Longest day of the year was Monday, and here in Portland, Oregon that means it's not full dark until about 10:30 p.m. I was in Fairbanks, Alaska one summer when it was still light at 11:30, but what we have here is still a long day, since it gets light at about 5 in the morning.
The chart shows sunrise to sunset, but of course it gets light earlier and stays light quite a while after sun sets. It feels strange to look out the window at 10 at night and think it must be about dinner time, when said dinner was consumed about four hours ago.
How long is your longest day of the year?
Pretty long too. And it gets light too early. The light streams in the bedroom windows that are too high for us to reach (ten or twelve feet). Need to get a handyman to put some sort of filter on it.
Patti, we have blinds on our tall landing wIndows with a remote control. We can raise or lower one or both with the push of a button. Battery operated so no wiring required. You can get powered blinds in any style.
Pretty long. It doesn't get dark here until nearly 8 now.
8 makes sense, 10:30 doesn't. But we've gotten used to it.
We're in the 14 hour band (southern Louisiana). I usually let the dog out for a final run at about 8:00–and it's still light when I open the back door, but by the time I call her back in about 8:30-ish, it's dark. I'm always awake early, so it's generally still dark regardless of season.
We're early risers too, Deb, mostly because at first light one of the cats jumps on the bed and walks up and down on Barbara until she gets up and feeds the beasts. Luckily I'm usually able to turn over and get another hour, during which time she reads the paper and has her coffee.
We're in the 15-hour of light zone. When it's still light at 9 P.M. it feels weird.
Our sunset is just after 8:30 but, as you said, it is light later than that.
One year we left for England as soon as school ended here in late June. By early July we were in Edinburgh, some 500 miles north of London. (An aside – I think people think New York and London are on the same latitude. They aren't. We're at 41 degrees north, London is at 50. You could look it up.) In early July it was still light out in Scotland at 10:30 at night. We had to make sure the hotel curtains were tightly closed if we wanted to be able to sleep.
In was pretty cool, actually. The sun setting at 4:30 is one of the worst aspects of winter. I can't even imagine living in Alaska or Scandinavia. No wonder there are so many suicides there.
Oh, it is light by 5 or 5:30 now. The sun definitely bothers Jackie in the morning. When it is hot enough to need the air conditioner at night we can lower the blinds, but I prefer open windows and the fans. I'm up early too.
Richard, I don't think we have the "longest day of the year" in the tropics. We have mostly regular days and nights.
My longest day was Sunday, when I spent almost 6 hours making a drive that should have been 3 1/2, tops.
Ha! Traffic must have been fierce.


text:
Contemporary Asian Art
PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION
SERIES 1, NO. 4
Premium Lots
In order to bid on "Premium Lots" you must complete the required Premium Lot preregistration application and deliver to Sotheby's such necessary financial references, guarantees, deposits and/ or such other security as Sotheby's may in its absolute discretion require, as security for your bid. Sotheby's decision whether to accept any pre-registration application shall be final. We recommend you contact Sotheby's at least 3 working days prior to the relevant sale in order to process the pre-registration, and please bear in mind that we are unable to obtain financial references over weekends or public holidays. If all lots in the catalogue are "Premium Lots", a Special Notice will be included to this effect and the paddle symbol will not be used.
10,000,000 — 15,000,000
LOT SOLD.	17,440,000 HKD
05 April 2013 | 6:30 PM HKT
Jonathan Wong
Gallery Director
jonathan.wong@sothebys.com
executed in 1990-1991, framed
100 by 100 cm.; 39⅜ by 39⅜ in.
Private Collection, Europe
Fang Lijun, Hunan Fine Arts Publishing House, China, 2001, pp. 80-81
Collected Edition of Chinese Oil Painters: Volume Of Fang Lijun, Sichuan Fine Arts Publishing House, China, 2006, p. 42
Chinese Artists Of Today: Fang Lijun, Hebei Education Press, China, 2006, p. 90
Fang Lijun, Arario Gallery, New York, USA, 2009, p. 11
Live Like a Wild Dog: 1963-2008, Archival Documentation of Fang Lijun, Vision Art, Taipei, Taiwan, 2009, p. 212
Fang Lijun, Culture And Art Publishing House, Beijing, China, 2010, p. 224
Fang Lijun, The Precipice Over the Clouds, Edizioni Charta, Milano, Italy, 2012, p. 143
The Origin of Cynical Realism
The works of Fang Lijun—with their mischievous and nonchalant bald figures, ambiguously suggestive gestures, and absurd and unrealistic spaces—profoundly express the Chinese mentality in the 1990's and place him among the foremost representatives of Cynical Realism. The disillusionment of ideals in the 1980's led to a generational shift in mindset: people refused to reveal their opinions, to be concerned with anything, or to probe any important questions, and felt nothing but helplessness towards reality. In contrast to the confrontational criticality of the '85 New Wave, Fang Lijun prefers to use his self-satirizing bald personas as a means of transcendence. Such an attitude is not difficult to understand: following the economic reforms, China experienced rapid urbanisation and marketisation, and Fang's self-satires reflect perfectly the helplessness felt by those marginalised in this new environment. Series One, No.4 (Lot 879), created during 1990-91, was one of Fang's very first serial oil paintings and also one of the first to feature bald figures as a theme. It is invaluable in helping us to understand Fang Lijun, who has influenced an entire generation of Chinese artists.
The early 90's were a period of extreme hardship for Fang. On the one hand, as a fresh university graduate he was suddenly thrust into the unfamiliar "real world," with its attendant financial and other practical pressures. On the other hand, although he had earned recognition inside and outside China for his three sketches of bald figures at the 1989 "China/Avant-Garde Art Exhibition", he also became alarmed and worried about his weak foundation as an artist. There are two main reasons that attribute to this sense of doubt.1 Although his sketches had found a sympathetic audience, how was he to develop them into a substantive and compelling artistic idiom? How would he create largescale series of oil paintings based on these sketches? These were the questions on Fang's mind in 1990-91.
Thereupon Fang devised a plan for himself. The first subjects he thought of were bald heads and water, but as a young artist without a clearly recognisable personal style, he had to decide between the two, "After making many sketches, I felt that I had a firm grasp of the inner meanings. Now I needed a presentation that would attract attention. So I could only choose the bald head because it was a striking image… For me, its importance lay in canceling the idea of the individual and bringing forth instead that of the collective, which I thought would be more effective."2 Evidently, the bald head had a stronger impact and was also more suited to Fang's interest in self-consciousness at the time. In 1990, he embarked on serial oil paintings. Aside from his sketches of bald heads, he also took as creative material everyday photographs of his good friend Yu Tianhong and others. Moreover, before producing the group of seven oil paintings in Series One in 1990-91, Fang had done a lot of preparatory work in the form of sketches entitled Series Two in early 1990. Series One to some extent retains elements of this transition between media: despite being oil paintings, they are completely in black and white, devoid of chromatic relations and endowed with the flatness of a sketch. Moreover, monochrome matched Fang's mental state at the time. In Series One, No.4, Fang depicts two bald men in the foreground and background. Rendered in black and white, their faces appear identical, and yet it is difficult to know exactly what their relationship is. These bored, uninterested, and mischievous figures become a pointed satire of life. The individual is submerged into the collective and appears to lose existential meaning. Fang Lijun places these two uninspiring figures by the ocean, which reminds us that water was a perennial preoccupation for him even before he began to thematise it explicitly. The air of cold nonchalance thus engendered has been described by the critic Fu Lan as "pervasive loneliness and chronic outcast-ness."3
Series One was the earnest beginning of Fang's creative career, and 1990-91 was an important period when he became completely devoted to his art. In March, 1991, Fang and his good friend Liu Wei showed works for the first time in a private Beijing residence. In April of the following year, the two exhibited together again in "The Paintings of Fang Lijun and Liu Ye" at the Capital Museum. As representative works, the Series One paintings were included in the latter exhibition, and it was from the aesthetic of Series One and other works that the critic Li Xianting identified "Cynical Realism" as a general stylistic characteristic, which would prove profoundly consequential in 1990's and for which Fang is widely regarded as a major representative. As Fang's subsequent career attests, the experience of the early 90's proved immensely beneficial to him, and indeed reversed his ill fortunes fundamentally. From 1992 onwards, he would never suffer any more economic hardship, and his reputation both in China and abroad would reach unprecedented heights. The most significant outcome of the early 1990's, however, remains the development and accumulation of Fang's creative powers. Throughout the decade, his artistic idiom would unfold entirely around the two elements of bald heads and water, endlessly gaining in nuance while remaining anchored in them. Series One is a window Fang Lijun made for himself. Through it he would explore a wider and richer world.
1 Fang Lijun has said, "The 1989 exhibition was formational for me, because that was a start. That was a time when many people said they wanted to go to your studio to look at more works… At the time I already knew that I needed to accumulate. Otherwise opportunities would go wasted." Xiansuo, ed. by Shu Kewen, White Space Beijing, September 2005 edition, quoted in Chronology of Fang Lijun, Culture and Art
Publishing House, 2010, p. 200
2 Pi Li, "A Conversation with Fang Lijun," Meishujia, January 2003, vol 1
3 Fu Lan, "The Oil Paintings of Fang Lijun and Liu Ye," 1992. Reprinted in Chronology of Fang Lijun, Culture and Art Publishing House, 2010, p. 233
Estimate 10,000,000 — 15,000,000
This work is generally in good condition. Having examined the work under ultraviolet light, there appears to be no evidence of restoration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

redpajama_set_name: RedPajamaCommonCrawl


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Celebrate our 50th episode with an epic countdown of the best board games ever made! Special guests include Stronghold Games President Stephen Buonocore, Donald from Board with Life, and many more!
Four reviews today of some of the last board games released this year. Join Hilary, Tom, and Chris for reviews of Terraforming Mars, Blood of an Englishman, Colony, and Star Wars Destiny!


The Atlantic Wire- Teenagers really are over Facebook. In February the social network warned investors that "our younger users ... are aware of and actively engaging with other products and services similar to, or as a substitute for, Facebook." And in April the investment bank Piper Jaffray reported that products and services like Tumblr and Twitter were further eroding Facebook's dominance among the Justin Bieber set. But why? In a deep report published on Tuesday, Pew Research explains that teenagers departing the social network's blue confines are looking for something more... real. More authentic. Which, ironically, was the initial draw of Facebook, one of the first social networks to require real names.


After a bit of a two-story blip we arrive at a rather fine little story in Mummy on the Orient Express. Clara is still - unfairly - upset at the Doctor after the events of Kill the Moon and this trip is supposed to be a final hurrah for their relationship. although I was never entirely convinced that this is what was going to happen.
They arrive, both dressed rather beautifully, on the Orient Express...IN SPACE. Clara looks amazing in what looks to me - a fashion expert obviously - an art deco influenced 1920s dress. Meanwhile, the Doctor seems to have dug his suit out from The Gunfighters. They look great together and separately. Initially, this story looked like it might get a bit hung up on the relationship stuff, but it shook that off darn quickly when a killer Mummy - known as the Foretold - pops up and starts murdering people in a very time specific 66 seconds.
There's a mystery to solve and friendship issues or not the Doctor is going to solve it. Capaldi is majestic in this: sweet, arrogant, sad, angry and clever. Often at the same time. His focus on solving this mystery to the extent that he is trying to get information out of people as they are dying annoys Clara. Again.
She almost loses her temper with the Doctor when he seems to make her an accomplice to the impending death of the rather confused and upset Maisie (Daisy Beaumont) but the Doctor has a plan. Of course. The thing is, with Capaldi's Doctor, his focus on saving people is broader than trying to save everyone. The Twelfth Doctor knows he needs information to stop the Foretold and that information is only going to come as and when the Foretold pops up to kill another person. What he's trying to do is make sure that the number of people that must die before he has the answers is minimal. It's a terrible thing to have to do but it is the only way to win. As the Doctor himself says, 'Sometimes the only choices you have are bad ones, but you still have to make a choice.' The Twelfth Doctor isn't heartless but he can be ruthless.
I think my favourite performance though is Frank Skinner as Perkins, the Chief Engineer. Skinner is, I have discovered something of a massive Doctor Who geek. I was a bit concerned because I wasn't sure Skinner could act but he does an excellent job with Perkins who is cool, calm and collected most of the time. Indeed, the Doctor likes him enough to offer him a role about the TARDIS, which Perkins turns down. Perkins has seen enough, from this one story, of how the Doctor's lifestyle can 'change a man.' But I'd be happy to see more of Perkins at some future point.
There's some fine writing here from Jamie Mathieson, but I think the almost final scene of the story when the Doctor and Clara talk about why she is asleep on a beach is brilliant. It pokes at the issues Clara's been having with the Doctor and the Doctor refuses to make it easy for her. It's well-played by both Jenna Coleman and Peter Capaldi. As is the final scene in the TARDIS where Clara seems to have decided that she was just suffering from a 'wobble'.
The discussion about whether what the Doctor does - making life or death decisions - is an addiction is lovely writing. Then Clara's call with Danny and her decision to 'stay' with the Doctor is done beautifully. I can't be the only one that thinks Clara's 'I love you' to Danny is aimed at the Doctor. Or perhaps I am.
Oh, and I applaud Capaldi's conversation with himself (as the Fourth Doctor) and the jelly babies in the cigarette holder. Both of which were nice little nods without being unnecessary fanwank.
So, all in all, this was a rather lovely story. And as a result, I'm struggling to find something interesting to say. It is so much easier to write about stuff you didn't like because you can get your teeth into the bits that irritated you and shake them about. But when it is good stuff it is much harder, especially consistently good stuff.
I mean what more can I say about the chemistry between Capaldi and Coleman or the brilliance of their acting when so much can be conveyed in a smile or a look - such as the joyful grin The Doctor gives when he realises Clara's serious about getting back out there in amongst the universe. It's a joy to watch.
I had a bad night last night. A night of self-doubt and - I suppose - fear. It wasn't good, but it is amazing the effect some good Doctor Who can have on my spirits. Perhaps I shouldn't be so emotional dependant on a television series for which I am no longer the target market. Perhaps I should be just a little bit more grown-up. But sometimes being a grown-up is hard work. Sometimes it is lonely and difficult. Sometimes you don't want to be grown-up for a little bit. You just want to put all your fears and worries to the back of your tired brain and have some fun. That was how I felt after I'd watched Mummy on the Orient Express and you can't ask much more than that from forty-five minutes of television.


TAMA has represented New Zealand's tractor and farm-related machinery industry since 1949. Our strength lies in taking a unified stand for our members on industry issues – ensuring all members' voices are heard.
We exist solely to provide value to our members and to support them in addressing challenges and progressing opportunities.
We maintain close relationship with a wide number of relevant organisations, including government departments, national bodies and sector groups. We lobby on our members' behalf whenever needed – for instance on the Health & Safety Reform Bill.
We promote the importance of the industry, including to the media and to young people to help ensure a strong apprentice pipeline. We collect and distribute data on tractor and machinery sales to give members' market intelligence and allow better inventory management.
Our annual subscription fees are based on a member's annual turnover.


Philipp-Julian Ruf studied Hospitality Management at Hotelschool The Hague and graduated in 2015 with a bachelor's degree in Business Administration. Before his studies he completed an apprenticeship as a Restaurant Expert. Furthermore, he has gained practical experience during internships at Hospitality consultancy companies as well as student assistant positions. Currently he he is doing his Ph.D., after finishing his master's degree in Entrepreneurship and SME Management at the University of Siegen with distinction in October 2017. Furthermore he is a graduate research assistant at the SME Graduate School and working for the Chair of Entrepreneurship, Family Business and Business Succession of the University of Siegen. His research is focused on strategic management, Family Businesses, SMEs and their apparent competitive advantage.


We are writing to you to inquire about a complaint/claim (835192) we registered with your department. On the 27 August 2013 we received an email from you (see above) stating that we would be contacted by the department of Anti Social Behaviour Unit within ten working days.
That time period of ten working days has now expired yet we have not been contacted. We would respectfully appreciate an update in regards to our complaint to establish it's current status together with an explanation of the delay in contacting us. Also, would you be able to provide the Triangle Website with the contact details of the head of the Anti Social Behaviour Unit that is dealing with our case.
Thank you for your time and consideration, we look forward to your response.
Would you be able to provide the Triangle Website with the contact details of the head of the Anti Social Behaviour Unit that is dealing with our case?
We are writing to you/your department to inquire about a complaint/claim (835192) we registered with your department, the end of another working week is almost upon us, yet we have not received any correspondence from the anti-social behaviour unit in regards to our complaint.
Thank you for your response, and your explanation of the delay in replying. Your reply has highlighted several other issues and we would appreciate the opportunity to question those issues.
We do not comprehend your reasoning about "not falling within a remit"
While we have to respect your ruling, we find it difficult to comprehend your decision, especially as you have not had the opportunity to examine the full extent of our complaint.
Would it be possible for you to expand upon the context of the enquirers you made with internal colleagues of Liverpool City Council?
What role, if any, did their input have upon your decision?
Thank you for your help, advice and we look forward to your response to our questions.
Thank you for your help and advice, we look forward to receiving the answers to the six questions we have asked of you.


text:
Look for the * for today's advice.
Henry Kissinger 1923
https://www.henryakissinger.com/
But unlike his fellow Republicans of the Cold War era—dull and practical men of business, blissfully unaware of what the prestigious intellectual journals of opinion had to say about them—Kissinger has always been painfully conscious of the degree to which he is loathed.
http://www.theatlantic.com/magazine/archive/2013/05/the-statesman/309283/
*Be aware of what people think of you. Don't care but be aware.
Andre 3000 1975
http://www.complex.com/music/andre-3000-tretorn-profile
Andre 3000's diet includes a lot of fruits, vegetables, legumes, and grains. An example of his diet plan for a day includes the following:
Breakfast: ¾ cup whole grain cereal and soy or rice milk with ¾ cup of fruit of your choice or 1 cup of Toasted Apple cinnamon cereal and almond milk (recipes in Thrive) with ½ cup fruit of your choice.
Lunch: Vega fruit dip (slices of apple, banana, orange) 1/3 serving Natural Vega, 1/3 serving Chocolate Vega Whole Food Health Optimizer, ½ tbsp hemp seeds. Mix Vega and hemp seeds together, dip fruit in and eat.
Snack:3 fresh dates with hemp butter or 1 65 gram Rejuvenator Brownie (recipe in Thrive).
Dinner: 3 cup mixed greens, with ½ cup broccoli, ¼ chick peas, ¼ avocado and ½ tbsp hemp oil mixed with 1 tbsp balsamic vinegar (or ginger papaya salad dressing, recipe in Thrive).and dulse strips.
Snack: 1 apple, 1/3 serving of Vega with ½ cup cold water.
http://www.outkast.com/
*Follow this eating plan today. Watch Outkast videos for motivation. This would be a good daily plan to follow throughout the year. The trick is to find all of these foods.
Rachel Carson 1907
http://www.rachelcarson.org/
Then there's a cartoon from the 1960s, portraying a praying mantis with its front legs folded up, praying, saying "God bless momma and poppa…and Rachel Carson!"
https://anthonyuu.wordpress.com/2016/01/10/the-prophetic-environmentalism-of-rachel-carson/
*Rachel Carson may have saved more souls than anyone. You don't need to be a religious leader to save souls. You can save some today, if you'd like.
Cornelius Vanderbilt 1794
https://www.history.com/topics/cornelius-vanderbilt
With $100 borrowed from his parents, Cornelius Vanderbilt purchased a periauger (a flat-bottomed sailing barge) and began a ferry service between Staten Island and Manhattan.
At the time of his death in 1877, the Commodore was worth $105 million, a larger sum than in the United States Treasury at the time.
https://www.nps.gov/nr/twhp/wwwlps/lessons/78vanderbilt/78facts1.htm
*If you haven't started your business yet, take $100 (borrowed from your parents, if need be) and use it to start your business. Even if it is securing a domain name – anything to get the ship moving.
Christopher Lee 1922 – watch Count Dracula
https://www.amazon.com/Count-Dracula-Christopher-Lee/dp/B017AL1VNQ
Christopher Frank Carandini Mothafuckin' Lee WAS Dracula. He played the bloodsucking impaling-happy non-sparkling Wallachian Count in the most perfect Dracula movie ever made, Horror of Dracula, then reprised the role in seven sequels over the next 15 years – giving an entire generation of humanity nightmares for life, coating himself in a swimming pools worth of fake movie blood, and somehow managing to constantly surround himself with ridiculous concentrations of hot babes with twin puncture wounds on the sides of their necks and borderline-pornographic amounts of blood-stained cleavage.
He's also a 6'5″ tall world champion fencer, speaks six languages, does all of his own stunts, has participated in more on-screen sword fights than any actor in history, served for five years defending democracy from global fascism as a British Commando blowing the shit out of Nazi asses in World War II, and became the oldest person to ever record lead vocals on a heavy metal track when, at the age of 88, he wrote, performed on, and released a progressive symphonic power metal EP about the life of Charlemagne (because why the fuck not?).
http://www.badassoftheweek.com/christopherlee.html
*Watch the very impressive Christopher Lee as Count Dracula – Halloween is only 5 months away.
Jamie Oliver 1975 – Christmas Carbonara
https://www.jamieoliver.com/
https://twitter.com/jamieoliver?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor
JAMIE'S COMMUNITY COOKING PROGRAMME
An evidence-based, hands-on cooking programme that teaches people of all ages to cook from scratch. We work with partners across the UK who inspire thousands of people to improve their health, through making better food choices every year.
https://www.jamiesministryoffood.com/
http://www.jamieoliver.com/recipes/pasta-recipes/christmas-carbonara/#QxqyolQrgcE1T37k.97
*Listen to Outkast while making Jamie Oliver's Christmas Carbonara. This flies in the face of Andre 3000's meal plan for today, but Christmas is less than 7 months away.
SNUB – Vincent Price
Don't care, but be aware of what people think of you
Eat like Andre 3000
Save souls
Invest $100 in your business
Watch Count Dracula
Make Christmas Carbonara
Posted on May 27, 2019 May 1, 2019 Author Travis Jones


In this page you can find all the knives from the Creative Chef range! These professional kitchen knives are made in France by the renowned brand Fischer-Bargoin. Their blades are made of stainless steel, and their ergonomic handles are made of polypropylene. To prevent cross food contamination, these knives are available in different coulours (red, blue, white, green...), which makes them easy to spot and differentiate in busy kitchens. They meet the hygiene standars of the HACCP regulations, and that is a great advantage in professional environments. Do not hesitate anymore and equip your kitchen with the ergonomic, effective, and durable Creative Chef knives!


Teacher can also set design restrains on the total weight or the total cost of the materials each design uses. A decent hypothesis or prediction one could develop before any experimental trials would be as follows. You have to have a structure that will absorb the impact of the fall without putting it into the egg. They then took their contraptions outside to test them out. If not careful, they all can be time consuming in general.
Stake the sheet at least 1 foot 30. The students discussed why certain contraptions did or did not work. First, I made a grid by using the rubber bands, I then hot glued the cut up skewers on the outside of the box. Tie the egg in place using rubber bands. Sarah Meem began writing in 2007. When you drop the egg, make sure that it lands as close to the center of the sheet as possible. The basic idea is to design and build a container to hold a raw egg that can protect the egg from breaking when dropped from certain height.
An egg-drop project requires students to create containers that hold an egg without cracking if the container and egg are dropped from a certain height. After constructing their contraptions, the class examined all the other egg containers created. There are a variety of ways to conduct an egg drop. The managers are entrusted with a dual functionality of representing the staff members in front of management, and representing management in front of staff members. When building a house to be earthquake proof they have to do a lot of the same things with the structure of the house as we did with the structure of the project.
You must also explain— very clearly and specifically—how the application of each of these principles helped prevent breakage of the egg or its dropping straight down into the designated landing zone. An egg shatters when dropped on the ground because massive deceleration within a small distance creates a significant amount of force. Fill 4 small bags with puffed cereal too, then put all the bags into 1 large container. Labeled Diagram of a: Each should be on a separate page 2 points each, 6 points max Prokaryotic cells, Eukaryotic Plant Cell Eukaryotic Animal Cell 2. After the drop I realized my egg had not survived. Set the parameters of your egg drop and a deadline when your students must be ready to drop their eggs or go bust. So, of course the first material he went for was the pretty Washi tape.
When I did the egg drop experiment in 6th grade a long long time ago, I used a thick liquid to absorb a lot of the kinetic energy — peanut butter. We followed the order we had recorded on our sheet and I reminded the kids each time of what they had predicted before dropping. I have to say, when he started grabbing cups, and tubes, and boxes, I had no idea what he was thinking in his head. Place both bags into a large plastic bag with additional padding around the medium bag. He walked in an area directly below us so we could attempt to drop an egg. The only time the plastic bags were effective was the higher you dropped the egg because the plastic bags would act as parachute and cause more air resistance.
The structure that provides the longest duration of impact between the falling egg the ground will provide the desired results of an undamaged egg. Back to the drawing board. Here is how: With the regular print paper, cut two strips off the sheet as shown in the picture below. One year we set the materials allowed to. I have never written an essay in my life while I was living in India.
I was disappointed but it was a nice attempt to save my egg. Finally I taped the beer holder to my weighted pillow and it weighed around 490g. Catching the egg in a net of sorts can increase the deceleration time and reduce the overall force. Getting ready Secure the egg with cotton or bubble wrap. Attach a large plastic grocery bag to the top of the box using tape or a stapler.
Weigh down the bottom of your container. Dig two small holes in the sponge to put the eggs. The easiest way to do this is to use a stone and styrofoam cups. Results of the Egg Drop Experiment All-in-all, we tested 8 eggs and managed to save 3 of them. If you have not ever heard of , you are missing out! Requirements: - currently in school or planning to start school within the next 12 months - 250 word essay - deadline is December 31st c. The main item used to contain my egg is a tall, plastic, cylindrical container filled with cotton balls.


An ideal blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Sort. Available in nine Indian scripts as well as a Latin counterpart, the family members is Unicode compliant and libre licensed.
Baloo is usually a distinctive heavy spurless style using a subtle tinge of playfulness and each of the bare necessities of kind. Snuggling a number of scripts beneath a single weight, the typeface focuses on providing equal justice to just about every act of this gentle jungle affair to secure single and multi-script use. Carefree yet confident, warm but entertaining, sprightly however intelligible, Baloo infuses life everywhere it goes.
The Baloo project develops nine separate fonts with exclusive neighborhood names for every with the nine Indic Scripts. Every single font supports 1 Indic subset plus Latin, Latin Extended, and Vietnamese.
Properly fed and thoroughly nourished across just about every script, it took a team of committed kind designers to rear Baloo and raise it to become the typeface we like. Baloo Devanagari is created by Sarang Kulkarni, Gurmukhi by Shuchita Grover, Bangla by Noopur Datye, Oriya by Manish Minz and Shuchita Grover, Gujarati by Supriya Tembe and Noopur Datye, Kannada by Divya Kowshik, Telugu by Omkar Shende, Malayalam by Maithili Shingre, Urdu by Devika Bhansali and Tamil by Aadarsh Rajan. Baloo Latin is collaboratively created by Ek Type. Form design help and font engineering by Girish Dalvi.
Baloo is grateful to Sulekha Rajkumar, Vaishnavi Murthy, Gangadharan Menon, Vinay Saynekar, Dave Crossland and others for their involvement, recommendations and feedback.


This report documents the proceedings of the workshop on 'Women and Health Policy in South Asia: Strategies for Change' held in November 1999 in New Delhi organized by Sangat and Jagori. The workshop was progressive in its approach and strived to provide concrete grounds to build upon, rather than just a critique of policies of the state and international agencies. The workshop also attempted to broaden the canvas of women's health issues and not be limited to women's reproductive health or more narrowly to family planning.


The Hull Tigers Academy is run by Hull City AFC and "develops talented young footballers from the age of eight to twenty-one".
July 2014: In an attempt to improve youth development at Hull City Allam moves the Tigers Academy to Bishop Burton College and increases the annual budget from £700,000 to just over £2m.
Talks over building a covered pitch at Bishop Burton College apparently breakdown after the college insists the new facility must be in keeping with their other red brick buildings making it too costly for the club to build there.
A date for the re-audit is granted for 23 April 2015. The club believes the new facility must be being built by the time of the audit to gain Category 2 status.
The Airco Arena is a sports centre located next to the KC Stadium and is run by the Stadium Management Company which is owned by Assem Allam. Terms of the lease say the sports hall should be available to be used "at all reasonable times" and "by any resident of Kingston upon Hull".
March 2015: The Stadium Management Company (SMC) gives a month's notice to the community clubs that use the Airco Arena. It plans to install a 3G Pitch in the Arena for exclusive use of the football club. The project will cost in excess of £250,000 to complete. Allam claims the tight deadline leaves them no other option.
March 2015: Hull City Council writes a letter to the Premier League expressing its "deep concerns" over what it describes as "unreasonable timescales" being imposed on the club.
April 2015: An alternative option of a 'dome pitch' is considered on the existing hockey pitches behind the KC Stadium. The club want reassurances that planning permission will be given as the dome pitch would cost an additional £850,000. If the application is rejected the club insist "the council should give 18 month rate relief for the KC Stadium and Airco Arena or £425,000 compensation towards the costs".
April 2015: Premier League Statement: "It's up to the clubs to request a date on which the independent audit takes place, and is not dictated by the Premier League". The Premier League agrees to push back the deadline until September 2015.
April 2015: In a letter to Ehab Allam, Vice Chairman of the SMC, the Council confirms that the laying of the pitch without permission and for exclusive use by Hull City AFC is a breach of its lease and that – if the SMC fails to comply – legal action will be considered.
June 2015: Hull City Council start legal proceedings against the SMC in "relation to a breach of the terms of its lease of the Airco Arena".
September 2015: SMC statement claims HCC spent estimated £115k on case they couldn't win.


The Violin Concerto No. 18 in E minor begins Moderato with a fortissimo dramatic statement followed by a quiet response. The soloist enters with a dolce theme punctuated with forte measures and trills, and this leads to the usual second subject and development section.
At the end of the development section Kreutzer inserts an unusual Grave section featuring the soloist playing an espressivo theme against tremolo in the orchestra, which leads to the dramatic music of the beginning.
The second movement is a rhapsodic Adagio, beginning with a short tutti followed by a beautifully lyrical theme. A contrasting section gives way to an extended cadenza, which brings the soloist back to the original lyrical theme. A fine cadenza ends the movement.
The finale, a Rondo in 2/4 time, completes the concerto; this movement alternates the rondo tune with more lyrical sections and the usual passage-work.


Shopclues Diwali Sale #ItneKumMein 1st Oct – 10th October 2016. Shopclues Diwali Sale Offers 2016 – Get ready for exclusive promotional discounts across multiple categories from 01st to 10th October, 2016. The 10-day promotional sale will enable ShopClues consumers to bask in the typical Indian market-like experience and explore the extensive range of well-curated products and merchandise available on the e-commerce platform across popular categories like consumer electronics, home and kitchen and ethnic fashion. So Hurry up and avail this offer now !!
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Shopclues Diwali Sale is running from 1st – 10th October 2016 where we will add new deals & coupons everyday. Each day Sales come up differents categories and we will handpick best deals for you and add here !!
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is a stunning 30 year retrospective journey through the Life-Masked Sculptures created by Liz Learmont.
As Liz captures the breathing essence of life in her works she narrates her creative excursion. This book offers an intimate journey through the evolution of this unique art form with over sixty magnificent images and personal commentary by the artist.
covers 30 years of LifeMasked Sculptures.
covers 25 years of LifeMasked Sculpture.
invites you to take a moment with yourself to be in peace and stillness. This enthralling photographic expression features an installation of stunning LifeMasked meditational figures inspired with 9/11.
invites you to experience a moment of peace and stillness.


text:
Q: I can get my shellcode to execute when my program is compiled using gcc-3.4(older version), but it doesn't work when compiled on newer versions of gcc I am on Linux. The hack I am trying get to work is a buffer overflow  which overflows into the return address of the program's main() stackframe replacing it with the address pointing to the environment variable on the stack that holds my shellcode (shellcode for 32 bit systems).
Here is the program (notesearch.c):
char searchstring[100];

strcpy(searchstring, argv[1]) //the command line argument will be placed into searchstring.
                              //the argument is the address of the environment variable
                              //that holds my shellcode ("\x3c\xff\xff\xbf") repeated 160 times to
                              //cause an overflow

When I compile the program with gcc-3.4 (older version of gcc) and run the program, it executes the shellcode, which is great:
gcc-3.4 -m32 -z execstack -o notesearch notesearch.c
./notesearch $(perl -e 'print "\x3c\xff\xff\xbf"x160')
Running program notesearch...
SHELLCODE is located at 0xbfffff3c...
End of notesearch program, exiting main...
#whoami          //shell code executes, giving me root access to the system
#root

But when i compile with gcc-9 (one of the newer gcc releases) and run the program, the progrom gives a segmentation fault error when trying to execute the shellcode:
gcc -m32 -z execstack -fno-stack-protector -o notesearch notesearch.c
./notesearch $(perl -e 'print "\x3c\xff\xff\xbf"x160')
Running program notesearch...
SHELLCODE is located at 0xbfffff3c...
End of notesearch program, exiting main...
SEGMENTATION FAULT ERROR (CORE DUMP)

I am trying to get my shellcode to execute for this program compiled using the newer gcc's, but as you can see I have no luck. I tried adding flags like -z execstack and -fno-stack-protector when compiling to remove buffer overflow protection but it isn't helping. I also turned off address space layout randomization on my system. Does anyone know how I can get my shellcode to run for the program compiled using a newer gcc?

redpajama_set_name: RedPajamaStackExchange


Purple Long Sleeve Performance Style Shirt with the Jolly Roger Bull Design. Very lightweight, cool and comfortable. Performance style Sport-Tek Competitor, moisture wicking, 3.8 ounce 100% polyester, double-needle sleeves and hem.


text:
Q: How does a class inherit the method from its parent class? My question is about how a class (Teacher) inherits the method (greeting) from its parent class (Person).

class Person {

  constructor(name) {
    this.name = name
  }

  greeting() {
    console.log(`Hi! I'm ${this.name}`);
  };

}

class Teacher extends Person {
  constructor(first, subject) {
    super(first);

    this.subject = subject;
  }
}

person = new Person;
teacher = new Teacher;

I'm using the above snippet as an example. I'm copying it into the console of a browser. I wasn't sure what to expect when I console.dir(Person) but I can see it looks like a Function object. Therefore it's not surprising that Person.prototype.__proto__ points to Object.prototype, like a function would.
I also wasn't sure what to expect with console.dir(Teacher). Teacher.prototype.__proto__ also points to Object.prototype. It doesn't mention the farewell greeting of on Person, yet I know an instance of Teacher can use it. How does Teacher/an instance of Teacher have access to Person.prototype?
I know in typical prototypical inheritance, Function.prototype has a __proto__ that points to Object.prototype.
I also believe classes are syntactical sugar over prototypical inheritance (which I think means same process but shortened syntax).
Here's a useful photo of what I see when I see Teacher

A: ES6 Class syntax is a syntactical sugar for JavaScript. It's just functions and [function].prototype behind the scenes (and functions are objects too).
In JS we have prototypical inheritance, which means object we have objects built upon other objects - that'd be the Function.prototype object.
When you write a class method you are actually decorating the [function].prototype object
When you extend from a base class, your child class' prototype will be built upon the super class' (function) prototype object. Prototypical inheritance will allow you to access the super class' (object's) properties automatically.
In ES5.1 world there were some experiments with Object.create to build a "prototype (object) tree" to resolve the inheritance. This was useful for instance widget base behaviours (markup generation, formatting, etc.) and instance attributes (names, type names, instance specific attributes, etc.). If you really want to understand prototypical inheritance then I suggest you look that up as well. =)


Kolkata Knight Riders and Delhi Capitals will square off for the second time this season in the 26th match of the competition which will be played at the Eden Gardens in Kolkata. The last game between the two teams was played at the Feroz Shah Kotla which saw the match going into the super-over where Delhi hold their nerves to emerge victorious.
That was KKR's first loss of the season after two back-to-back wins over Sunrisers Hyderabad and Kings XI Punjab. This would be the third home game of this season for KKR and they have already won both their games played here against KXIP and SRH.
Meanwhile, Delhi Capitals campaign this season has been going like a pendulum as they have won 3 and lost 3 from 6 games played so far. They have a fairly healthy net run-rate and are placed at the sixth position on the points table with 6 points against their name.
The head-to-head battle between these two sides is led by the Kolkata Knight Riders by 13 games to 10 in favor of them from 24 encounters. The last game between the two sides took place at the Kotla where the match ended in a nail-biting super-over which was won by the capitals.
Short boundaries down the ground and at the fine-leg and third man makes it easy for the batsmen to score freely. Over the years, the pitch has assisted the spinners in the middle overs which makes this venue an evenly contested one for both the batsmen and bowlers.
KKR have named a replacement for injured Proteas pacer Anrich Nortje. Aussies quick Matt Kelly is the man who will replace him in the squad.
Some changes in the Delhi Capitals line-up can happen as well especially in the bowling department.
Rahul Tewatia's place in the eleven looks in jeopardy, he might get axed for another Indian batsman.
Kolkata Knight Riders: Dinesh Karthik (C), Joe Denly, Shrikant Mundhe, Kuldeep Yadav, Andre Russell, Piyush Chawla, Carlos Brathwaite, KC Cariappa, Shubman Gill, Harry Gurney, Robin Uthappa, Chris Lynn, Sunil Narine, Nikhil Naik, Nitish Rana, Prasidh Krishna, Sandeep Warrier, Rinku Singh, Lockie Ferguson, Prithvi Raj.
Delhi Capitals: Shreyas Iyer (c), Colin Munro, Sandeep Lamichhane, Prithvi Shaw, Kagiso Rabada, Harshal Patel, Ankush Bains, Ishant Sharma, Shikhar Dhawan, Hanuma Vihari, Colin Ingram, Jalaj Saxena, Chris Morris, Rishabh Pant, Axar Patel, Rahul Tewatia, Bandaru Ayyappa, Avesh Khan, Nathu Singh, Keemo Paul, Manjot Kalra, Amit Mishra, Sherfane Rutherford, Trent Boult.
Kolkata Knight Riders: Andre Russell, Piyush Chawla, Kuldeep Yadav, Robbie Uthappa, Dinesh Karthik, Prasidh Krishna, Lockie Ferguson, Kuldeep Yadav, Chris Lynn, Shubman Gill, Nitish Rana, Sunil Narine.
2 matches and 2 wins, this is what KKR have got so far from the Eden Gardens in this season, Can they make it three in a row? They definitely carry the momentum at home, which makes them the favorites for this game.
Delhi Capitals top-order comprising of Shikhar Dhawan, P Shaw, Rishabh Pant and skipper Shreyas Iyer have looked good so far. They are yet to deliver in cohesion though, but what if that happens in this game?
Joe Denly for Chris Lynn.
Amit Mishra for Sandeep Lamichhane.
Sherfane Rutherford for Colin Ingram.


text:
use strict;
use warnings;

my $tar = "tar";

# On BSD and Mac the tar we want is gtar
if($ENV{NMI_PLATFORM} =~ /(macos|freebsd)/i) {
    print "Detected we are on Mac or FreeBSD.  Trying to use gtar...\n";
    if(system("which gtar") == 0) {
        print "gtar was detected in PATH\n";
        $tar = "gtar";
    } else {
		if(system("which gnutar") == 0) {
			print "gnutar was detected in PATH\n";
			$tar = "gnutar";
		} else {
   	     print "WARNING: gtar was not found in path, falling back to tar.  The version of tar might output in a different version than this script expects.  Tar version:\n";
   	     print `tar --version 2>&1`;
    	}
	}
}

# In bytes
my $FILESIZE_LOWER_BOUND = 5_000_000;
my $UNSTRIPPED_FILESIZE_UPPER_BOUND = 600_000_000;
my $STRIPPED_FILESIZE_UPPER_BOUND   = 350_000_000;

# Maximum number of files to print when printing permissions and ownerhsip errors
my $MAX_TO_PRINT = 20;
################

if(@ARGV == 0) {
    print "ERROR: Usage $0 <tarball to check>\n";
    exit 1;
}

my $num_tarballs_with_errors = 0;
foreach my $tarball (@ARGV) {
    $num_tarballs_with_errors += validate_tarball($tarball);
}

if($num_tarballs_with_errors > 0) {
    print "$num_tarballs_with_errors tarballs had errors.\n";
}
else {
    print "All tarballs succesfully passed checks.\n";
}
exit $num_tarballs_with_errors;

sub validate_tarball {
    my $file = shift;
    print "----------------------------\n";
    print "Validating tarball '$file'\n";

    #
    # Sanity check
    #
    if(!-e $file) {
	print "ERROR: tarball '$file' does not exist";
	return 1;
    }

    #
    # Check file size.  We want it within certain boundaries
    #
    my $size = (stat($file))[7];

    if($size < $FILESIZE_LOWER_BOUND) {
	print "ERROR: tarball '$file' is too small ($size < $FILESIZE_LOWER_BOUND bytes)\n";
	print "If this size threshold is not appropriate modify it in $0\n";
	return 1;
    }
    else {
	print "Tarball size ($size) is larger than lower bound ($FILESIZE_LOWER_BOUND)\n";
    }

    my $FILESIZE_UPPER_BOUND = ($file =~ /unstripped/) ? $UNSTRIPPED_FILESIZE_UPPER_BOUND :
                                                         $STRIPPED_FILESIZE_UPPER_BOUND;

    if($size > $FILESIZE_UPPER_BOUND) {
	print "ERROR: tarball '$file' is too large ($size > $FILESIZE_UPPER_BOUND bytes).\n";
	print "If this size threshold is not appropriate modify it in $0\n";
	return 1;
    }
    else {
	print "Tarball size ($size) is smaller than upper bound ($FILESIZE_UPPER_BOUND)\n\n";
    }

    #
    # Do various checks on the contents of the tarball
    #

    my @tarfiles = `$tar ztvf $file`;

    # At this point in the script we want to try to identify all the errors that have
    # occurred and not error out after the first one.  This will be more useful when
    # fixing a tarball that has multiple problems.
    my $num_errors = 0;

    #
    # Check for the existence of subdirectories in the tarfile
    #
    # At one point cpack failed to put subdirectories in.  This means that when tar
    # unpacks the tarball is does not have metadata about the owner and permission
    # of those subdirectories.  It ends up using the umask of the user which can lead
    # to rather bizarre permissions.
    #
    my $subdirectory_found = 0;
    foreach my $line (@tarfiles) {
	if($line =~ m|/$|) {
	    $subdirectory_found = 1;
	    last;
	}
    }

    if(not $subdirectory_found) {
	$num_errors++;
	error("No subdirectory entries found inside the tarball");
    }
    else {
	print "Subdirectory entries are present in the tarball.\n";
    }

    #
    # Check the number of binaries
    #

    #
    # Check the permissions and ownership of files
    #

    # On Linux we want group root
    # On Mac we want group wheel
    # On AIX we want group system
    my $desired_owner = "0";
    my $desired_group = "0";

    my $num_bad_perms_files = 0;
    my $num_bad_owner_files = 0;
    my @bad_perms_files;
    my @bad_owner_files;
    foreach my $line (@tarfiles) {
	next if($line =~ /^\s*$/);
	chomp($line);

	# First two fields are permissions then owner/group.  Example:
	# -rw-r--r-- root/root   16468 2011-01-05 10:04:18 lib/gt42/client-config.wsdd
	my @arr = split(' ', $line);
	if(@arr >= 2) {
	    if(not check_permissions($arr[0])) {
		$num_bad_perms_files++;
		push @bad_perms_files, $line;
	    }

	    # On some OSes the owner will print as just '/' instead of '0/0'.  Seems
	    # to me to be a bug in tar, so we'll just work with either one.
	    if($arr[1] ne "/" and $arr[1] ne "$desired_owner/$desired_group") {
		$num_bad_owner_files++;
		push @bad_owner_files, $line;
	    }
	}
	else {
	    print "Unrecognized line when validating the permissions and owner of the tarball:\n";
	    print "$line\n";
	}
    }

    if($num_bad_perms_files > 0) {
	my $num = $num_bad_perms_files < $MAX_TO_PRINT ? $num_bad_perms_files : $MAX_TO_PRINT;
	$num_errors++;
	error("ERROR: $num_bad_perms_files files have bad permissions.  All files must be readable by everyone and writable by only the owner.  Here are the first $num entries from the list:\n",
	      join("\n", @bad_perms_files[0..$num-1]),
	      "\n\n");
    }
    else {
	print "File permissions tests passed.\n";
    }

    if($num_bad_owner_files > 0) {
	my $num = $num_bad_owner_files < $MAX_TO_PRINT ? $num_bad_owner_files : $MAX_TO_PRINT;
	$num_errors++;
	error("ERROR: $num_bad_owner_files files have bad owners and/or groups.  Here are the first $num entries from the list:\n",
	      join("\n", @bad_owner_files[0..$num-1]),
	      "\n\n");
    }
    else {
	print "File ownership tests passed.\n";
    }

    if($num_errors > 0) {
	print "There were $num_errors errors when examining the tarball.\n\n";
	return 1;
    }
    else {
	print "Tarball passes all checks in $0\n\n";
	return 0;
    }
}

sub check_permissions {
    # We want all files to be readable by everyone (owner, group, world) and writable
    # by *only* owner.
    my ($perm) = @_;

    # If it is a symlink then we don't need to check permissions
    if($perm =~ /^lrwxrwxrwx$/) {
        return 1;
    }

    # Readable by all
    # Writable by only owner
    # Execute bits consistent
    if($perm =~ /^.rw(.)r-(.)r-(.)$/) {
        # TODO - can I compare if one of execute bits is 't', 's', etc?
        if( ($1 eq "x" or $1 eq "-") and ($1 eq $2) and ($1 eq $3) ) {
            return 1;
        }
    }

    return 0;
}

sub error {
    print @_;
}

redpajama_set_name: RedPajamaGithub


text:
Observer: System Redux Shows Next-Gen Graphics in New Trailer
August 19, 2020 Azario Lopez
Bloober Team revealed a new trailer for Observer: System Redux, the next-gen version of 2017's single-player psychological horror Observe. System Redux is slated to come to PlayStation 5 and Xbox Series X this holiday 2020.
The trailer gives players a quick walkthrough of the game's next-gen graphics. The developer walks players through some of the lighting and textures that they were able to create and a new way to guide the player through the game's world. The developer is aiming for a new sense of immersion as they take each scene and enhance it. Furthermore, the team shows how they've recreated each character model.
Observer: System Redux is a remastered release that features some new story events that aim to take players deeper into the nightmare. A trailer was released that shows the game's updated visuals with the character voiced by Rutger Hauer in one of his last acting roles. The game also features Polish musician and actor Arkadiusz Jakubik as Janus Jukowsk, a veteran struggling with early model cybernetics.
Observer: System Redux is set in the year 2084 as the world is grimmer than anyone could have imagined. Following a digital plague known as Nanphage, which killed thousands of people who chose to augment their minds, and a war that left corporations in control of the region, you find yourself in the middle of it all. During gameplay, you take no role as a detective who can hack into suspects' minds and expose their fears and dreams as you gather information for your investigation.
Observer is available now on PlayStation 4, Xbox One, PC, and Nintendo Switch.
You can watch the trailer below:
Azario Lopez
Hanging out max, relaxing all cool.
Cyberpunk Thriller '>observer_' Gets Nintendo Switch Release Date in February
February 1, 2019 Noisy Pixel Staff
Psychological Horror 'The Medium' Gets PS5 Release Date Set for September With Physical Release for All Platforms
June 16, 2021 June 15, 2021 Azario Lopez
Psychological Horror 'The Medium' Reveals Antagonist Details in Trailer
September 25, 2020 Azario Lopez


text:
CREATE TABLE users (
    id INTEGER PRIMARY KEY AUTOINCREMENT,
    name            TEXT,
    username        TEXT   NOT NULL UNIQUE,
    email           TEXT,
    passwordHash    TEXT
);

# --- !Downs


text:
Deep Red (1975) Review
June 1, 2016 by J.R. in 70s, Dario Argento, Deep Red, Giallo, italy and tagged daria niccolodi, Dario Argento, David Hemmings, Deep Red, Giallo, italian
We made it, the final day of our 'three colours Italian', and what better way to celebrate then 'red' stripe on the Italian flag than with a favourite film of mine, Dario Argento's Profundo Russo aka Deep Red!
Deep Red (1975)
Film: It wasn't until Umbrella Entertainment in Australia started releasing Dario Argento's films in the early 10s that I really started paying attention to who Dario Argento was. Sure I'd had a casual dalliance with him via Suspiria and Creepers (aka Phenomena), but my go-to guy for Italian horror was Lucio Fulci and his zombie flicks. I had, however heard and read a lot about Argento in Fangoria and was interested in seeing his work, so when Umbrella his the accelerator on things like Suspiria, Phenomena, Tenebrae, Sleepless etc I was ready to roll.
The ones that really captured my imagination though, were this film, Deep Red, and the aforementioned Tenebrae, which turned me from casual English speaking thriller fan to full tilt lover of Gialli.
This film, directed by Argento, was written by him along with Bernardino Zapponi, a writer who also worked on such legendary pieces of Italian cinema as Fellini's Satyricon and Roma.
Deep Red tells of pianist Marcus Daly (David Hemmings) who has witnessed the murder of renowned psychic Helga Ulman (March Méril), a Oman who recently publicly outed a mystery person as a murderer. In the back of his mind, Marcus feels he has seen something important to the identity of Ulman's killer, but can't quite put his finger on it. He enlists the help of friend Carlo (Gabriele Lavia) and annoying, but tenaciously cute reporter Gianna (Daria Nicolodi) to dos little private investigation, but what he finds is that maybe the killer is closer than he ever suspected…
This disc has two versions of the film in the packaging, both remastered in hi definition. Disc 1 contains the director's cut of the film which is longer and tells a more intimate version of the tale. The second version on the film on disc 2, is the shorter English version of the film. Even though each tell more or less the same story, I do prefer this one, and watch it more often than the other. Why? Well my reason is, and this is an affront to everything we as cinemaphiles think and that is, what is cut isn't really necessary to move the story along. Sure some of it is character building stuff, but you don't miss it in the theatrical version, and to me it tells the story more efficiently. Also, in the director's cut, the police seem buffoonish and don't suit the overall tone of the film.
My love of Argento films is defined by this film and two others: Suspiria and Tenebrae. As a murder mystery, it's perfect and the violence shocking and sudden. It engages with the topic of homosexuality that films of this era rarely did without being insulting, nor with any trace of 'whoopsie', you know: the John Inman-ish mincing. The best thing about this film though is the staging of each scene; Argento appears to be a frustrated painter as each scene has a rhythm, and a layout that is visually striking.
A special note has to be made for the inclusion of someone whom I think is the Princess of Gialli, Nicoletta Elmi. This young redhead girl appears in many films of this era, and judging by her appearance in Demons, grew to be a beautiful lady. For my she's like a 'Where's Wally? special guest star.
The soundtrack is amazing too. I'll bring up Tenebrae here again as the Goblin score on Deep Red is second only to that one. Most modern day soundtracks seem to disappear within the background, but the score here is like a palpable character whose presence effects the viewers state of mind, like a good score should.
All in all, I love this film. It's a great watch, a sound thriller and has an epic score. You really need to have this in your collection!
Format: The Arrow bluray release of the film is presented in the 127 minute director's cut, or the 105 minute theatrical cut, and is presented in a well restored 2.35:1 anamorphic image with various choices of sound, the best being the director's cut Italian 5.1. If you watch the director's cut in the English 5.1 audio you have to be aware of the fact that the dialogue switches from English to Italian. Across the board though both image and sound are great.
This disc has some really awesome extras across two discs, and for an Argento fan (like me) it's quite entertaining.
Disc 1 has both a US and Italian Trailer, Lady In Red – Daria Nicolodi Remembers Profundo Russo, Music to Murder For – Claudio Simonetti on Deep Red and Rosso Recollections – Dario Argento's Deep Genius
Disc 2 has the documentary Rosso: From Celluloid to Shop which is basically an interview with Luigi Cozzi, director and the gentleman who runs the horror store/ museum in Rome, Profundo Rosso.
This Arrow edition also came with a choice of 4 different covers for the sleeve, a double sided poster featuring the new artwork and a booklet by Alan Jones, the author of Dario Argento – The Man, The Myth & The Magic. There is also a commentary by Argento specialist Thomas Rostock, which sounds very stilted by is quite fascinating.
For a fan of gialli and/ or Argento there is heaps to enjoy here!
WISIA: It is one of my all time favourite movies,and I probably watch it once every 6 months, so definitely!
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