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Home /Avani Institute of Design Conducts Its Seventh Edition of Collective Exhibition Under the Theme Dhaara
Business NewsAugust 25, 2022
Avani Institute of Design Conducts Its Seventh Edition of Collective Exhibition Under the Theme Dhaara
August 25: Avani Institute of Design conducted its seventh edition of collective exhibition event under the theme of Dhaara on Aug 13th and 14th, 2022, at Thamarassery Campus. Dhaara aims to create a platform for the convergence of minds to develop an integrated approach to the pedagogical landscape of the Avani Institute of Design. It attempts to string together multiple narratives through pandemic semesters highlighting critical thinking rooted in contextual awareness. Dhaara is also a coming together of Academicians, Architects, and Artists, to expand on Avani's pursuit of a constructive, collaborative, and integrative approach to design education. Thus, making it truly a collective.
The 2-day event included Expert subject lectures, Panel discussions, Academic Exhibitions, discussions on Pedagogy, Spicmacay cultural events, Movie Screenings, etc. The event consisted of 6 expert speakers and 50 delegates from within and outside Kerala and with over a total number of 200 participants.
The collective exhibition being the prime focus, the collaborative exhibition sets the platform for studios, artists, academicians, and students to come forward to portray their works. Dhaara is a peek into this world of distorted imaginations, subverted realities, and expanded territories of an institution not confined to the geography of Ambayathode. It is the collective representation of our entangled stories narrated through documented evidence of student and faculty initiatives undertaken during Monsoon 2020 up until Monsoon 2021. The collaborative works also included the works from friends of Avani, Academic fields: WCFA, Mysuru and SEA, Mumbai, and also prominent practising architects of the district.
On the first day, Ar Tony Joseph, Principal, Avani Institute of Design, initiated the session on the topic Life as a Stapati, where one's journey into architectural practice was discussed at length. The event was also fortunate to have the presence of the Kochi Muziris Curator, Artist Bose Krishnamachari, delivering a lecture on the topic Art for community and community for Art: How Biennales changed the world, on such an occasion, which addressed the importance of embracing the value of collaboration.
The second day's lectures and talks started off on the topic Building Imaginations and Imagining buildings: Archi textures for future by Ar P Manasi, Ar Guruprasad Rane (Bhoomija Creations), and Ar Anoop Rajendran (Garage). It opened up the floor for a whole set of possibilities for the architecture of the past and future. With the presence of Prof Neelakanth Chhaya and a very dynamic presentation on the topic Architecture of Tomorrow, he moved the crowd onto the platform of rhetorical questioning.
For a selected number of students, who have a keen interest or an eye for photography, a workshop was conducted on the topic Photography and Beyond by Ar Prashanth Mohan (Running Studio). The students had a great opportunity to learn about the upcoming techniques and various aspects of how to approach vehicle documenting a project.
Under the leadership of the Avani film club (the roll), the college screened two movies, the first one being 'Another Round' (2020) by Thomas Vinterbeg and the second being Santhoshathinte Onnam Rahasyam (2020) by Don Palathara, both resonating with the theme of the exhibition, that is the eternal flow of human connections.
Each day was concluded with a handpicked event by the renowned artists from the National group SPICMACAY. On day one, the stage was mesmerized by an absolutely stunning performance of Carnatic Music by Artist A E Vamanan Namboothiri and their Team. On the second day, a stunning performance was put forward by Dr. Kalamandalam Krishendu and their team on the Kerala traditional artform of Koodiyattam.
Dhaara sets out to re-establish the connection between humans and their context, leaving room for future conversations and reflections. Dhaara, attended by young professionals, distinguished guests, and various others, succeeded in upholding the collaborative spirit of the Avani family.
For more information and registration: http://avani.edu.in
TAGS: Avani Institute of DesignKoodiyattam
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On Sunday April 3, 2016, the second celebration of the lay linking to the Marist Charism in the Ibérica Province took place in the Chapel of the house of meetings of Lardero. Fourteen lay men and women who have followed the Marist path for a long time confirmed publicly their vocation and commitment.
Sunday was a special day in which the affirmation found in the document of the XXI General Chapter became a reality: "we recognize and support the Marist lay vocation. We believe that it is an invitation from the Spirit to live together a new communion of Marist Brothers and Laity, contributing a greater vitality to the Marist Charism and to the Mission in our world".
And this was clear because of the large number of Brothers who accompanied us in the celebration and, above all, in the emotion and joy that their faces and tears expressed. Brothers who have not only witnessed our growth and development of our Marist option but also, in many cases, they have been the mediators for us to encounter a loving and tender God, close to us, with the solicitous presence of Mary and with the model of a full human being who is Marcelin Champagnat.
After a process of discernment of my Christian vocation lived in the Marist Charism of Champagnat, I…, desire and is my will to be recognized as a Lay Marist in our Iberian Province.
I ask Brother Provincial Superior to be accepted in this family and I commit myself to take care and to live my faith, to share it in my community and with other brothers and Lay Marists and to make Jesus Christ known and loved, constructing, with the help of the Spirit, a prophetic and Marian Church.
The Provincial accepted each one of us and gave us a beautiful silver cross with violet enamel that without any explanations it is a great sign.
United with this promise, each one of us placed a paper with our name on it in a little box that had the shape of a heart that was placed at the feet of our Good Mother. This gesture reminded us the tradition of Marcelin in the Hermitage when he deposited the names of the Brothers in the heart of the Virgin before they left for their new destinies. By this gesture we offered our life to Mary.


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A Conversation with Stefan Avalos (STRAD STYLE)
By Christopher Reed
I met with documentary director Stefan Avalos, on Sunday, June 18, 2017, at AFI DOCS 2017, to discuss his deeply engaging Strad Style (which I reviewed when it played at Slamdance). The film follows protagonist Danny Houck, from Laurelville, Ohio, as he builds a meticulous replica of famed 17th/18th-century violin-maker Giuseppe Guarneri's "Il Cannone" violin for the rising-star violinist Razvan Stoica. What gives the movie its dramatic bite is that Houck is entirely self-taught and has virtually no money. How did he get the commission? How did it turn out? To find out more, watch the film. You won't be disappointed. First, though, read my review and/or the interview, below, which is a condensed digest of our conversation.
Hammer to Nail: Right after watching your movie, I went on to iTunes and purchased the soundtrack album of your film, on which Razvan Stoica plays classical works, mostly by Paganini, on he "Il Cannone" replica made by your film's protagonist. It's an amazing album. I really liked it. I was actually listening to it, driving, on the way here.
Stefan Avalos: That's great! To get inspired…
HtN: So let's start there. Did you have any issues of cinematic access to Stoica?
SA: No! Razvan was awesome. Not only did I get the permission to use the music from previous album of his, but he was willing to work with me on doing some new, original music for the movie. Whatever I wanted, he was willing to do. The guy was great!
HtN: Did he react in any way that we don't see in the film when he realized that, "Whoa, this guy's never made a violin like this"? Because, in the film, you get some of that, but you sense that he doesn't quite realize what a naïve undertaking this is. Did you get more of that?
SA: Actually not. That was pretty much the way it really was. I didn't play around with reality there. That was actually it. And it was only when Razvan saw the movie for the first time, at Slamdance…and then he watched it again, about 4 days ago, in Italy…that he was like, "Oh my God! This was absolutely crazy!" [laughs]
HtN: [laughs] "What was I thinking?"
A: [laughs] Right, right! He just laughs at the whole thing. And what a remarkable thing it was. But yeah, that's pretty much exactly the way it was.
HtN: Amazing. Now, let's take a step back. I'm fascinated by the story of how you made this film. A trained violinist, yourself, you started out with a very different project. To quote you directly, from your press notes, "The original film was to be a broad examination of various centuries-old obsessions with the violin – be it those of scientists, makers, players, collectors or thieves." But then you met Danny Houck, and everything changed. Please elaborate.
SA: [big laugh] Well, right away, when I met Danny, he was really a very entertaining person.
HtN: And how did you find him?
SA: I heard about him through the grapevine. There was a violinist who was his former teacher, who was in the Columbus Symphony Orchestra, who had a friend…so it was a friend of a friend. And they were just like, "There's the guy out in the middle of nowhere that's really obsessed. If you want obsessed, this guy would be great." And this friend wrote copious notes to me about what this guy was like. So I thought, "Yeah, I'll check him out for five minutes." You know, thinking he would be five minutes in my movie. So I went out there, and pretty quickly, I was like, "This guy's amazing. He's a movie unto himself." But I wasn't quite ready to give up that other movie…yet. But as I was making that movie, other movies were coming out that were kind of similar to what I was thinking about doing, and so it was almost like I had to keep on reconfiguring my ideas.
HtN: Other movies similar to the obsession theme?
SA: Yes.
HtN: Such as…?
SA: Well, for instance, Scott Hicks…and this is actually the first time I'm telling anyone about this, so you're getting a scoop!
HtN: Woohoo!
SA: Scott Hicks, who directed Shine, and has done a bunch of documentaries, including one about INXS, one about Philip Glass, is a good director, and I really respect him. He contacted me, because he had heard that I had shot this footage in Paris, and he was wondering if there was any way that he could license some of the footage that wouldn't be in my movie. And so we were talking about our movies, and we both were like, "Oh, Christ! We're making sort of similar movies." His was about a quartet, and this obsession with these violins. Highly Strung is the name of his film. It came out last year, in Australia. I haven't seen it. But he was interviewing a lot of the same people that I was interviewing, so there was definitely crossover. And at that point, I knew I had to think of something, and almost at the same time, Danny contacted me and said, "Listen, I'm going to make this violin for this guy, Razvan! I'm going to make a 'Cannone' for him." And I was like, "Oh! I think that could make a great story." And so that was it.
HtN: Very wise choice.
[Stefan laughs]
Our Chris Reed and director Stefan Avalos
HtN: Did you license the footage to Scott Hicks?
SA: No. [laughs] I actually did not. And I felt down turning him down on that. But maybe one day I'll use it.
HtN: So, you were truly embedded with Danny.
SA: Yeah.
HtN: You were there for 8 months. Did you sleep in the same home? Seems like you were there all the time. What was that like? Were there any specific challenges?
SA: I did embed myself, absolutely thoroughly into the place. I sort of created this plastic tent-room in his house, which is a very big house, and an old house. It's an old farmhouse, built before they put hallways into things, so you go through one room to get to another to get to another, and it's really easy to get lost in the house. So, I was in one of the rooms, there. And it was tricky. I mean, obviously, in the winter it was very cold. And when I would sleep, I would sleep with an electric blanket, a hat and a sweater.
HtN: Just like Danny.
SA: [laughs] Just like Danny, yeah! Exactly. So, I would fly from L.A. out to Ohio and stay for a week or two, three weeks. The longest I stayed was, I think, 5 weeks. And that was when we did the European trip, also.
HtN: Now, I've seen none of your previous work, but your first film, The Last Broadcast was, if I am not mistaken, the first feature motion picture to screen digitally at the Cannes Film Festival, back in 1999. Could you briefly describe that project?
SA: Sure. The Last Broadcast – which is actually my second film, believe it or not, but the first one that got real recognition – I made with my partner, Lance Weiler, at the time, and we shot the movie with what was then unheard-of digital cameras. And we edited at home, on our PCs! Oh, my God! [laughs] And we just didn't have the money to do a film print, which was really the only way, at that time, to project a movie, except that video projection was getting really good.
So, we teamed up with DLP – Digital Light Processing at Texas Instruments – and a bunch of other companies, some of which do not exist anymore, and we put on this road show. We did five theaters in the United States, as a release, and we had to retrofit each projection booth with a projector, hard drives, digital servers and satellite, because we actually downloaded the movie via satellite. So we were playing around with what was then … everyone was calling us crazy. Now, it's standard. Every movie theater is outfitted this way.
And then we took it internationally, and premiered it at the Cannes Film Festival, which was…interesting. It was a lot of work, a lot of stress, and it was not very sexy. It sounds like it would be, but it wasn't. Because everyone was like, "What are these crazy Americans doing, with their digital video? Merde!" [laughs] But, yeah, we did that, and then went on tour in Europe, to Sweden, England, Ireland…
HtN: You were pioneers!
SA: Yeah!
HtN: So, do you see any line of continuity in your work, project to project, thematically?
SA: Hmm…no. I don't think I do. And I kind of don't want to get pigeonholed. You know, I made two horror movies back to back. The Last Broadcast was a horror movie, and after that, The Ghosts of Edendale. And everyone was like, "Oh, he's a horror director." And it's really easy for that to happen, in Hollywood, for actors, directors, writers, whatever. You get very quickly locked into one thing. So I kind of what to avoid that, if possible. In terms of directors that I admire, I really like someone like Rob Reiner, who has pretty much hit every genre there is, and hit it well.
HtN: Or Werner Herzog.
SA: Or Werner Herzog! Yes, exactly! Or, if you go back to old-school guys, Michael Curtiz, or someone like that. These guys were like, "OK! What kind of picture am I making today?" [laughs]
HtN: And I think of Herzog because of his going back and forth between documentary and narrative, as well.
SA: Yeah! Herzog has been able to jump back and forth beautifully. And I think that we're in a real golden age of documentary, so a lot of filmmakers are starting to do that more often, which is really cool.
HtN: Well, Stefan, it was great talking to you! Congrats on the film. I really enjoyed it. Take care!
SA: Sure! Thank you!
– Christopher Llewellyn Reed (@ChrisReedFilm)
Liked it? Take a second to support Hammer to Nail on Patreon!
2017 AFI Docs2017 Slamdance Film FestivalAntonio StradivariDaniel Houltdel GesuDocumentary Grand Prize WinnerGiuseppe GuarneriIl CannoneINXSinxs documentaryLance WeilerPhillip GlassRazvan StoicaRob ReinerScott HicksShineSlamdance documentary winnerStefan AvalosStrad StyleThe Ghosts of EdendaleThe Last Broadcastviolin documentaryWerner Herzog
Christopher Reed
Christopher Llewellyn Reed is a film critic, filmmaker, and educator. A member of both the Online Film Critics Society (OFCS) and the Washington DC Area Film Critics Association (WAFCA) and a Rotten Tomatoes-approved film critic, he is: lead film critic at Hammer to Nail; Managing Editor at Film Festival Today; formerly the host of the award-winning Reel Talk with Christopher Llewellyn Reed, from Dragon Digital Media; and the author of Film Editing: Theory and Practice. In addition, he is one of the founders and former cohosts of The Fog of Truth, a podcast devoted to documentary cinema.
GORBACHEV. HEAVEN

redpajama_set_name: RedPajamaCommonCrawl


text:
Blue Signature Tote Bag
Bidding Supports: St. Mary High School (Rutherford, NJ)
Opening Bid:
Jan 20, 2020 11:15 AM EST
Designed for your everyday use from work to the weekend. It is constructed from durable nylon and cotton canvas material. Carry this durable bag on your shoulder with confidence in its non-slip leather straps and strong base.
Base Dimensions (Height x Width x Length) listed in inches not including the straps: 15 x 5 x 17. Strap Drop length: 13" Weight: 2lbs 9oz.
Made in America with a portion of each bag constructed from military surplus material. There is a chance that material color may vary slightly from bag to bag. That is the beauty of upcycled military surplus. Be confident that your bag will look similar to those shown in the above picture, but be aware that slight color variations are what make these bags so beautiful and one-of-a-kind.
About Sword & Plough:
Sword & Plough has been in the making since our founders, sisters Emily and Betsy, were born into a military family. Living at West Point, sharing Thanksgiving dinners with hundreds of soldiers in mess halls, hearing about her dad's deployments and research, and watching her uncle, a Marine NASA Astronaut pilot, launch his space shuttle, are just a few of the experiences that inspired Emily to serve as an officer in the U.S. Army.
As a student at Middlebury College, Emily was the only ROTC cadet on a campus of 2,450 - most of her friends had never met someone in the military. After her sophomore year, Emily attended the U.S. Army Airborne School where she met soldiers who spoke of the struggles some of their veteran friends faced while attempting to gain employment after military service.
"From the beginning, Sword & Plough has been about more than just creating bags. We've always been excited to create high quality products, but our hope was that these products could be used as a platform to promote change." - Emily Cavness, Co-founder and CEO
All of these experiences culminated in Sword & Plough's creation during Emily's senior year at college. After listening to an inspiring speech by Jacqueline Novagratz during Middlebury's first social entrepreneurship symposium, a light bulb clicked on and Emily began to think 'What in my life is often discarded and could be turned into something beautiful with a purposeful mission?" How incredible would it be to repurpose military surplus material into durable and fashionable bags that people could use every day? By incorporating veterans into every stage of the business (from design, to sewing, management, fulfillment, sales, even modeling), we could empower veteran employment. Through its branding and outreach, Sword & Plough could help bridge the civil-military divide. The repurposed bags could be used as conversation pieces and the company could become a platform to strengthen understanding between civilians and the veteran community. Inspired to give back to the veteran community through sustainable fashion, Sword & Plough was born!
Image 1 - https://cdn.shopify.com/s/files/1/1957/4889/products/tote-bag-signature-tote-blue-2_1024x1024_9724f199-b777-4814-b3a2-ad8e429c4c0f.jpg?v=1493941326
Image 2 - https://cdn.shopify.com/s/files/1/1957/4889/products/tote-bag-signature-tote-blue-3_1024x1024_3f62b211-e0f5-48ee-837e-e86219d26362.jpg?v=1493941337
Image 3 - https://cdn.shopify.com/s/files/1/1957/4889/products/tote-bag-signature-tote-blue-4_1024x1024_e2c757f2-430f-4112-a09c-f400918bcf71.jpg?v=1493941350
Vendor: Funraise
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With properties, you can create your custom fields for storing the data. In the properties, you can also store the id of an existing object. Then you can fetch the data with model(join_on_property: String!) or the user(join_on_property: String!) field in GraphQL.
In order to export/import data with relations preserved, you need to define them in model schema files using the belongs_to attribute.


Located in Calvia, Hotel Delfín Siesta Mar is a perfect starting point from which to explore Majorca. Featuring a satisfying list of amenities, guests will find their stay at the property a comfortable one. Daily housekeeping, 24-hour front desk, restaurant, laundry service, dry cleaning are there for guest's enjoyment. Each guestroom is elegantly furnished and equipped with handy amenities. Take a break from a long day and make use of the outdoor pool. A welcoming atmosphere and excellent service are what you can expect during your stay at Hotel Delfín Siesta Mar.


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P5 Valedictory Ceremony
The annual Valedictory Ceremony for the outgoing batch of Class P5 students(2018-2019) was held on 20th March, 2018. The Chief Guest for the day was Mr. Vivek Sharma, Chairman Raghubir Singh Junior Modern School. The occasion was also graced by Mr Ashok Pratap Singh, senior trustee and former President Board of Trustees, Modern Schools and other distinguished guests. The programme commenced with the valedictory speeches where the students nostalgically reflected upon their journey in R.S.J.M.S and expressed their heartfelt gratitude for all the learning received through the years.
This was followed by the Awards Ceremony wherein the deserving students were honoured for their academic excellence and meritorious performance in co-curricular activities. The symbolic lighting of the lamp by the Headmistress, added to the heart- warming ceremony. The Headmistress , in her address, urged the students to be achievers ,aiming for the best always. In his inspirational speech, the Chief Guest highlighted the importance of dedication and sincerity in achieving success . He also spoke about life skills and career aspects and wished the outgoing students a bright and successful future.
Amidst an enchanting rendition by the student , the memorable ceremony drew to a close . It was a warm send off to the cherished members of the R.S.J.M.S family.<.P>


Check out this clever lamp idea that made me smile. The RGB Lamp, or mischlichtRGB (in German?), seems to be inspired by RGB color theory and the mixing of Red, Green and Blue into a White light. Well, at least in the middle?
This lamp was designed by Martin Meier, a German senior design lead at IDEO Munich, and Fabian Nehne, a Swiss senior designer at Deutsche Telekom.
It is really nice to see designers working on their own personal projects outside of work and getting recognized for it. It also shows a strong passion for design, a passion strong enough to motivate designers to continue to design in their spare time. Instead of, you know, Facebook, sleeping, partying, PlayStation, hanging with the lads, beer etc.
Now that really makes me smile even more.


High heels have never looked so appealing! With the women's Romika Gorda 02, the high heel is offset by a softly padded footbed made of breathable microfibre. Adjustable straps mean you can adjust the instep height for the perfect fit.


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Q: joining data from 3 tables using inner selects I have the following query:
SELECT *, CONCAT('/uploads/profiles/', user_uuid, '.jpg') as profile_pic,
(select count(*) from `good_reads_comments` b where a.id=b.parent_id) as child_post_count
FROM `good_reads_comments` a,
(select count(*) from `comment_likes` c where a.id=c.comment_id) as
 post_like_count
FROM `comment_likes` a
WHERE good_read_uuid='123456789'
AND parent_id=0
ORDER BY d_date

My problem is in the syntax.
without the second select
((select count(*) from comment_likes c where a.id=c.comment_id) as post_like_count FROM comment_likes a) the query works fine.
please help

A: i think you need below
 SELECT *, CONCAT('/uploads/profiles/', user_uuid, '.jpg') as profile_pic,
 (select count(*) from `good_reads_comments` b where a.id=b.parent_id) as
child_post_count,
(select count(*) from `comment_likes` c where a.id=c.comment_id) as  post_like_count
    FROM `comment_likes` a
    WHERE good_read_uuid='123456789'
    AND parent_id=0
    ORDER BY d_date

A: try this
SELECT *,
   CONCAT('/uploads/profiles/', user_uuid, '.jpg') as profile_pic,
   count(b.parent_id) as child_post_count,
   count(c.comment_id) from comment_likes as post_like_count
FROM good_reads_comments a
JOIN good_reads_comments b on a.id = b.parent_id
JOIN comment_likes on a.id = c.comment_id
WHERE good_read_uuid='123456789'
   AND parent_id=0
ORDER BY d_date

redpajama_set_name: RedPajamaStackExchange


text:
Q: Facing issue once i run my react-native app on android Once i try to run my react native app on android then it shows me an following error
i can run run the command : react-native run-android
Task :app:transformDexArchiveWithDexMergerForDebug FAILED
Any one solve my problem i will be very thankfull to you

A: Please check out this it might resolve yourExecution failed for task ':app:transformDexArchiveWithDexMergerForDebug'

precisely you just need to add this in android/app/build.gradle
defaultConfig{
  .......
 multiDexEnabled true
  }
}


The Layouts tab related to a schematic diagram template lists all the schematic layout algorithms provided with Schematics and allows you to specify which schematic layout algorithms you want to be available or not for the schematic diagrams and to configure their default properties.
The Layouts tab lists all schematic layout algorithms registered on your machine; a specific item is associated with each schematic layout algorithm and allows you to set the layout algorithm property values you want to be set by default for all the diagrams implemented by the related diagram template.
For any schematic layout algorithm item in the Layouts tab, the Visible parameter allows you to specify whether the algorithm will be available or not for the diagrams based on the diagram template. When the Visible parameter value is unchecked for an algorithm item, this algorithm will not be available from the Layout Task drop-down list in ArcMap when any diagram based on the diagram template is active. By default, the Visible parameter value is checked for all algorithms.
For the schematic layout algorithm without properties page, the Editable field is unchecked by default, and it cannot be checked.
For any schematic layout algorithm item selected in the Layouts tab, the Layout Properties button on the Layouts tab toolbar allows you to edit the algorithm properties page and specify particular property values. The specified property values will be the default values for the schematic diagrams based on the diagram template. If the Editable parameter value is checked, users will be able to change them, but when clicking Restore Defaults on the Layout Properties dialog box, the specified values will be those restored.
By default, the Layouts tab list displays in alphabetical order. The order in which the schematic layout algorithms display in this list is used to fill the Layout Task drop-down list in ArcMap when a diagram based on this diagram template is active. To change this order, select the item corresponding to the algorithm you want to move at another location and click either the Move Down or Move Up button on the Layouts tab toolbar to move the selected algorithm down one level or up one level.


text:
package ephemeraldiskutils

import (
	"testing"

	"kubevirt.io/client-go/testutils"
)

func TestEphemeralDiskUtils(t *testing.T) {
	testutils.KubeVirtTestSuiteSetup(t)
}

redpajama_set_name: RedPajamaGithub


text:
Home/Recaps/'Whiskey Cavalier' recap: 1×10 "Good Will Hunting"
RecapsTV
'Whiskey Cavalier' recap: 1×10 "Good Will Hunting"
Jordan Alperstein May 2, 2019
WHISKEY CAVALIER – "Good Will Hunting" – When an unexpected murder shocks everyone, Will goes to a dark place as he and the rest of the team are tasked to hunt down the culprit behind this unsettling attack on "Whiskey Cavalier," airing WEDNESDAY, MAY 1 (10:00-11:00 p.m. EDT), on The ABC Television Network. (ABC/Larry D. Horricks) SCOTT FOLEY, TYLER JAMES WILLIAMS, ANA ORTIZ, LAUREN COHAN
Whiskey Cavalier recap: Season 1, Episode 10, "Good Will Hunting," Aired May 1, 2019
With a mission intensely personal to the entire team, Whiskey Cavalier 1×10 was full of plot twists – some predictable, some shocking. Can the team handle Will when he goes all Frankie on their target, or will he take things too far? Let's find out.
Will and Emma opened the episode struggling with never getting to see each other. Both constantly sent on missions, the two juggled work and their relationship, up until work won out.
While Will completed a mission in Colombia, Emma went to Berlin to work on a case involving The Trust. Unfortunately, her target had one-up on her and shot her, killing her in the middle of the street.
twitter.com/WhiskeyCav
Edgy Will
Much like after Gigi left him, Will refused time off. Frankie and Susan were ready to head out on the mission themselves, but Will returned and insisted that work was the best place for him at that moment. The mission: Going after Emma's killer, Griffin.
While Frankie liked "edgy Will," Susan and Ray both knew they had to get through to Will before his grief caused him to do something he couldn't come back from. To them, Will's old friends, his abrupt behavior change was indicative of how terribly he was dealing with his grief.
No surprise, Ollerman was behind the whole thing.
Ollerman called Will after he broke off from the team, telling him he'd give Will Griffin's location because that confrontation would lead to one of them dying. What a sick man.
Will and Griffin did soon cross paths, and Will had his gun to Griffin's head, finger on the trigger. He probably would have killed Griffin if not for Frankie's speech about how Will is the only reason she's no longer consumed by revenge. In a reversal of roles, Frankie used kindness and connection to talk Will down from hurting someone.
In a semi-twist, Susan shot Griffin after Will let him go, but only because Griffin reached for his own weapon. Something tells me Susan will handle pulling the trigger better than Will would have.
"Maybe I will get in the tub with Jai"
Emma's death hit the whole team hard, and Jai had a particularly tough time dealing. He indirectly reached out to Standish for help getting through it.
Turns out Jai, who had absolutely refused to connect with anyone until recently, was shaken by the number of people who turned up at Emma's funeral. He said it was "packed," then later revealed to Standish that it got him wondering if anyone would show at his own funeral, should anything happen to him. Standish handled it perfectly, reminding Jai he had a family in the team, and that seemed to truly reassure Jai. This bromance is everything.
Also, Jai and Standish have a secret handshake, and it's glorious!
"You are the biggest mistake I've ever made in my life"
Susan is so into Ray. She defended him during the mission, telling the team to go easy on him because "he means well." Then, when he told Susan and Frankie their mission, Susan told Ray to keep talking and do his thing. When Frankie brought up the Gigi incident yet again, Susan defended Ray again and told Frankie to not bring that up for once because it's ancient history. For someone great at reading feelings, she isn't great at hiding her own.
And then the shocker that absolutely should not have been a shocker: Susan and Ray have been sleeping together. The two "found comfort in each other" after Emma's death – repeatedly, as Ray pointed out – and kept it going. And the best part was when Frankie totally figured it out because neither of those spies lied very well. Will didn't find out in this episode, but I don't know how long they'll be able to keep this from him.
I was entirely suspicious of Tina with her suggestion to put a star on the wall to honor Emma's memory, and then we learned she's the one that killed Emma! Tina was in possession of that marked gun that we kept seeing.
I never really trusted her, so I'm not super surprised. However, the team is in for a hell of a time when they learn the truth, especially Standish.
But next week, the team goes back to college for a mission, and I'm looking forward to, hopefully, lots of laughs. Until then, let's all toast to Emma.
Next week:
What did you think of "Good Will Hunting"? Let us know at @PureFandom on Twitter!
Whiskey Cavalier airs Wednesday nights on ABC at 10/9c.
(Image: ABC/Larry D. Horricks)
abc Alex Ollerman Ana Ortiz Dylan Walsh Edgar Standish Emma Davies Frankie Trowbridge Good Will Hunting Jai Datta Josh Hopkins lauren cohan Marika Dominczyk Ophelia Lovibond Ray Prince Scott Foley Susan Sampson tina marek Tyler James Williams Vir Das Whiskey Cavalier Whiskey Cavalier 1x10 recap Will Chase
Jordan Alperstein
Jordy has a degree in English literature and communication studies. When she isn't attending concerts, she's watching way too much TV for her own good and fangirling over Captain Swan. Jordy is a self-proclaimed optimist and bookworm, and she's a sucker for fantasy, superheroes, and good old-fashioned villains.
By Jordan Alperstein
'Whiskey Cavalier' season finale recap: 1×13 "Czech Mate"
'Whiskey Cavalier' recap: 1×12 "Two of a Kind"
'Whiskey Cavalier' recap: 1×11 "College Confidential"


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Archive for the 'entertainment' Category
My Reel Life-II –
Posted in entertainment, films, tagged 120 films, Benny Thomas, classic movies, film appreciation, Movie Lists, world cinema, www.lulu.com on April 13, 2015| 1 Comment »
The second volume of My Reel Life is available through Lulu Press. 120 films from world cinema are covered in My Reel Life. It is priced at 16 Euro. pages 360
For those interested check out http://www.lulu.com/spotlight/bennymkje
My Reel Life- The films in my Life
Posted in entertainment, films, tagged Benny Thomas, cinebuff, classic movies, lulu.com, My Reel Life on October 12, 2014| Leave a Comment »
For those who are interested in reading my appreciation of classic movies 120 of them here is your chance: Check out
http://www.lulu.com/shop/benny-thomas/my-reel-life/paperback/product-21846402.html
Cinema as Art- eye of deception
Posted in art, entertainment, tagged Benny Thomas, cinema, commercials, contrived eye, films, Psycho, vampyr on September 8, 2012| Leave a Comment »
The camera writes with light into the dark recesses of a viewer's soul.
Think of a shot given here below. It is also taken as with other sketches from Vampyr.
To continue from where I left of, by setting the stage for the viewer to follow a predetermined path,-from A to B and beyond,the viewer gets more than what he or she bargained for.
While we followed the protagonist Allan Gray we are also shown some images he could not have possibly seen. We see a figure with a scythe slung over his shoulder heading towards the river. He rings the bell as indicated in the sketch.
The figure with his back towards us is indistinguishable. Being primed for a spooky world the first image that comes into our mind is of the grim reaper. Our sensibilities owing to the Western culture have decided that- Grim Reaper as death. It is thus we have seen it many times symbolized. Is he death or a peasant? He is in all probability ringing the bell for the boatman to ferry him across.
Be that as it may we have already become participants to do as the all-seeing eye bids us to do.
Cinema as an art is all about a 'contrived eye' with which the viewer is more than willing to go with what it wants to supply us. We also bring in our level of understanding and prejudices. In short by suspending our disbelief we have become more than passive accomplices in order to complete the visual experience.
In order to understand we only need to think of the film Psycho, the bathroom scene where Janet Leigh is murdered. A viewer believes she was stabbed several times but it was all in the mind. Cinematic art has conspired to give you that added proof of complicity: from what was actually presented to view you concluded the murder was indeed part of it.
You look at the images and want to believe what you ought to have seen.
In conclusion let me put it thus. We claim that we belong to a visual generation. We often look than see things. Cinema as an art has power to move us and is cathartic experience to put ourselves in someone else shoes and understand our world. Being a visual generation we have also been assailed with commercials. We may switch it off where we exercise our rational mind. What if let ourselves taken in and watch? By suspending disbelief have we not made ourselves vulnerable? In a consumer society is it art or your money that they are after? How many commercials we see? Can wee see through the jingle and understand we have been shortchanged by what images and sounds thrown at us? No wonder the deceptive art has made us buy more things than we really need.
Cinema has the power to elevate our experience as well as debase us. Vampyr is not one of the best in the body of Carl Theodor Dreyer's works. Yet the work of genius Dreyer,Ozu,Bergman offers us many things to learn from. The Day of Wrath,the Passion of Joan of Arc, Ordet are great works of Dreyer that will stand the test of time.
Cinema as Art-2 Vampyr
Posted in entertainment, films, tagged all-seeing eye, art, Benny Thomas, cinema, dynamics, ST Coleridge, suspension of disbelief, vampyr on September 8, 2012| Leave a Comment »
The camera for the purpose of a cinematic narrative serves as an all-seeing eye. Even the God Almighty has a script of sorts,- poetic justice it is known in common usage, and why not for cinema? It is written by camera using light as its pen. The film Vampyr is about a young man Allan Gray who descends upon a desolate village by the river. He has his fishing gear and is nattily dressed to indicate he is not one of the locals.
Here the first two sketches show him stepping onto the land and in the other he is knocking at the door of an inn. The camera follows him at eye level creating an intimacy with the viewer. It is narrating visually his movement from A to B. The title cards have already supplied some information as well as those additional details we gather as to his dress and deportment. Mr. Gray is a visitor and he is very much onto occult world. His purpose there is to find more about the supernatural world of vampires, werewolves etc., With this much the viewer is mentally prepared for what to expect. It is a spooky world all right for the impressionable young dreamer to pass through a twilight world where the real and surreal worlds are not clearly marked.
Not much has happened while following simple movement from A to B. We see in the thumbnail sketches 2 to 4 the cutout of the dark victory (the Still#1 of yesterday) and camera pans to show us the board below. It bears just one word 'Hotel' and is dimly seen.
The camera is all seeing eye and it has now quietly taken position to give us a glimpse of him as an outsider seeking lodging for the night. #5
The camera is still at eye level and not intrusive so we go along with him. The shot is now from the road to indicate his knocks are not answered. Suddenly we see the skylight creaking and a child asking the man to go around. See sketch #6 The sudden jerk of the camera angle to pull the viewer's eye up gives the first jolt of the unexpected.
The camera had already hooked us with a few images along the movement and the sequences where he is told to go around establishes a continuity from the point B.
In order to achieve this the sudden unusual angle of the dark rooftop with a girl at the skylight gives the movement
an emotional 'go, go command.' Naturally we are also gripped with the mystery as to what is to follow. It is only possible since we have become an accomplice of the camera eye as we followed Mr. Gray from A to B
Hold of the all-seeing eye is built from sequence of images. It creates rhythm and the emotional responses created by it are like a bank that we have opened up. Suspension of disbelief to use a term coined by the poet Coleridge. It is dynamic and it is what the eye intends to exploit. The fear of the secluded inn with an uninviting door, getting no response to the knocking has been partly transferred to us. We have also become involved spectators. The ordinary intimacy of camera tracking a character and the unexpected ,where a skylight opens instead of a door which one in normal circumstances expect,are as much mysteries thrown to us.
Posted in current news, dance, entertainment, tagged Eddie Cantor, Fanny Brice, Florenz Ziegveld, Irving Berlin, W.C. Fields, Will Rogers on May 12, 2010| Leave a Comment »
The last Ziegfeld Follies Girl has died.
Doris Eaton Travis, one of the legendary Ziegfeld Follies chorus girls, of the early 1900s, died Tuesday at age 106.
She continued to work long after her Follies days ended, with annual appearances on Broadway, a small role in a Jim Carrey movie and a memoir, "The Days We Danced: The Story of My Theatrical Family From Florenz Ziegfeld to Arthur Murray and Beyond."
By then, the Ziegfeld Follies had become an entertainment staple. Inspired by the Folies Bergeres in Paris, Ziegfeld Follies was part Broadway show, part Vaudeville, featuring top entertainers such as W.C. Fields, Eddie Cantor, Fanny Brice and Will Rogers. Juicing up the show were beautiful female dancers who performed elaborate chorus numbers composed by Irving Berlin and who wore costumes by Art Deco designer and illustrator Erte.
Travis nabbed a part in the chorus of the "Ziegfeld Follies of 1918," and Travis became the youngest Ziegfeld Follies Girl when she was hired at age 14. She became a principal dancer in 1920. She was like so many other affected by the stock marker crash of 29. With so many theaters folding up she must have found difficulty in finding a regular job.
May her soul rest in peace. We have lost a kindly soul espcially her skill in dancing must have kindly distracted great many who had to live through wars,depression etc.,
Ziegfeld Follies was more important to the progress of the world than Hitler's follies. Think of great many talents the Ziegveld Follies polished! Their combined output one may say defined the American cultural landscape of the early 20th century.
(Ack:TOM McELROY, Associated Press Writer/May 12)
The Bank Dick-1940
Posted in entertainment, Hollywood films, tagged 100 Best Films, black and white, W.C. Fields on September 5, 2008| Leave a Comment »
Here is a quote from the movie released in 1940:
Boy in bank: Mommy, doesn't that man have a funny nose?
Mother in bank: You mustn't make fun of the gentleman, Clifford. You'd like to have a nose like that full of nickels, wouldn't you?
Whom the boy is referring to? (Hint: He isn't JP Morgan.)
Anyone who has ever seen a comedy film by WC Fields would have no difficulty in answering the question.
The inimitable comedian, W.C. Fields plays Egbert Sousé, a lush who lives in a make-believe world, In the opening scene we see him falsely brag, "In the old Sennett days, I used to direct Charlie Chaplin, Buster Keaton, and the rest of 'em." (This movie's director 'Eddie Cline' did co-direct several of Buster Keaton's early short subjects.)
He is indigent and henpecked to boot.
Egbert at home:
Elsie Mae Adele Brunch Sousé: Shall I bounce a rock off his head?
Agatha Sousé: Respect your father, darling. What kind of a rock?
He supports his family whenever he can by winning radio contests. When a fleeing bank robber is knocked cold upon tripping over the park bench where Egbert sits, Sousé is hailed as a hero and offered the job of bank guard. The next day, he is approached by one J. Frothingham Waterbury (Russell Hicks), : I want to show you I'm honest in the worst way! He offers to sell Egbert shares in the Beefsteak Mines. Sousé raises the necessary money by convincing bank clerk Og Oggilby (Grady Sutton), the fiance of Egbert's daughter Myrtle (Una Merkel), to "borrow" some funds from the bank. Of course Oggilby cannot resist the logic of a local hero however odd it may sound at first.
Egbert Sousé: My uncle, a balloon ascensionist, Effingham Hoofnagle, took a chance. He was three miles and a half up in the air. He jumped out of the basket of the balloon and took a chance of alighting on a load of hay.
Og Oggilby: Golly! Did he make it?
Egbert Sousé: Uh… no. He didn't. Had he been a younger man, he probably would have made it. That's the point. Don't wait too long in life.
Sousé is all for seizing the day. He assures Og it isn't really embezzling. He knows the mine is bound to pay off.
Besides In Egbert's moral dictionary the word Embezzlent carries only six words and not a sentence.
Myrtle Sousé: [doing a crossword puzzle] What's a six-letter word meaning "embezzlement"?
Mrs. Hermisillo Brunch: Prison.
Aggravations of all sorts Egbert has to face at home. In the Bank also matters do not help.
Egbert Sousé: Is that gun loaded?
Mother in bank: Certainly not! But I think you are!
With Fields playing the lead role we have inspired silliness, buffoonery and his special brand of delivery,- gags that cannot even have a leg to stand on in any other, which when taken together is still an absurd comedy but of the highest order. In The Back Dick he is at his best. It is his first solo starring role in a Universal Pictures film. Fields wrote the original screenplay, but credits himself with the nom de plume of Mahatma Kane Jeeves. He has no props as Mae West or Charlie McCarthy but it is no matter. In a little over one hour his comic genius presides over the town of Lompoc, Calif., He makes fun of everything sacred,-family, duty, hard work. Charity itself is suspect when WC Field lends a hand in fixing a stalled car. The film climaxes with one of the greatest slapstick, getaway car chase sequences in film history (a throw-back to Mack Sennett days – director Cline had been an actor in Sennett's Keystone Kops). "The resale value of this car," says Bill from the corner of his mouth, "is going to be practically nil when we get through with this trip."The car chase has been imitated in numerous films, including Bogdanovich's What's Up, Doc (1972).
'The humor is both physical and intellectual. Fields was among the innovators of early sound films in using contemporary cultural references; yet the movie is not so tied to its era that its references have become obscure. As Fields' style of quick-witted humor grew, the popularity of such low-brow comedians as El Brendel fell. There's a nice supporting performance from Shemp Howard, but the film belongs to Fields'.(review- quoted from Richard Gilliam, All Movie Guide)
THE BANK DICK; original screen play by Mahatma Kane Jeeves; directed by Edward Cline for Universal Pictures.
Egbert Sousé . . . . . W. C. Fields
Agatha Sousé . . . . . Cora Witherspoon
Myrtle Sousé . . . . . Una Merkel
Elsie May Adele Brunch Sousé . . . . . Evelyn Del Rio
Mrs. Hermisillo Brunch . . . . . Jessie Ralph
J. Pinkerton Snoopington . . . . . Franklin Pangborn
Og Oggilby . . . . . Grady Sutton
Joe Guelpe . . . . . Shemp Howard
Mackley Q. Greene . . . . . Richard Purcell
J. Frothingham Waterbury . . . . . Russell Hicks
Mr. Skinner . . . . . Pierre Watkin
Filthy McNasty . . . . . Al Hill
Cozy Kochran . . . . . George Moran
A. Pismo Clam . . . . . Jack Norton
Francois . . . . . Reed Hadley
Miss Plupp . . . . . Heather Wilde
Doctor Stall . . . . . Harlan Briggs
Mr. Cheek . . . . . Bill Alston
* "Mahatma Kane Jeeves" is a play on words from old stage plays. "My hat, my cane, Jeeves!"
* The newspaper being read by Egbert Sousé is the Lompoc Picayune Intelligencer.
* At the end of the movie Egbert Sousé is whistling "Listen to the Mockingbird" just as Joe the Bartender comes onto the screen. Joe is played by Shemp Howard of Three Stooges fame and "Listen to the Mockingbird" was the Three Stooges Theme music.
* Universal's censors initially objected to W.C. Fields' script and demanded many changes. Director 'Eddie Cline' suggested that Fields should go ahead and film it their way, and that the front office wouldn't notice the difference. They didn't.
* Premiere voted this movie as one of "The 50 Greatest Comedies Of All Time" in 2006.
Compiler:benny
Annie Hall-1977
Posted in entertainment, tagged 100 Best Films, 70s, anehedonism, mature comedy, psychoanalysis, Woody Allen on August 15, 2008| Leave a Comment »
In Annie Hall we have the eponymous heroine, who is neurotic, trying to find some semblance of happiness. Pit her against another neurotic, a New York comedian Alvy Singer their combined neurosis must be a veritable mine and naturally enough with the success of Annie Hall a new genre of movies came in vogue of which When Harry Met Sally is one. This movie marks a turning point in the career of Woody Allen. Gone were the slapstick jokes, pratfalls and high-paced hilarity that had marked his earlier films (Bananas, Sleeper, and Love and Death). His films became mature.
Interestingly enough Woody Allen began this project as a whodunit mystery with possibly a love angle. Allen and co-screenwriter Marshall Brickman actually produced a script during which the role of Diane Keaton moved from secondary role to the central role. As always the case the original intent of murder mystery was dropped. ( see trivia section at the end)
The film is titled Annie Hall but the film is clearly built around Alvy Sanger. It traces the course of their relationship from their first meeting, and serves as an interesting historical document about love in the 70s.
Film Overview
Annie Hall's story unfolds in retrospect with Alvy, as the narrator, attempting to make sense of his relationship with Annie within the context of his entire life.
Annie Hall begins with Alvy speaking directly to the camera. He delivers a few key jokes that set the tone rightaway. His pessimism owes its origin to his childhood. The flashback takes us to his visit to a doctor at the age of nine. Alvy is depressed because, as he explains, the universe is expanding and it is likely to explode one day. He has a few more episodes till he arrives at the place when he began dating Annie, an aspiring singer and she shows up late for their movie date.
In line at the theater, the couple bickers: Alvy complains about the obnoxious loudmouth behind him; Annie, about missing her therapy session.
From there their relationship leads to an unsatisfactory bout in bed. The film flashes back to Alvy's first wife, Allison. Such jump in flasback is satisfactorily sustained because of an image or phrase that crops up and it is a cue for breaking the chronological order of his narration.. For example Annie while in bed asks about Allison, which explains how he met her at a fundraiser, and their sexual problems when married. The film also flashes back to Annie's previous romantic relationships. Instead of the devise of speech balloons in a comic strip Woody Allen resorts to this unusual gag which is purely visual: he and Annie let us know their views as each partner present their past. The film succeeds in spite of the patter that isn't first class. For example after sex with Annie his comment 'That sex was the most fun I've ever had without laughing' is borrowed from a quote,"That was the most fun I've ever had without laughing" by H.L. Mencken in 1942 (and later by Humphrey Bogart). Towards the end after losing Annie Hall he is shooting a film referring to their reltionship but with a happy ending. His observes,"You're always trying to get things to come out perfect in art because it's real difficult in life." It could have been from any of the Wildean plays but without his polish.
Ultimately the film is of a high quality throughout. It won the Academy Award for Best Picture of 1977. Allen walked off with the Best Director award while Keaton deservedly won for Best Actress. Premiere voted this movie as one of "The 50 Greatest Comedies Of All Time" in 2006.
(Ack:sparknotes.com,epinions.com,imdb,wikipedia)
* Some of the murder mystery elements that were meant to be part of this film were transferred by Woody Allen to his later film Manhattan Murder Mystery (1993), which also co-starred Diane Keaton.
* Alvy's (Woody Allen's) sneezing into the cocaine was an unscripted accident. When previewed, the audience laughed so loud that director Allen decided to leave it in, and had to add footage to compensate for people missing the next few jokes from laughing too much.
* During the lobster-cooking scene Annie runs and retrieves a camera to take pictures of Alvy dealing with the crustaceans. Later, when Alvy runs over to Annie's house to smash a spider, the series of photos Annie took is on the wall in the background.
* Diane Keaton's real name is Diane Hall and her nickname is Annie.
* Sigourney Weaver's screen debut, in a non-speaking part as Alvy's date near the end of the movie.
* The jokes that Woody Allen tells in front of the audience at the University of Wisconsin and on "The Dick Cavett Show" (1968) are from his stand-up comic days.
* Annie's outfits, which caused a brief fashion rage, were Diane Keaton's own clothes.
* When waiting in front of the movie theater, Alvy Singer says, "I'm standing out here with the cast of the Godfather," to Diane Keaton, who was in the cast of The Godfather (1972). Additionally, one of the men who bothers him for the autograph is played by actor Rick Petrucelli, who had a small role in The Godfather as a thug who protects Michael en route to the hospital.
* In the scene where Alvy questions people on the street about what makes a relationship, a large crowd can be seen in the background watching the filming.
* Ben Stiller comments how he likes the scene when Alvy has to meet Annie's family in AFI's 100 Years… 100 Movies (1998) (TV) and how it relates to him personally because he always was very apprehensive meeting his girlfriends' parents. Stiller starred in Meet the Parents (2000), which revolved around that very idea.
* Alvy calls the two fans that pester him at the movie theatre 'Cheech'. In Bullets Over Broadway (1994), also directed by Allen, Chazz Palminteri's gangster character is called 'Cheech.'
* The film's working title was "Anhedonia" – the inability to feel pleasure. United Artists fought against it (among other things, they were unable to come up with an ad campaign that explained the meaning of the word) and Allen compromised on naming the film after the central character three weeks before the film's premiere.
* The film Alvy is waiting to see with Annie is Ansikte mot ansikte (1976) (Face to Face) by Ingmar Bergman, one of Woody Allen's biggest influences.
* The first rough cut ran 2 hours and 20 minutes. Among the scenes later eliminated were: segments showing Alvy's former classmates in the present day; Alvy as a teenager; a scene in a junk-food restaurant (featuring Danny Aiello); extensive additional scenes featuring Carol Kane, Janet Margolin, Colleen Dewhurst and Shelley Duvall; and a fantasy segment at Madison Square Garden featuring the New York Knicks competing against a team of five great philosophers. Christopher Walken's driving scene was also cut, but was restored a week before the film was completed. New material for the ending was filmed on three occasions, but most was discarded. The final montage was a late addition.
* One scene cut from the film is a fantasy sequence of Annie and Alvy visiting hell. This scene was rewritten 20 years later for Allen's Deconstructing Harry (1997).
* Marshall McLuhan was not Allen's first choice. Federico Fellini and Luis Buñuel were asked first.
* The completely silent credits were inspired by The Front (1976), which starred Woody Allen.
* Alvy and Annie never say "I love you" to each other. The closest they come is when Alvy says love isn't a strong enough word for how he feels.
* During the classroom flashbacks, one of the teachers writes, "Tuesday, December 1" on the chalkboard. December 1 is Woody Allen's birthday, and Tuesday December 1, 1942 was his seventh birthday, tying in with the school setting.
* On "Late Night with Conan O'Brien" (1993) (28 February 1995), Harvey Fierstein revealed that both he and Danny Aiello had bit parts in this classic, but their scenes ended up on the cutting room floor.
* Woody Allen originally filmed a scene in which a traffic advisory sign "urges" Alvy to go to Annie in California. Editor Ralph Rosenblum wrote that Allen was so disgusted by the scene's cuteness that he took the footage and threw it into the East River. The traffic-sign motif was later used in Steve Martin's "L.A. Story."
* The passerby Alvy refers to as "the winner of the Truman Capote look-alike contest" is in fact Truman Capote, who appears uncredited.
* Admiral Elmo Zumwalt appears on "The Dick Cavett Show" (1968) in the clip with Woody Allen (Alvy Singer).
* [June 2008] Ranked #2 on the American Film Institute's list of the 10 greatest films in the genre "Romantic Comedy".
* The movie's line "Hey, don't knock masturbation – it's sex with someone I love!" was voted as the #78 of "The 100 Greatest Movie Lines" by Premiere in 2007.
* * When Alvy is listing the reasons he doesn't like the country, he mentions "the Manson family, and Dick and Perry" — Dick and Perry are references to Dick Hickock and Perry Smith, the two men who invaded the home of, and murdered, the Clutter family on their farm in Kansas in 1959.
Memorable quotes:
Alvy Singer: Don't you see the rest of the country looks upon New York like we're left-wing, communist, Jewish, homosexual pornographers? I think of us that way sometimes and I live here.
Alvy Singer: My grammy never gave gifts. She was too busy getting raped by Cossacks.
Annie Hall: La-di-da, la-di-da, la la.
[after sex with Annie]
Alvy Singer: That sex was the most fun I've ever had without laughing.
[In California]
Annie Hall: It's so clean out here.
Alvy Singer: That's because they don't throw their garbage away, they turn it into television shows.
Annie Hall: So you wanna go into the movie or what?
Alvy Singer: No, I can't go into a movie that's already started, because I'm anal.
Annie Hall: That's a polite word for what you are.
Duane: Can I confess something? I tell you this as an artist,I think you'll understand. Sometimes when I'm driving… on the road at night… I see two headlights coming toward me. Fast. I have this sudden impulse to turn the wheel quickly, head-on into the oncoming car. I can anticipate the explosion. The sound of shattering glass. The… flames rising out of the flowing gasoline.
Alvy Singer: Right. Well, I have to – I have to go now, Duane, because I, I'm due back on the planet Earth.
[a guest is calling his meditation guru]
Party guest: Hello? I forgot my mantra.
Alvy Singer: What's with all these awards? They're always giving out awards. Best Fascist Dictator: Adolf Hitler.
[Alvy addresses a pair of strangers on the street]
Alvy Singer: Here, you look like a very happy couple, um, are you?
Female street stranger: Yeah.
Alvy Singer: Yeah? So, so, how do you account for it?
Female street stranger: Uh, I'm very shallow and empty and I have no ideas and nothing interesting to say.
Male street stranger: And I'm exactly the same way.
Alvy Singer: I see. Wow. That's very interesting. So you've managed to work out something?
Alvy Singer: [addressing the camera] There's an old joke – um… two elderly women are at a Catskill mountain resort, and one of 'em says, "Boy, the food at this place is really terrible." The other one says, "Yeah, I know; and such small portions." Well, that's essentially how I feel about life – full of loneliness, and misery, and suffering, and unhappiness, and it's all over much too quickly. The… the other important joke, for me, is one that's usually attributed to Groucho Marx; but, I think it appears originally in Freud's "Wit and Its Relation to the Unconscious," and it goes like this – I'm paraphrasing – um, "I would never want to belong to any club that would have someone like me for a member." That's the key joke of my adult life, in terms of my relationships with women.
Alvy Singer: I don't want to move to a city where the only cultural advantage is being able to make a right turn on a red light.
[after Annie parks the car]
Alvy Singer: Don't worry. We can walk to the curb from here.
Annie Hall: Sometimes I ask myself how I'd stand up under torture.
Alvy Singer: You? You kiddin'? If the Gestapo would take away your Bloomingdale's charge card, you'd tell 'em everything.
Alvy Singer: Annie, there's a big lobster behind the refrigerator. I can't get it out. This thing's heavy. Maybe if I put a little dish of butter sauce here with a nutcracker, it will run out the other side.
Annie Hall: Oh, you see an analyst?
Alvy Singer: Yeah, just for fifteen years.
Annie Hall: Fifteen years?
Alvy Singer: Yeah, I'm gonna give him one more year, and then I'm goin' to Lourdes.
Alvy Singer: A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.
Alvy Singer: Love is too weak a word for what I feel – I luuurve you, you know, I loave you, I luff you, two F's, yes I have to invent, of course I – I do, don't you think I do?
[Annie wants to smoke marijuana before sex]
Alvy Singer: Yeah, grass, right? The illusion that it will make a white woman more like Billie Holiday.
Annie Hall: Well, have you ever made love high?
Alvy Singer: Me? No. I – I, you know, If I have grass or alcohol or anything, I get unbearably wonderful. I get too, too wonderful for words. I don't know why you have to get high every time we make love.
Annie Hall: It relaxes me.
Alvy Singer: You have to be artificially relaxed before we can go to bed?
Annie Hall: Well, what's the difference anyway?
Alvy Singer: Well, I'll give you a shot of sodium pentathol. You can sleep through it.
Annie Hall: Oh come on. Look who's talking. You've been seeing a psychiatrist for 15 years. You should smoke some of this. You'd be off the couch in no time.
[Alvy is having sex with Annie]
Alvy Singer: Hey, is something wrong?
Annie Hall: No, why?
Alvy Singer: I don't know. It's like you're removed.
[a ghost of Annie rises from herself, and sits in a chair to watch]
Annie Hall: No, I'm fine.
Alvy Singer: Are you with me?
Annie Hall: Uh, huh.
Alvy Singer: I don't know. You seem sort of distant.
Annie Hall: Let's just do it, all right?
Alvy Singer: Is it my imagination, or are you just going through the motions?
Ghost of Annie Hall: Alvy, do you remember where I put my drawing pad? Because while you two are doing that, I think I'm going to do some drawing.
Alvy Singer: [gesturing to the ghost] You see, that's what I call removed.
[Alvy Singer does a stand-up comic act for a college audience]
Alvy Singer: I was thrown out of N.Y.U. my freshman year for cheating on my metaphysics final, you know. I looked within the soul of the boy sitting next to me. When I was thrown out, my mother, who was an emotionally high-strung woman, locked herself in the bathroom and took an overdose of Mah-Jongg tiles. I was depressed at that time. I was in analysis. I was suicidal as a matter of fact and would have killed myself, but I was in analysis with a strict Freudian, and, if you kill yourself, they make you pay for the sessions you miss.
[Alvy confronts Annie about having an affair]
Alvy Singer: Well, I didn't start out spying. I thought I'd surprise you. Pick you up after school.
Annie Hall: Yeah, but you wanted to keep the relationship flexible. Remember, it's your phrase.
Alvy Singer: Oh stop it, you're having an affair with your college professor, that jerk that teaches that incredible crap course, Contemporary Crisis in Western Man…
Annie Hall: Existential Motifs in Russian Literature. You're really close.
Alvy Singer: What's the difference? It's all mental masturbation.
Annie Hall: Oh, well, now we're finally getting to a subject you know something about.
Alvy Singer: Hey, don't knock masturbation. It's sex with someone I love.
Annie Hall: We're not having an affair. He's married. He just happens to think I'm neat.
Alvy Singer: "Neat." What are you, 12 years old? That's one of your Chippewa Falls expressions.
Annie Hall: Who cares? Who cares?
Alvy Singer: Next thing you know, he'll find you keen and peachy, you know. Next thing you know, he's got his hand on your ass.
Annie Hall: You've always had hostility towards David, ever since I mentioned him.
Alvy Singer: Dav – you call your teacher David?
Annie Hall: It's his name.
Alvy Singer: It's a Biblical name, right? What does he call you, Bathsheba?
Alvy Singer: It's mental masturbation!
Annie Hall: And you would know all about THAT, wouldn't you?
Alvy Singer: Hey, don't knock masturbation! It's sex with someone I love.
Annie Hall: So I told her about, about the family and about my feelings towards men and about my relationship with my brother. And then she mentioned penis envy. Do you know about that?
Alvy Singer: Me? I'm, I'm one of the few males who suffers from that.
[Alvy questions an old man on the street about his sex life]
Alvy Singer: With your wife in bed, does she need some kind of artificial stimulation, like, like marijuana?
Old man on street: We use a large vibrating egg.
Pam: Sex with you is really a Kafka-esque experience.
Alvy Singer: Oh. Thank you.
Pam: I mean that as a compliment.
Alvy Singer: I think, I think there's too much burden placed on the orgasm, you know, to make up for empty areas in life.
Pam: Who said that?
Alvy Singer: It may have been Leopold and Loeb.
[Alvy sees a program from the Fillmore East and The National Review in Annie's apartment]
Alvy Singer: Are you going with a right-wing rock 'n roll star?
Alvy Singer: Honey, there's a spider in your bathroom the size of a Buick.
[Alvy has killed two spiders]
Alvy Singer: I did it. I killed 'em both.
[Annie starts crying]
Alvy Singer: What's the matter? What are you sad about? What did you want me to do? Capture 'em and rehabilitate 'em?
Alvy Singer: You know, I don't think I could take a mellow evening because I – I don't respond well to mellow. You know what I mean? I have a tendency to – if I get too mellow, I – I ripen and then rot, you know.
[Alvy is asked to try cocaine]
Alvy Singer: I don't want to put a wad of white powder in my nose. There's the nasal membrane…
Annie Hall: You never want to try anything new, Alvy.
Alvy Singer: How can you say that? Whose idea was it? I said that you, I and that girl from your acting class should sleep together in a threesome.
Annie Hall: Well, that's sick.
Alvy Singer: Yeah, I know it's sick, but it's new. You didn't say it couldn't be sick.
Annie Hall: Alvy, you're incapable of enjoying life, you know that? I mean you're like New York City. You're just this person. You're like this island unto yourself.
Alvy Singer: I can't enjoy anything unless everybody is. If one guy is starving someplace, that puts a crimp in my evening.
Alvy Singer: I remember the staff at our public school. You know, we had a saying, uh, that those who can't do teach, and those who can't teach, teach gym. And, uh, those who couldn't do anything, I think, were assigned to our school.
Alvy Singer: They did not take me in the Army. I was, um, interestingly enough, I was, I was 4-P. Yes. In the, in the event of war, I'm a hostage.
Annie Hall: You're what Grammy Hall would call a real Jew.
Alvy Singer: In 1942 I had already discovered women.
[Young Alvy kisses girl in school]
Alvy's Classmate: Yecch. He kissed me, he kissed me. Yecch.
Miss Reed: That's the second time this month. Step up here.
Alvy at 9: What'd I do?
Miss Reed: Step up here.
Alvy at 9: What did I do?
Miss Reed: You should be ashamed of yourself.
Alvy Singer: Why? I was just expressing a healthy sexual curiosity.
Miss Reed: Six year old boys don't have girls on their minds.
Alvy Singer: I did.
Alvy's Classmate: For God's sake, Alvy, even Freud speaks of a latency period.
Alvy Singer: Well, I never had a latency period. I can't help it.
Alvy Singer: I'm so tired of spending evenings making fake insights with people who work for "Dysentery."
Robin: "Commentary."
Alvy Singer: Oh really? I had heard that "Commentary" and "Dissent" had merged and formed "Dysentery."
Allison: I'm in the midst of doing my thesis.
Alvy Singer: On what?
Allison: Political commitment in twentieth century literature.
Alvy Singer: You, you, you're like New York, Jewish, left-wing, liberal, intellectual, Central Park West, Brandeis University, the socialist summer camps and the, the father with the Ben Shahn drawings, right, and the really, y'know, strike-oriented kind of, red diaper, stop me before I make a complete imbecile of myself.
Allison: No, that was wonderful. I love being reduced to a cultural stereotype.
Alvy Singer: Right, I'm a bigot, I know, but for the left.
Robin: There's Henry Drucker. He has a chair in history at Princeton. Oh, and the short man is Hershel Kaminsky. He has a chair in philosophy at Cornell.
Alvy Singer: Yeah? Two more chairs they got a dining room set.
Alvy Singer: [narrating] After that it got pretty late, and we both had to go, but it was great seeing Annie again. I… I realized what a terrific person she was, and… and how much fun it was just knowing her; and I… I, I thought of that old joke, y'know, the, this… this guy goes to a psychiatrist and says, "Doc, uh, my brother's crazy; he thinks he's a chicken." And, uh, the doctor says, "Well, why don't you turn him in?" The guy says, "I would, but I need the eggs." Well, I guess that's pretty much now how I feel about relationships; y'know, they're totally irrational, and crazy, and absurd, and… but, uh, I guess we keep goin' through it because, uh, most of us… need the eggs.
Alvy Singer: Sun is bad for you. Everything our parents said was good is bad. Sun, milk, red meat… college.
[Annie's family and Alvy's family converse through a split screen]
Mom Hall: How do you plan to spend the holidays, Mrs. Singer?
Alvy's Mom: We fast.
Dad Hall: Fast?
Alvy's Dad: No food. You know, to atone for our sins.
Mom Hall: What sins? I don't understand.
Alvy's Dad: To tell you the truth, neither do we.
[Alvy fantasizes being in love with the Wicked Queen from Snow White]
Wicked Queen: We never have any fun any more.
Alvy Singer: How can you say that?
Wicked Queen: Why not? You're always leaning on me to improve myself.
Alvy Singer: You're just upset. You must be getting your period.
Wicked Queen: I don't get a period. I'm a cartoon character.
Alvy Singer: Lyndon Johnson is a politician, you know the ethics those guys have. It's like a notch underneath child molester.
[Rob has bailed Alvy out of jail]
Rob: Imagine my surprise when I got your call, Max.
Alvy Singer: Yeah. I had the feeling that I got you at a bad moment. You know, I heard high-pitched squealing.
Rob: Twins, Max! 16 years-old. Can you imagine the mathematical possibilities?
Alvy Singer: [glum] You're an actor, Max. You should be doing Shakespeare in the Park.
Rob: Oh, I did Shakespeare in the Park, Max. I got mugged. I was playing Richard the Second and two guys with leather jackets stole my leotard.
[Alvy and Annie are seeing their therapists at the same time on a split screen]
Alvy Singer's Therapist: How often do you sleep together?
Annie Hall's Therapist: Do you have sex often?
Alvy Singer: [lamenting] Hardly ever. Maybe three times a week.
Annie Hall: [annoyed] Constantly. I'd say three times a week.
[On Pam being a Rosicrucian]
Alvy Singer: I can't get with any religion that advertises in Popular Mechanics.
Alvy Singer: Oh my God, she's right. Why did I turn off Allison Portchnik? She was beautiful, she was willing. She was real intelligent. Is it the old Groucho Marx joke that I'm – I just don't want to belong to any club that would have someone like me for a member?
Alvy Singer: Hey, Harvard makes mistakes too! Kissinger taught there!
Alvy Singer: I feel that life is divided into the horrible and the miserable. That's the two categories. The horrible are like, I don't know, terminal cases, you know, and blind people, crippled. I don't know how they get through life. It's amazing to me. And the miserable is everyone else. So you should be thankful that you're miserable, because that's very lucky, to be miserable.
Doctor in Brooklyn: Why are you depressed, Alvy?
Alvy's Mom: Tell Dr. Flicker.
[Young Alvy sits, his head down – his mother answers for him]
Alvy's Mom: It's something he read.
Doctor in Brooklyn: Something he read, huh?
Alvy at 9: [his head still down] The universe is expanding.
Doctor in Brooklyn: The universe is expanding?
Alvy at 9: Well, the universe is everything, and if it's expanding, someday it will break apart and that would be the end of everything!
Alvy's Mom: What is that your business?
[she turns back to the doctor]
Alvy's Mom: He stopped doing his homework!
Alvy at 9: What's the point?
Alvy's Mom: What has the universe got to do with it? You're here in Brooklyn! Brooklyn is not expanding!
Doctor in Brooklyn: It won't be expanding for billions of years yet, Alvy. And we've gotta try to enjoy ourselves while we're here!
Pam: The only word for this is transplendent… it's transplendent!
Alvy Singer: [the man behind him in line is talking loudly] What I wouldn't give for a large sock with horse manure in it!
Alvy Singer: [to audience] Whaddya do when you get stuck in a movie line with a guy like this behind you?
Man in Theatre Line: Wait a minute, why can't I give my opinion? It's a free country!
Alvy Singer: He can give it… do you have to give it so loud? I mean, aren't you ashamed to pontificate like that? And the funny part of it is, Marshall McLuhan, you don't know anything about Marshall McLuhan!
Man in Theatre Line: Oh, really? Well, it just so happens I teach a class at Columbia called "TV, Media and Culture." So I think my insights into Mr. McLuhan, well, have a great deal of validity!
Alvy Singer: Oh, do ya? Well, that's funny, because I happen to have Mr. McLuhan right here, so, so, yeah, just let me…
[pulls McLuhan out from behind a nearby poster]
Alvy Singer: come over here for a second… tell him!
Marshall McLuhan: I heard what you were saying! You know nothing of my work! You mean my whole fallacy is wrong. How you got to teach a course in anything is totally amazing!
Alvy Singer: Boy, if life were only like this!
Alvy Singer: Sylvia Plath – interesting poetess whose tragic suicide was misinterpreted as romantic by the college girl mentality.
Alvy Singer: Hey listen, gimme a kiss.
Annie Hall: Really?
Alvy Singer: Yeah, why not, because we're just gonna go home later, right, and then there's gonna be all that tension, we've never kissed before and I'll never know when to make the right move or anything. So we'll kiss now and get it over with, and then we'll go eat. We'll digest our food better.
— imdb
check out A Night at the Movies cinebuff.wordpress.com


text:
Additive Logistic Regression: a Statistical View of Boosting
by Jerome Friedman, Trevor Hastie, Robert Tibshirani - Annals of Statistics , 1998
"... Boosting (Freund & Schapire 1996, Schapire & Singer 1998) is one of the most important recent developments in classification methodology. The performance of many classification algorithms can often be dramatically improved by sequentially applying them to reweighted versions of the input dat ..."
data, and taking a weighted majority vote of the sequence of classifiers thereby produced. We show that this seemingly mysterious phenomenon can be understood in terms of well known statistical principles, namely additive modeling and maximum likelihood. For the two-class problem, boosting can
Improving Direct-Mapped Cache Performance by the Addition of a Small Fully-Associative Cache and Prefetch Buffers
by Norman P. Jouppi , 1990
Fast Folding and Comparison of RNA Secondary Structures (The Vienna RNA Package)
by Ivo L. Hofacker, Walter Fontana, Peter F. Stadler, L. Sebastian Bonhoeffer, Manfred Tacker, Peter Schuster
"... Computer codes for computation and comparison of RNA secondary structures, the Vienna RNA package, are presented, that are based on dynamic programming algorithms and aim at predictions of structures with minimum free energies as well as at computations of the equilibrium partition functions and bas ..."
and base pairing probabilities. An efficient heuristic for the inverse folding problem of RNA is introduced. In addition we present compact and efficient programs for the comparison of RNA secondary structures based on tree editing and alignment. All computer codes are written in ANSI C. They include
Wattch: A Framework for Architectural-Level Power Analysis and Optimizations
by David Brooks, Vivek Tiwari, Margaret Martonosi - In Proceedings of the 27th Annual International Symposium on Computer Architecture , 2000
"... Power dissipation and thermal issues are increasingly significant in modern processors. As a result, it is crucial that power/performance tradeoffs be made more visible to chip architects and even compiler writers, in addition to circuit designers. Most existing power analysis tools achieve high ..."
Power dissipation and thermal issues are increasingly significant in modern processors. As a result, it is crucial that power/performance tradeoffs be made more visible to chip architects and even compiler writers, in addition to circuit designers. Most existing power analysis tools achieve
Greedy Function Approximation: A Gradient Boosting Machine
by Jerome H. Friedman - Annals of Statistics , 2000
"... Function approximation is viewed from the perspective of numerical optimization in function space, rather than parameter space. A connection is made between stagewise additive expansions and steepest{descent minimization. A general gradient{descent \boosting" paradigm is developed for additi ..."
Function approximation is viewed from the perspective of numerical optimization in function space, rather than parameter space. A connection is made between stagewise additive expansions and steepest{descent minimization. A general gradient{descent \boosting" paradigm is developed
Capacity of multi-antenna Gaussian channels
by I. Emre Telatar - EUROPEAN TRANSACTIONS ON TELECOMMUNICATIONS , 1999
"... We investigate the use of multiple transmitting and/or receiving antennas for single user communications over the additive Gaussian channel with and without fading. We derive formulas for the capacities and error exponents of such channels, and describe computational procedures to evaluate such form ..."
We investigate the use of multiple transmitting and/or receiving antennas for single user communications over the additive Gaussian channel with and without fading. We derive formulas for the capacities and error exponents of such channels, and describe computational procedures to evaluate
Integrating classification and association rule mining
by Bing Liu, Wynne Hsu, Yiming Ma - In Proc of KDD , 1998
"... Classification rule mining aims to discover a small set of rules in the database that forms an accurate classifier. Association rule mining finds all the rules existing in the database that satisfy some minimum support and minimum confidence constraints. For association rule mining, the target of di ..."
). An efficient algorithm is also given for building a classifier based on the set of discovered CARs. Experimental results show that the classifier built this way is, in general, more accurate than that produced by the state-of-the-art classification system C4.5. In addition, this integration helps to solve a
Ontologies: Silver Bullet for Knowledge Management and Electronic Commerce
by Dieter Fensel , 2007
"... Currently computers are changing from single isolated devices to entry points into a world wide network of information exchange and business transactions called the World Wide Web (WWW). Therefore support in the exchange of data, information, and knowledge exchange is becoming the key issue in cur ..."
Currently computers are changing from single isolated devices to entry points into a world wide network of information exchange and business transactions called the World Wide Web (WWW). Therefore support in the exchange of data, information, and knowledge exchange is becoming the key issue
Fuzzy extractors: How to generate strong keys from biometrics and other noisy data. Technical Report 2003/235, Cryptology ePrint archive, http://eprint.iacr.org, 2006. Previous version appeared at EUROCRYPT 2004
by Yevgeniy Dodis, Rafail Ostrovsky, Leonid Reyzin, Adam Smith - 34 [DRS07] [DS05] [EHMS00] [FJ01] Yevgeniy Dodis, Leonid Reyzin, and Adam , 2004
"... We provide formal definitions and efficient secure techniques for • turning noisy information into keys usable for any cryptographic application, and, in particular, • reliably and securely authenticating biometric data. Our techniques apply not just to biometric information, but to any keying mater ..."
material that, unlike traditional cryptographic keys, is (1) not reproducible precisely and (2) not distributed uniformly. We propose two primitives: a fuzzy extractor reliably extracts nearly uniform randomness R from its input; the extraction is error-tolerant in the sense that R will be the same even
UPPAAL in a Nutshell
by Kim G. Larsen, Paul Pettersson, Wang Yi , 1997
"... . This paper presents the overall structure, the design criteria, and the main features of the tool box Uppaal. It gives a detailed user guide which describes how to use the various tools of Uppaal version 2.02 to construct abstract models of a real-time system, to simulate its dynamical behavior, ..."
. This paper presents the overall structure, the design criteria, and the main features of the tool box Uppaal. It gives a detailed user guide which describes how to use the various tools of Uppaal version 2.02 to construct abstract models of a real-time system, to simulate its dynamical behavior


ADK Global has appointed Richard Yu as its first Regional Chief Creative Officer to drive creative output of Greater China Network.
In this newly created role, Yu will be tasked with leading Greater China creative teams, preliminary starting from the cooperation between Shanghai office and Hong Kong office, bringing a refreshed creative proposition and stimulation to activate the teams and their clients to have more creative conversations, driving the creative output of Greater China office. Yu retains responsibility for the Taiwan office as his major responsibility, he will be based in Taipei and work closely with the current clients like 7-ELEVEN, Uni President, ACER, Infiniti, Hola, KYMCO and BOMY etc.
Yu has been chief creative officer of ADK TAIWAN since 2012. He has created many successfully popular campaigns, leading ADK TAIWAN to win more than 700 local and international awards over the past seven years, including Cannes Gold Lions and Silver Lions, D&AD pencil, The One Show, CLIO, LIA Agency of Year Black Statue, Spikes Asia Grand Prix, two One Show Greater China Agency of Year awards and thrice LongXi Creative Awards Grand Prix.
Yu holds the record for most international award wins among the Taiwan industry. And he is also a frequent awards judge invited for many of prestigious international competitions mentioned above.
A highly-regarded veteran of the industry with over 25 years of experience, Yu's work has been recognized consistently throughout the course of his career. In 2016, Richard was named as "Greater China Creative of the Year" by Campaign Asia-Pacific AOY Award and has been named in the TOP 20 of Asia's Most Awarded Creative Leaders in the Campaign Brief Asia Creative Rankings for three years straight (2016-2018).
ADK Global CEO Yasuyuki Katagi said: "ADK is now in the process of raising its creativity in all the Asian markets. Richard has made ADK Taiwan the most respected creative agency in its market, and with his new role, I am sure that he will accelerate the process of bring up all the offices in the Greater China region to the highest level".


Why does it matter to conservation decision-making if alternative Qualitative Modelling methods produce contradictory predictions?
Previously, I have written about how the probabilistic approach to Qualitative Modelling (QM) (e.g. Raymond et al. 2011) can lead to contradictory predictions of species response to a management intervention, and how this is similar to the paradoxes of the Principle of Indifference that we find in the philosophy literature. A reviewer of our new manuscript (Kristensen et al. 2019) asked us an interesting and … Continue reading Why does it matter to conservation decision-making if alternative Qualitative Modelling methods produce contradictory predictions?


Add your unique wording to our pre-designed sign.
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Teamsters Local 213 is a Union representing the training membership through out BC and the Yukon. With over nine thousand members across BC and the Yukon there are very few communities Teamsters 213 have not had a presence in. With the Teamsters 213 Joint Training Schools mobile simulator and training center we are able to bring the experience of being or becoming a Teamster right to your community.


People who favor tenant rights recently won a small victory in Menlo Park when the City Council on June 19 unanimously and without discussion approved a policy that prohibits landlords of properties with three or more housing units from discriminating against renters based on their source of income, including whether they receive rent subsidies.
According to Clay Curtin, interim housing and economic development manager, the matter was largely a housekeeping item intended to modernize the city's housing laws to align with other cities.
"It just clarifies things so that our ordinance is updated and aligned with what other cities have done," Curtin said.
According to staff reports, people most likely to be affected by this policy are those who hold rental assistance vouchers and are looking for housing in Menlo Park.
The designated rental assistance program in San Mateo County is called "Moving to Work," which operates as a five-year "self-sufficiency" program, said Inga Godin, housing program specialist with the county Housing Authority. Under the program, a tenant with a voucher pays 30 percent of his or her income to the landlord, and the Housing Authority subsidizes the rest of the rent.
According to Menlo Park city staff, there are about 4,300 low-income families in the county who have Section 8 vouchers, or federally funded subsidies to cover the cost of qualifying households' rent beyond the first 30 percent.
The county's waitlist is thousands deep, so the housing authority selects participants for the program by lottery, according to Godin.
People winning vouchers must then find a landlord willing to participate in the program, and have180 days to do so. While that period sounds like a lot given the conditions, Godin said, voucher holders are "quite often" unable to find willing landlords.
In a region teeming with six-figure-earning prospective tenants champing at the bit for a place to live, it has been a major challenge to find landlords willing to house lower-income people, she said. For the past three years or so, the county housing authority has even offered financial incentives — such as $1,000 bonuses to new participating landlords — to sweeten the deal for landlords.
Even so, she said, "Roughly half (of the voucher holders) are not going to find anything. It is pretty sad."
Landlords who participate in the voucher program retain their rights based on whatever city they're in, she added. Which means, in most places in the county, they can evict a tenant at any time with 90 days' notice and increase rent as much or as often as they want, she said.
While Menlo Park's ordinance will not expressly force qualifying landlords to participate in the voucher program, it could lay the groundwork for a voucher holder to bring a legal case forward if he or she feels discriminated against because he or she is a voucher holder.
In other words, the policy could enable legal services organizations to sue a landlord on behalf of a tenant, Housing Commissioner Karen Grove pointed out in May when the Housing Commission deliberated on the matter. The commission recommended the council approve it on a 6-0-1 vote on May 9.
A violation of the ordinance would be considered a misdemeanor, punishable with fines up to $1,000 or six months in county jail.


text:
Homenewsbundesliga who will secure a top four finish
Bundesliga Odds: Who Will Secure a Top Four Finish After Matchday 26?
The Bundesliga Top Four
The Champions League is a highly prestigious competition where only the most elite teams in Europe's leagues play. A place in Europe's biggest competition can have a massive financial influence on some clubs and can also determine the quality of players a club attracts.
This season, the Bundesliga race for a place in a Champions League spot has been a great battle between the top six sides, as even Bayern Munich have had a period in fourth place this season.
Now, the 2019/20 season is fast approaching its end and German top-flight sides are battling it out for the highly contested fourth place. We take a deeper look at who will most likely finish in the top four and earn themselves a place in the Champions League next season.
RB Leipzig still the favourites
Unsurprisingly, RB Leipzig have been rated by Paddy Power as a favourite to finish in the top four with odds of 1/50, while Dortmund have been almost guaranteed a Champions League spot with odds of 1/200.
Currently sitting in fourth place after only managing a draw with seventh place SC Freiburg recently, Leipzig are very likely going to secure a top four place for a third consecutive season, this year.
Julian Nagelsmann's side have amassed a 51-point total, and have even managed to hold a place at the top of the Bundesliga for a period this season. A difficult run of games against the German top six sides saw them drop points, however, taking them from a title race to a battle for top four.
Although, Die Rotten Bullen will take comfort in the fact their star striker, Timo Werner, is in the best form of his life this season, scoring 21 goals in 26 games thus far, already equalling his best ever tally with eight games still to play.
The German forward's goals have contributed to his side having scored the third-highest number of league goals this season and will likely continue to add to his tally and break his personal league record.
With relatively straightforward fixtures remaining for Leipzig, including six lower half the table sides and the exception of Borussia Dortmund, fans of the German side will be confident that Werner and his side can take them to a European spot once again this season.
Gladbach have work to do.
Despite currently sitting in third place, Borussia Monchengladbach Paddy Power have given them better odds than fourth place Leipzig, with odds of 1/3.
The German giants are en route for their first Champions League spot finish since the 2015/16 season, acquiring 52 points from their 26 games so far.
Now sitting five points ahead of fifth-place Bayer Leverkusen, Marco Rose's men are in a good position to hold their position in the top four after comfortably beating Eintracht Frankfurt, 3-1, in their last fixture.
Among their ranks, one to watch out for is young French forward, Marcos Thuram - the son of FIFA World Cup winner, Lilian Thuram. The 22-year-old is the Gladbach top scorer this season with 11 goals and will surely continue to be a danger to defences with the help of his fellow French teammate, Alassane Plea – who has netted nine times this season.
Fans of Die Borussen will be hopeful their star-men and manager, Rose, will be successful in securing a Champions League spot and will be confident in their sides most recent run of games, however, with first-place Munich and top four challengers Leverkusen still in their remaining fixture list, Monchengladbach will need to ensure they secure as many points as possible from their lesser fixtures if they are to secure a top-four finish.
Odds are against Leverkusen
Paddy Power have given Bayer Leverkusen an outsiders chance to qualify for the Champions League in a top position, with odds of 11/8.
Leverkusen are currently in fifth position behind Leipzig and Monchengladbach and are perhaps the most unlikely of the three to finish in a top four place, when considering their remaining fixtures. Die Werkself still has to play five of the top nine teams, with three of those sides currently in the top six.
Perhaps the most important of these remaining fixtures will be their matchup with third place Gladbach, as a win would see them within touching distance of a highly sought after position among the Bundesliga top four.
Peter Bosz, manager Leverkusen, will be looking at his players to keep the pressure on the likes of Leipzig and Gladbach in order to provide their fans with the opportunity of Champions League football next season and attaining a place in the top four for a second season in a row.
Bosz will be looking for his young talisman, Kai Havertz, to provide his side with the edge they will need to compete for their goals as he has done for a large part of the season.
The 20-year-old has been one of the league's most impressive talents this season, scoring six and assisting five for Leverkusen, and both his manager and fans will be looking for the young talent to help his side to a Champions League finish before his highly anticipated move to one of Europe's elite sides.
By Bradley Beecham
"When they're playing in your town, get yourself to that football ground, take a lesson, come and see, football taught by Matt Busby," as so is screamed from the bottom of the lung......


text:
HomeNewsEuropeBosnian film 'Quo Vadis, Aida?' wins top prize at European Film Awards
NewsEurope
Bosnian film 'Quo Vadis, Aida?' wins top prize at European Film Awards
By euronews
The 34th European Film Awards were held in Berlin on Saturday. Bosnian film "Quo Vadis, Aida?" was the ceremony's big winner taking home the best film and best director awards.
READ MORE : https://www.euronews.com/2021/12/12/bosnian-film-quo-vadis-aida-wins-top-prize-at-european-film-awards
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Top news stories today | January 21st – Evening
euronews - January 21, 2022
Germany: Traffic light govt announces results of first closed session in Berlin
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