quentin Tarantino kept opening his yap that he was about to sign a deal to direct the next installment. In short, everyone kept talking about it but what they were saying was essentially useless.
● The Broccolis are still in charge. The family oversees all the Bond films for reasons I'm not exactly clear on. They're largely responsible for the critical mess that the franchise has become, filled with more and more eye-candy, both of the special effects and special sex varieties.
Now here's the thing you should know going into this campaign review: I love the Bond character and the movies. I think they're smart (even when they're dumb) and just a lot of fun. Each movie, if not better than the previous ones, is at least pretty good and definitely worth the time I spent. Oh, and just because everyone does it, here's my list of the best Bonds:
Connery (Is this actually a discussion?)
Brosnan (Seemed the most willing and able to make the character interesting)
Dalton (Darker Bond and mostly weighed down by floundering scripts)
Lazenby (Only this far down because he was in just one flick. Probably would be higher if he had more opportunities)
Moore (The only Bond I want to punch for just being a smug, unfunny schmuck. I don't like him)
The Posters
The teaser poster was our first glimpse at Daniel Craig as Bond. It showed Craig in a tuxedo sitting at a casino table, very much a Bond setting, especially since Sean Connery in a tuxedo sitting at a casino table was our introduction to the cinematic(al) Bond in Dr. No. Except where Connery looked slightly bemused, Craig just looks pissed. That was followed by this one , which showed Bond ready for action with gun in hand and a supernova going off behind him. I think the biggest visual element here was actually Craig's startlingly blue eye.
After that came this affront to visual stylists everywhere. I don't even know where to start. It's an odd shade of blue (maybe they were shooting for gun-metal grey but they failed), Craig's head appears to be very badly Photoshopped and it's just weird. I actually think it's that extremely off kilter head that throws the entire thing off. It seems to be disjointed from the rest of his body and is bathed in sunlight that's completely missing from the rest of the image. It actually gave me the chills.
Finally there's this poster, which I'm assuming is the theatrical version. It takes the worst part of that previous one-sheet and adds a bunch of stills from the flick itself. They're there just to remind us that, working down from the top: Bond goes on water, Bond is quite a ladies man and things blow up when Bond drives his cool car. Nice and insulting, if you ask me. We know this – you don't have to remind us. Things go boom and superspy's get laid. We got it. That's a given and has been since
The Trailers
Both the teaser trailer and the theatrical one are pretty good, at least good at selling Casino Royale as a new Bond flick. Interestingly, both teasers open the same way – not with the same footage but with the opening scenes presented in black and white. Actually it's more of a brown and white. I'm not sure what they were going for here. There's never been a black and white Bond flick so it's not like they're hearkening back to the franchise's roots or anything. Just not sure why they made this particular decision.
The teaser is pretty effective at only presenting fleeting images of Craig as Bond at first before taking a turn and showing the movie as just another action-packed movie. Prior to that, though, there's a good amount of explanation about how "Double-0s don't have a very long life expectancy" and other such dialogue about how this is Bond's debut in the British intelligence service. The trailer ends with a camera-zoom on Craig in a tuxedo sitting at a gaming table and looking imposing.
The theatrical version is more straightforward in terms of both setting up the plot as well as making no bones about how this is an action movie. Gone is much of the overall setup of how this is Bond's first outing. It's a tad less effective than the teaser at building anticipation, I think because it eschews so much of the character setup for story-explaining. There's also a fight scene that takes place on a crane arm that looks just like one that took place in Goldeneye. Are they out of settings for confrontations to the extent that they're cribbing from the franchise itself?
The one thing that both trailers do exceedingly well is presenting Craig's Bond as no stranger to brutality. You can say what you want about who was the more suave Bond and such but Craig is the first one to play the character in a way that looks quite this ready to kick whatever ass is necessary. He just looks angry, like he's always on the very edge of snapping and just wiping out everyone in the room. He looks dangerous, a characteristic that hasn't always been part of Bond's on-screen persona. It can't be easy to bring something new to the character after four decades but Craig pulls it off.
Oh, and if you're interested in seeing the trailers for all the previous Bond films, Cinematical has the hook-up thanks to a YouTube user with way too much time on his hands.
I'm so mad right now I could just spit. You know why? Because the entire site has an RSS feed available and I didn't know about it. If you check out the FeedBurner feed you'll see that not only have they been syndicating posts from their "Yarborough Blog" but also updates from the site itself. That means I could have been getting updates on the entire site as they went live and wasn't. This is exactly the kind of thing I've been talking about so much and here it is under my nose the entire time and I missed it. Argh.
Honestly, though, this is only partly my fault. Should I have visited the official site more often? Yes. But there should have been some sort of mechanism in place to publicize this feed. Something. This is why there needs to be either 1) Corporate outreach to bloggers on things like this or 2) A company-wide feed that announces this kind of thing.
Enough ranting. Good on Sony for feeding the entire site. That's an awesome move and one I definitely applaud. But next time tell someone about the darn thing.
Now onto looking at the actual content.
"Mission" is where you'll find the information about the movie itself. Assignment is plot synopsis written in the form of a mission briefing. The nicest part is that the names of the characters in the write-up are linked and clicking on them displays a brief description and a couple of pictures. Those same descriptions and pics are available when you click the Operatives portion of the section. Nothing too exciting.
Moving on, the next section is "Dossier." This is actually a really nice section that is presented as the formal report to M recommending Bond for service in the MI6. This works better than it probably should because the setting for this movie is Bond's introduction as a super-spy. So if you keep that in mind this section is actually quite informative and entertaining as it dives into the personal and psychological background of the character.
You'll find a photo gallery labeled as Freeze Frame, both trailers in Video Capture and some virtual set visits called 360 Views under the "Surveillance" section. The 360 Views offer a cool look at the Casino Royale itself.
There are some fun games in the "Basic Training" section. Card Shark is a target practice effort where you click your mouse to shoot a gun at playing cards that appear before you. Line of Sight has you move Bond around trying to avoid some bad guys. Not too complex, but fun. Next is M's Assignment, which gives you a series of questions you answer in order to find out what kind of job you're suited for in MI6. Finally there's 180 Seconds. This is a driving game that lets you drive Bond's Aston Martin around some curvy roads in an effort to get to the Casino Royale in less than three minutes. I'm kind of surprised they didn't put the "Casino Royale Strategy Game" in this section but it's got its own section. The front page of the site encourages you to register to get text-messaged hints and tips on the game. Also kind of hidden on the site is a Poker game
The "MI6 Declassified" section finally gets you some solid, non-fictional movie content. There's a Synopsis, Cast List, Videos, Production Notes, News and more, including information on promotional Partner and a link to a dedicated Music site featuring Chris Cornell's take on a Bond theme song. "Promotions" takes you to a page of contests that you can enter that are related to the movie.
All in all it's a really nice official website. There's lots to do and lots of information to be found and plays into the Bond mythos quite nicely.
Other Efforts
Just like the last handful of entries in the Bond series, this one comes laden with a number of promotional deals and corporate tie-ins.
Sony has a whole group of products it's releasing branded with the Bond name. Those were advertised with this pretty bad online ad .
Heineken is apparently Bond's new beer of choice.
When he's not drinking that it will be Paterno Wines in his hand.
Omega watches get a little help by appearing in front of a couple of the movie's posters.
Since Bond is a manly-man, the men's portal AskMen has setup a microsite devoted to just how manly he is. (Thanks to James for the tip on this.)
There's a whole list of such deals on the official site but these are the ones that popped onto my radar.
Everybody's been ramping up the nostalgia factor too, with lists of every Bond theme song, clips of all the movie's intros and such popping up all over the place. Fast Company even has a whole article on how Bond plays into the traditional sense of macho and how the character has become a brand that much be protected. Like I said before, a movie must be a brand experience.
The Casino Royale is a good one if you look at it as just another Bond flick. Unfortunately I think as a whole it falls short of achieving what I think is its most important goal, which is clearing up the continuity issue before people go to the theater. There's a bit of that on the website and a bit in the trailers but not enough, I don't think, to really make this a non-issue. I can completely see people coming out of the theater and telling their friends, "I was confused. It was like Bond didn't know what he was doing. But Judi Dench was in there from the other movies. It was alright, I guess." That was the main obstacle and they didn't quite clear it.
That being said I think the individual elements were better than the whole they added up to. The trailers were very good, the posters were good except for that one and the website is a solid effort. I especially love the RSS-ification of the entire site and can't tell you how much I wish I had discovered that before, like, just now.
It's interesting, though, that what I'm reading this past week has Casino Royale running so neck-and-neck in the tracking numbers with the Warner Bros animated flick Happy Feet, about a group of dancing penguins. I think, unfortunately, that's a sign of a weak campaign, or at least an indifferent public that needed to be convinced by a strong campaign, maybe one a bit stronger than this one is. Royale should have been blowing Happy Feet out of the water, not be going into the weekend with a toss-up as to which one will be number one for the weekend.
I think they could have created a stronger campaign had more of the focus been on the Bond mythology. If the idea that this was Bond's first outing had been explored a bit more, that this was, as so often was written, a reboot of the franchise, I think they could have garnered more interest in seeing it. As it stands it's a solid campaign that falls just short of fantastic.
2 thoughts on "Movie Marketing Madness: Casino Royale"
adverlicious says:
Thanks for the link, Chris. We've archived over a dozen online Casino Royale ads, including what's possibly the lamest co-promotion effort ever seen (nice work, Sony!) —
http://adverlicio.us/topic/casino_royale
For those in the entertainment business, we archive all our online movie ads here —
http://adverlicio.us/movies
with a movie-only RSS feed here —
http://adverlicio.us/taxonomy/term/370/0/feed
Mr. Peterson says:
Chris. Great article over at iMedia Connection. 'Casino Royale' is the perfect movie to link to conversations about "the film as brand experience."
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