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Posted on April 14, 2015	by Nick Chen
This month: "Albatross", "Boy Meets Girl" (pictured above), "Chappie", "Dirty Hands", "Focus", "Force majeure", "Grown Ups 2", "Happy Christmas", "Heaven Adores You", "Hot Tub Time Machine 2", "Jauja", "Mona Lisa Smile", "Ocean Waves", "Only Yesterday", "Roxanne", "Starshaped", "Still Alice", "The Tale of the Princess Kaguya" and "While We're Young".
A selection of things I've written elsewhere include a brief history of "Rappers in sci-Fi cinema", a collection of "Noah Baumbach's many phobias", a piece on "Counterculture films that shaped the 70s", a thing about the "Women in Refrigerators trope", a look at the "Existential life lessons from Jauja", a write-up of my "Interview with Viggo Mortensen", a list of "Films that inspired Ryan Gosling's Lost River", a reminder that "Chris Rock has been modernising the classics" and a pick of "London's ethical restaurants".
And also a personal essay about insomnia, a very early midlife crisis, and volunteering in a homeless shelter – it's called "Last Night an MP3 Played Saved My Life".
The average rating is 5.47/10, with film of the month being the new Sorrentino trailer. Follow @halfacanyon for more.
Albatross (2011) – 5/10
Director: Niall MacCormick
Writer: Tamzin Rafn
Starring: Jessica Brown Findlay, Felicity Jones, Sebastian Koch, Julia Ormond
How does a screenplay with the above line get made? Shouldn't someone from production step up to be a hero? Or the way Johnny Greenwood did that crunchy guitar thing to sabotage 'Creep'? The film itself is a substandard Sundance dramedy set in rural Britain (outside of London, anyway) with a smart-alecky 17-year-old with ambitions to write a novel (spoiler: it's gonna be called Albatross). And then she sleeps with her best friend's father. Will she regret it? Will she be caught in the third act? Will the novel be called Albatross? (It will, as I just mentioned.)
Still, it's charming – which I think is a word I only use when enjoying a garbage film – and I recommend you watch it if it's on TV, which is a false piece of advice, because it'll never be on TV again.
Boy Meets Girl (1984) – 7.5/10
Director/Writer: Leos Carax
Starring: Denis Lavant, Mireille Perrier
"Only first times matter to me. If I had a kid, I'd ignore him once he talked."
Dreaming of something for the first time is better than re-dreaming it later. That's the logic of Alex (Lavant) in young Carax's foray into filmmaking, which establishes a cinematic world – the title says it all – where heartbroken souls are destined to fall into each other's sleeves. It takes an hour for Alex and Mireille to find each other. He's a director preoccupied with film titles; she's a dancer for an audience of no one. Brought together by a haircut, the pair dream of stars up above, but shake their fist towards the skies.
I buy into the superficial atmosphere, for every quirky angle or cinematic impulse is burdened with the fingerprints of Carax's spilt emotions. It's a worthy introduction to the man who'd later make Mauvais sang and Les amants du Pont-Neuf. After all, to some viewers, it's only the first times that matter.
Chappie (2015) – 4/10
Director: Neill Blomkamp
Writers: Neill Blomkamp, Terri Tatchell
Starring: Sharlto Copley, Dev Patel, Watkin Tudor Jones
"Hey Chappie!"
At every utterance of "hey Chappie!" and "hey Chapps!" I laughed. But I wasn't really laughing – I just wanted to give the impression I'm not a robot. The potential weirdness of Chappie – remember, Die Antwood play themselves – is wasted, never matching the LOL-worthy poster that teased a robo-comedy. FYI, I wrote about Die Antwood's role here.
Dirty Hands: The Art and Crimes of David Choe (2008) – 5.5/10
Director: Harry Kim
Starring: David Choe
"There's no asking for permission. I'm going to fucking steal some cans and I'm going to write whatever I fucking want on the walls."
David Choe is the dullest artistic genius around. His paintings are the product of a lifetime of inner rage and a "fuck you" attitude that saw him spend a few months locked up in a Japanese prison for assaulting a police officer. The doc, shot over seven years by his best friend, shows that Choe will even punch himself in the nose until he bleeds, just to add textured pain to the pain. He really is an artist who will suffer for his art!
He's a sex addict, a compulsive gambler, and a multimillionaire through painting Facebook HQ's walls before they were famous and accepting payment in stock. Which is all fine. But he's also an incoherent, self-obsessed bore who can't finish a sentence. Fast-forward through his talking heads, because his spray work is devilishly phenomenal.
Focus (2015) – 5.5/10
Directors/Writers: Glenn Ficarra, John Requa
Starring: Will Smith, Margot Robbie, Rodrigo Santoro
Incredibly dumb and enjoyable for the first half, peaking with a plot twist so ludicrous it deserves a standing ovation. That's not the case for a second half that's all shiny surfaces, seemingly co-written by pick-up technique experts. For some reason, it deserves 55%. Can't get that number out of my head.
Force majeure (2015) – 7/10
Director/Writer: Ruben Östlund
Starring: Johannes Kuhnke, Lisa Loven Kongsli, Clara Ettergren
"I'm a victim of my own instinct."
Called Turist in Sweden and That thing that's not Wild Tales by Oscar voters, Force Majeure is an extended arthouse slice of the Seinfeld episode where George shoves children out of the way while fleeing from a house fire, and the other Seinfeld episode where Elaine picks up a snack before visiting her boyfriend at A&E. (Yes, I know I'm not the first person to make this observation. I can only imagine Larry David would be furious right now if he wasn't so busy with a Broadway play. Hey, perhaps it could be a plotline for a new season of Curb Your Enthusiasm? He goes on a skiing trip with JB Smoove and they watch it on the hotel. To ease his temper, he visits the bar and bumps into Julia Louis Dreyfuss, who informs him she's signed up for the English-language remake. And then Ted Danson's there too, because I've been watching Cheers on repeat lately. He brings up the incident with the shirt from season 2 and makes a Back to the Future reference, because of Mary Steenburgen. Larry David, if you have a Google alert for your name, I will write you an outline with a cameo from Diane Chambers.)
It's also a dryly amusing relationship comedy about a father's split-second reaction that casts doubt upon his marriage when his wife realises he's George Costanza in wig. The argument is a cricket match that lasts a few days, shaped into a grand visual befitting of the title: the shapely mountains and ski resort mock the dysfunctional couple – they can afford an obscenely expensive holiday and frolic in the snow against mother nature's wishes, but stumble over someone being human.
Grown Ups 2 (2013) – 0.5/10
Director: Dennis Dugan
Writers: Tim Herlihy, Adam Sandler, Fred Wolf
Starring: Adam Sandler, Kevin James, Chris Rock, David Spade
"I did it… I did a burpsnart."
The funniest thing about Grown Ups 2 is it has three credited writers. Despite the negative reviews, I envisaged Sandler's "bro hangout" franchise to be largely improvised adventures shot on the fly. But it's a horribly scripted series of gay panic jokes read out by unenthusiastic actors trying their best to ruin their own lines, as if to inform the viewer they're in it just for the money. The extraordinary cast – I'm talking about the likes of Buscemi, not Kevin James – lifts the film from a 0/10 to 0.5/10.
Well, I suppose it's impressive that a film can have no plot other than a running gag involving a "burnspart" (burping, sneezing and farting at the same time). Maybe you need to see the first one to pick up all the nuances.
Happy Christmas (2014) – 4/10
Starring: Anna Kendrick, Melanie Lynskey, Mark Webber, Lena Dunham
"The trick is, if you keep talking about he makes her feel, like how her touch makes him feel, you can get away with not doing much."
When Anna Kendrick suggests to Melanie Lynskey she should write a dirty novel because it seems like the kind of thing anyone can do in an afternoon, she adds, "But not me. I can't write." The book's eventual storyline is an unfunny meta joke on the film's (and its protagonist's) inertia, and so is Kendrick's preceding statement, as if Swanberg believes anyone can make Happy Christmas in an afternoon – but don't you dare be arrogant to think that "anyone" includes you.
Heaven Adores You (2015) – 5/10
Director: Nickolas Dylan Rossi
"Music. That's the thing, it's very uncomplicated."
Let's get something straight: I adore Elliott Smith and have the last.fm statistics to prove it. Hearing his multi-tracked vocals in a cinema was enough of a thrill to justify the price – as was the smug self-knowledge that I could decipher one of the interstitial tunes as an unreleased Heatmiser version of 'Christian Brothers'. But Heaven Adores You wasn't really for someone as fanatical as me (not that Elliott diehards will stay away) and neither was it an introduction for beginners.
Instead, it sits somewhat unsatisfactorily in the middle, presumably to please its talking heads – including Elliott's sister and former girlfriend Joanna Bolme (aka the greatest bass player ever) – who have historically been reticent about taking part in similar documentaries. That means little discussion of the suicide, the drug-addled final years, or the room's elephant: Jennifer Chiba, who's only briefly alluded to with a subtitle reminding the audience of the death's suspicious circumstances.
I partly understand Rossi's intentions to instead celebrate Smith's life rather than a fond farewell. But there isn't nearly as much of Elliott's narration (via radio interviews) as promised by the Kickstarter, and there also isn't much exploration of the recording process or anything, really. Despite the confrontational, nakedly personal aspect of Elliott's lyrics, the doc takes a disappointingly MOR approach that's best summed up by an awkward moment in the Q&A. Someone in the crowd asked, "What's the significance of the trees?" It's not just that Rossi didn't have an answer, but that the film would inspire such questions.
Hot Tub Time Machine 2 (2015) – 4.5/10
Director: Steve Pink
Writer: Josh Heald Starring: Rob Corddry, Craig Robinson, Clark Duke, Adam Scott, Gillian Jacobs
"We've gotta make America happen, bro."
The first Hot Tub Time Machine was a Great White Buffalo for how much pleasure it brought to my psychological hot tub mind, but at some point I started wondering if it was down to two factors. Firstly, I wrote a play when I was at school about a time-travelling shower, which made me feel like a co-writer of a hit comedy. Secondly, I saw it with close friends after a trip to the pub, and it's one of those happy memories you would use a hot tub time machine to return to.
But not only did John Cusack not return for the sequel, I saw it on my own on opening day in a nearly empty cinema. Despite dreary reviews – the kind usually reserved for Vince Vaughn and Adam Sandler – I was hopeful of reclaiming some lost glory, just as I'm sure the Hot Tub gang were. Apparently the actors wanted to call it Hot Tub Time Machine 3 with the poster reading "From the makers of Hot Tub Time Machine and Hot Tub Time Machine 2. But that was stamped out. So was the original's inherent silliness, which is now 20% philosophical musings about life regrets, 20% plot machinations, 30% penis humour (the Bechdel test is failed and shredded), and 30% clearly off-the-cuff one-liners that ruin every Apatow imitation.
The single improvement is Adam Scott, whose natural likeability is required to offset the other characters (once believably nasty, now just nasty for easy jokes) and instil some new energy. However, not even the UTU2TM? host can save the homophobic undertones that are at least confined to isolated scenes, rather than as a general backdrop. However, I did enjoy the final sequence in which the new foursome travel through time to rewrite American history. It's a sign of a better HTTM2 that could have existed, and actually a sign HTTM3 could work – with a different writer and director, of course.
Jauja (2015) – 8/10
Director: Lisandro Alonso
Writers: Fabian Casas, Lisandro Alonso
Starring: Viggo Mortensen "What is it that makes a life function and move forward?"
It's a mixture of L'Avventura, Meek's Cutoff and the episode where Homer Simpson hallucinates on a spicy chilli. I interviewed Viggo Mortensen and wrote about the film's existential life lessons.
Mona Lisa Smile (2003) – 5.5/10
Writers: Lawrence Konner, Mark Rosenthal
Starring: Julia Roberts, Kirsten Dunst, Julia Stiles, Maggie Gyllenhaal
Despite a mildly abstract title, Mona Lisa Smile is a rather long and tedious way to demonstrate how 1953 was repressed, especially for women in America. Roberts plays a history of art teacher who uses her lecture time to influence her students that there's more to life than finding a husband. It's an excellent message somewhat negated by how many do law degrees as a happy ending, rather than English Literature degrees and become journalists who also waste a lot of spare time running film blogs like this.
Ocean Waves (1993) – 4/10
Director: Tomomi Mochizuki
Writers: Kaori Nakamura, Saeko Himuro
Starring: Nobuo Tobita, Toshihiko Seki, Yoko Sakamoto
"Why are you speaking to me like that? Are you a teacher?"
Rushed into production and not sent to cinemas, Ocean Waves is a nostalgic romance about a young adult recalling a crush from school. Basically, it's Only Yesterday without any emotional resonance. The primary relationship, between a humourless boy and girl who always borrows money, is as empty and meaningless as the film's alternative title, I Can Hear the Sea. It's a study of dull youngsters reduced to unhelpful gender stereotypes, plotted with the enthusiasm of someone imagining how the product could be marketed.
Only Yesterday (1991) – 8.5/10 before end credits, 5/10 with end credits
Original title: Omohide Poro Poro
Director: Isao Takahata
Writers: Isao Takahata, Hotaru Okamoto (novel), Yuko Tone (novel)
Starring: Miki Imai, Toshiro Yanagiba, Yoko Honna "But that child's not normal."
27 seems the right age to regret everything about your life, spot inevitable links between mundane objects and your miserable childhood, and wonder if you should quit your life in the city to become a countryside farmer. Taeko can't even look at fruit without recalling the disappointment of eating pineapple for the first time and receiving the blame from her family.
Takahata oscillates between pathos and pure joy; years later, she wells up throwing away onions, but still feels the exertion of what it feels like to fly. But, oh God, the ending. Possibly my favourite Ghibli release right up to the end credits when it's about to end perfectly, and then…
Roxanne (1987) – 7/10
Director: Fred Schepisi
Writer: Steve Martin
Starring: Steve Martin, Daryl Hannah, Rick Rossovich, Shelley Duvall "Today, she didn't. But today she does."
The secret to Steve Martin's goofy film persona has always been how quickly he can sink into sincere romanticism. There's the unexpected serenade in The Jerk, and the canal trip in The Man with Two Brains. So the story of Cyrano de Bergerac is ideal source material for Martin, wearing an oversized prosthetic nose, as a fireman in love with Daryl Hannah – but presumes early on she'll never see past his Pinocchio facial feature.
The comedy works best within a sweet-natured fantasy world where jocks are secretly afraid of speaking to the opposite sex, and everyone's secret crush is just around the corner. However, Martin is also a bit too in love with his own writing, as evident when an extended gag-filled barroom brawl is a laboured stand-up sequence; same applies with the love letters which won't be winning any literary prizes.
But elsewhere, the characters and dialogue are so charmingly silly, you have to admire the craft. Take this exchange:
Hannah: "What did you say?"
Martin: "10 more seconds or I'm leaving. What did you think I said?"
Hannah: "Earn more sessions by sleaving."
Martin: "Why would I say that?"
Hannah: "I don't know. That's why I asked.
Starshaped (1993) – 6/10
Director: Matthew Longfellow "I'm homesick, yeah?"
A more honest version of Blur than No Distance Left to Run, with highlights being Damon vomiting without shame before the camera. It's during the band's alcohol-fuelled party days, promoting Modern Life is Rubbish, and between the shoddy live footage is a glimpse of a band already regretting their behaviour. Funnily enough, Jamie Hewlett pops up to say hi to Damon; he stops just short of predicting his shitty artwork for Gorillaz will contribute to Graham leaving the band 10 years later.
Still Alice (2015) – 6/10
Directors: Richard Glatzer, Wash Westmoreland
Writers: Richard Glatzer, Wash Westmoreland, Lisa Genova (novel)
Starring: Julianne Moore, Alec Baldwin, Kristen Stewart
"I wish I had cancer."
Safe was about Julianne Moore's allergy to the 20th century. In Still Alice, her family's allergic to the 21st century (apart from K-Stew, who Skypes in half her performance). There isn't much to the film other than Moore, but she cries really well. She really gives you… extra.
The Tale of the Princess Kaguya (2015) – 7/10
Original title: Kaguya-hime no Monogatari
Writers: Isao Takahata, Riko Sakaguchi
Starring: Aki Asakura, Kengo Kora, Takeo Chii
"Everyone's miserable and it's all my fault."
Remember that episode of The Simpsons when Poochie leaves Earth to return to his people? No reason. Anyway, Takahata returns to his favourite themes: forging new families and only realising a bit after childhood how you fucked everything up, you'll never be young again, and life is full of sadness from now on.
While We're Young (2015) – 5.5/10
Director/Writer: Noah Baumbach
Starring: Ben Stiller, Naomi Watts, Adam Driver, Amanda Seyfried, Adam Horovitz
"What's the opposite of 'the world is your oyster'?"
There's a line in Jon Ronson's new book regarding the press coverage of Justine Sacco that amounted to: "old media saying to new media, 'don't hurt me'". That divide describes the friction between two documentary filmmakers, fortysomething Josh (Stiller) and twentysomething Jamie (Driver). While Josh is old-fashioned and taking a decade on a subject he admits is "boring", Jamie is prolific and apparently not based on Joe Swanberg. For Jamie, everything is material – just press the camera button on a phone, and life is a poorly distributed Vimeo movie in the making.
The pair's friction is at first opaque because of Josh's desperation to please the junior hipster, but also because Baumbach clouds the drama in an exceptionally dull relationship story with none of the insight or humanistic vitriol that's marked his career. By not having children, Cornelia (Watts) and Josh are pitied by their middle-aged friends (including a Beastie Boy), and the contrived narrative drives them towards reconsidering their future. Why they would want children, it's never explained.
But what's more frustrating is the film's general unfunniness. While Baumbach's relative blips (like Highball and Margot at the Wedding) had sharp dialogue, with While We're Young he falls back on some of the laziest gags that would surely have been stamped out by a co-writer. These include: Cornelia being subjected to an unfairly advanced dance class, Josh insisting he won't enter a room (and then a jump cut where he is in the room), and wacky t-shirts.
The final act, when Josh's frustrations burst into rants about authenticity in filmmaking, leads to preachy interruptions about how the truth is often bent by directors. I would guess that Baumbach is still – still! – firing back at questions over the autobiographical nature of The Squid and the Whale, while casting dispersions towards Gerwig's old colleagues. But let's give him the benefit of the doubt, because none of these characters feel human enough to be based on real people.
Unfollow @halfacanyon for less.
This entry was posted in Film review and tagged Dennis Dugan, Fred Schepisi, Glenn Ficarra, Harry Kim, Isao Takahata, Joe Swanberg, John Requa, Leos Carax, Lisandro Alonso, Matthew Longfellow, Mike Newell, Neill Blomkamp, Niall MacCormick, Nickolas Dylan Rossi, Noah Baumbach, Richard Glatzer, Ruben Östlund, Steve Pink, Tomomi Mochizuki, Wash Westmoreland. Bookmark the permalink.
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'The Exorcist' Director William Friedkin Has Never Seen the Sequels or Series, But He Loved 'It' — Q&A
The legendary Hollywood director also explained his disdain for studio filmmaking today and addressed diversity challenges for the film industry.
Eric Kohn
Oct 27, 2017 9:42 am
@erickohn
Saez/EPA-EFE/REX/Shutterstock
The industry has changed so much. Now it's dominated by headlines about the Harvey Weinstein scandal and rampant sexual assault in the film industry. What are your thoughts on all that?
I think it's very sad for everyone involved. I never knew about Harvey or about what the moguls did. I have seen certain stories printed some of which are really shocking — Shirley Temple's story about Arthur Freed, who was one of my idols. The MGM musicals are to me as a body the best American films. So Arthur Freed is a guy I admire tremendously, like Vincent Minelli. I knew nothing about their private lives. The movies I watch over and over again are "Singin' in the Rain," "Gigi," "An American Paris" and — more than any of the rest — "The Band Wagon." That was also an Arthur Freed production. So what do you do? Not watch it?
What do you make of conversations surrounding diversity in Hollywood today?
I tried to hire more women on "To Live and Die in L.A." in key positions because I did not want another pure macho film like "The French Connection." So my production designer, art director, costume designer, editors, and others were women that I consciously sought out so I didn't fall into that trip. There is a kind of asexuality to the picture that I consciously wanted in there. For the casting, I was mostly attracted to making pictures with men, aside from the lead character in "The Exorcist." I can't deny the validity of stories from people who claim they were discriminated against.
Certainly, when I was working, there were very few African Americans in any meaningful positions. There were only a few women. I happen to believe that Kathryn Bigelow is one of the two or three best American directors, male or female. She struggled for a very long time, but she did get films made before there was any talk of diversity. I don't know why there aren't more women in positions of authority, or directors, or cinematographers. I did a video a number of years ago for the French singer Johnny Hallyday, and I worked with a great woman cinematographer in New York. She was fantastic. It was not a matter of her being a woman; she was just good.
There have been women greenlighting film and TV for quite a while — Donna Langley, Dana Walden, Amy Pascal, Stacey Snider, and others who are in positions of power and authority. Of course, my wife Sherry Lansing was the head of Fox for a number of years and then Paramount. She did a lot of women's films, but she also did "Chariots of Fire" for Fox, which is particularly not a film about women.
Moving beyond all that, how do you feel about the impact of political correctness in our current climate? Many of your movies have pushed buttons.
Political correctness is like being within the grip of a vice. Or it's like being in prison. If you must tell a story that's politically correct, then we wouldn't have "Lolita," and I can't accept the argument that we shouldn't have "Lolita," or "The Confessions of Nat Turner," or many other works.
Or "Cruising"?
I never intended "Cruising" to be any kind of statement about gay life. To me, it was an exotic background for a murder mystery that had never been seen in a mainstream film.
Did you ever see "Interior. Leather Bar," the James Franco movie in which they recreated the missing scenes from your film?
Let me tell you about that. I have a young Filipino woman who has worked with us. She brought her nephew in to work with us and he goes to a film school in LA. He told me one day that James Franco and another guy were around the film school and others looking for people to be in a movie that was about the missing 40 minutes of "Cruising." I thought that was interesting. I had never talked to James Franco. Then, from this young man, I heard that a lot of the students in the film school went off to be in it! It was in production. I think it was a month or maybe two months into when I heard it was in production. I got a call from James Franco. How he got my number I have no idea.
"Interior. Leather Bar"
Strand Releasing
He introduced himself on the phone. He said, "Hey, you know, I'm doing a film about the missing 40 minutes of 'Cruising.'" Then he laughed and said, "What were the missing 40 minutes of 'Cruising'?" I said, "It was nothing but male pornography that I shot because I could." I had access to this particular S&M club, which I think was a one-of-a-kind private club, Mind Club. He said, "Oh," and then the conversation drifted off. I've never seen the film. I don't know what they've done with it. I was never invited to a screening. I probably would've gone, but I no longer search out films.
You started your filmmaking career with the activist documentary "The People vs. Paul Crump," which helped exonerate a man on death row. Do you see documentaries having that kind of effectiveness now?
"Making a Murderer" did enter the cultural discussion about the criminal justice system. It was never, ever possible to do it in a theater, to make something enter the mainstream like that. That didn't exist when I made my documentary.
You co-sponsored a Hillary Clinton fundraiser last year. Why have you never made a political film?
I wouldn't know what to do about it. "The Candidate" was the best political film I've seen — the last line, when he's got elected, he's sitting with his advisers and says, "What do we do now?" I thought that was spot-on. That says it all.
This Article is related to: Film and tagged Interviews, The Exorcist, William Friedkin

redpajama_set_name: RedPajamaCommonCrawl


Why did you become a peer mentor? I became a mentor because I didn't have one, and wish I did when I was first injured. I truly see the value and benefits of mentorship for survivors. As a mentor, I want to share with others that the stars are the limit to life's passions and discoveries. I've learned a lot about parenting with an injury, adaptive sports, going back to school, wellness and driving, as I kept my passion for the arts and fashion alive. One must know that support is the main ingredient to have during this new journey of life.
What is the cause of your paralysis? If you have a spinal cord injury, at what level (for example, C5, T9) is your injury?
Do you use a manual wheelchair, power wheelchair, walker and/or cane?
If you are the family member of someone living with paralysis, what is your relationship to him/her (parent, spouse, etc.)?


The Programme aims to boost competitiveness and growth and help Cyprus exit the crisis. It contributes to achieving the Europe 2020 targets for smart, sustainable and inclusive growth. It should create jobs and help SMEs to become more competitive and innovation-driven. EU funding will also help Cyprus meet the requirements of the Union's acquis, in particular as regards solid waste treatment, and increase energy efficiency.
"Reinforcement of the competitiveness of the economy" (ERDF – 25.8% of the EU allocation): increasing of national research potential and private investments in research and innovation, promotion of entrepreneurship and increase of SMEs' competitiveness, in particular in the tourist sector, as well as promotion of energy efficiency and SMEs' use of renewable energy.
"Promotion of ICT use" (ERDF – 13.1% of the EU allocation): modernisation of the ICT infrastructure, reinforcement of digital entrepreneurship and e-governance for businesses and citizens.
"Reduction of CO2 emissions and climate change adaptation" (Cohesion Fund – 7.5% of the EU allocation): increase of energy efficiency in public and private buildings as well as investments for preventing and mitigating risks resulting from climate change.
"Management of solid waste and water resources" (Cohesion Fund – 22.6% of the EU allocation): increasing waste recycling and promoting waste prevention, improvement of waste water treatment and water supply.
"Management of natural and cultural resources" (ERDF – 1.2 % of the EU allocation): protection and promotion of the cultural and natural (in particular for NATURA areas) heritage of Cyprus.
"Promotion of sustainable transport" (Cohesion Fund – 15.1% of the EU allocation): investments in the TEN-T port and road infrastructure and improvement of environmentally-friendly transport system in Nicosia.
"Sustainable urban development" (ERDF – 10.7% of the EU allocation): promotion of integrated actions for tackling the economic, environmental and social problems of the urban historical centres.
"Technical Assistance" (ERDF – 1.2% of the EU allocation): provision of technical assistance.


Microbiologists and laboratory technicians in QC and R&D laboratories in pharmaceutical companies for drug substances (APIs) and drug products.
QA and RA personnel involved in auditing and reviewing Microbiological methods and tests.
Pharmacists and formulators who want to understand microbilogical aspects in the pharmaceutical industry.
Anyone who wants to be updated on the recent regulatory status and the current practice related to the issue of microbiology in the pharmaceutical industry.


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Searching For Diarmuid Connolly
By John Leonard14/03/2019 GAA
Former Dublin sub-goalie John Leonard (SoberPaddy.com) gives his unique perspective as a player, fan, and person on the paths that Diarmuid Connolly faces.
No Counties for Old Men
These are no counties for old men. The swell of thousands crammed into a small stadium in the south west of our craggy little Island. Chats turn to shouts turn to songs turn to roars. Body shteam rises into the pitch black of night. It is a thunderous wintery encounter. The crowds hail the emerging heroes. They salute the brave and gallant defeated. These are the nights that make our parochial rivalries soar. The Gaels are resting easy in their graves tonight.
It's not bad streaming late night GAA matches from New Zealand. We are 13 hours ahead, so I can hack my way onto the live stream using a VPN and get the best of the action while eating my fried eggs. Not that I have the time to these days. My wife just gave birth to a beautiful healthy boy called Phoenix. We are smitten. I am intoxicated by him. He could be an All Black. But right now there are nappies, poo and baby puke that need cleaning up.
So, usually, the best I can do is scroll though twitter and get updates. What a world we live in, wha'? Modern technology at its finest. I watched Dublin play Kerry. Paul Flynn was the only man in the match day squad who was on the panel with me. I had played with 14 of the 2011 team that began these mad, magical glory days.
One name that should still be there was missing.
"We all know of whom I speak.
How quickly the time goes.
One day you're out in Croke Park on All Ireland semi-final day, warming up the greatest 'keeper of them all.
O'Byrne Cup Semi-Final Replay 27/1/2008 Dublin Goalkeeper's John Leonard and Stephen Cluxton Mandatory Credit ©INPHO/Donall Farmer | The Sports Chronicle – John Leonard on Diarmuid Connolly
Before you know it, you're looking at names of young lads half your age from the other side of the world. You're sniffing poo covered bottoms and googling "newborn nappy rash."
Life moves fast.
Not that New Zealand is a bad place to be. It's like rural Ireland in the 1980's, on steroids, with technology. Kids still cycle around pulling wheelies and getting up to mischief. The mountains are bigger. People walk about barefoot. And it is chilled. Very chilled.
It's the kind of place where an old friend, who knows you have a history of alcohol and drug guzzling, gives you a San Pedro cactus. He also emails you links to articles on how it helps people with addiction issues. San Pedro is like magic mushrooms…only a little deeper. The experience falls somewhere between Ayahuasca and Peyote. They are mind altering and life changing plants.
I tend to digress.
"The one man I was looking for on that Dublin team sheet was Diarmuid Connolly.
The Best of TSC
Like so many Dubs, I was hoping to see him back in the sky-blue jersey again. Dermo has been around a long time now. Well over a decade. He has been pumping weights since the Pillar Caffrey era; back in the days when men were men and a black card was a drinks voucher for Coppers.
They were the golden years for me. Well, they were the only years for me. I spent three seasons under Pillar trying to get to the top. I did everything I could to get into that Dublin team. I left Ireland after I graduated from college in 1998 to go to Australia for a year. It was more than five years later before I took football serious again.
When you take time for yourself, sporting teams simply move on. It is not malicious or meditated upon. I have always found football managers to be pragmatists at the best of times. If players are not available, they make other arrangements. As a player you know that you lose a little bit of their trust. It is inevitable. And with the conveyor belt of younger footballers constantly coming through, every season you miss is another man's opportunity.
Jim Gavin said it best in the aftermath of the defeat to Kerry.
"If any player wants to volunteer their time for inter-county football, we'll always look at them. The door has always remained open to any player who has either been with us in the past, or who wants to join us, and isn't in the squad yet"
This is as honest and pragmatic as it gets. And there is no reason to doubt the integrity of a man as unflappable and sincere as the current Dublin manager.
So, back in the day, for me to get a chance again in my late twenties was an absolute gift. A lot of the lads I had played under-21s with were still around: the likes of Ciarán Whelan, Ray Cosgrave, Jason Sherlock were all still going strong. I had been out of my mind for over five years but still had talent and had something to prove. But the man who had come in and taken over the No.1 spot while I was gone was none other than Stephen Cluxton.
Clucko had established himself as the best in the business back in the mid 2000's. To get to train with him after spending years reading about him online or watching him play from overseas, was in many ways as rewarding as it was frustrating. While he was an excellent keeper with an accurate kick out, I never thought he was a better shot stopper then me. I could tell by how I moved and how I made saves, that I would have been a more naturally talented keeper.
But talent will only get you so far. He was methodical and maniacally dedicated. He was always the first on the training pitch. He always took every session seriously. He rehearsed his techniques effectively, rigorously and he did not give anyone a chance to come in and get a sniff of the jersey. He had that surly temperament; quiet and unassuming but when shit got real, he exploded into action.
Who is to say what would have happened if I had stayed in Dublin after graduating college and had stuck it out? I could have taken that jersey.
"I could have been that legend.
And for a legend of Dublin GAA like Diarmuid Connolly to take time away from the game at the peak of his powers, at the height of his notoriety and fame, shows just how tough it is to stay at the top. Life gets in the way; jobs, women, money and travel all take their toll. Men need to explore being men. A top level GAA star is swimming in a fish bowl. And one like Diarmuid is constantly provoked, on and off the pitch. I would have packed my bags a long time before. But then again, I am nowhere near the talent of this man.
GAA All-Ireland Senior Football Championship Final, Croke Park, Dublin 17/9/2017 Dublin vs Mayo Dublin's Diarmuid Connolly reacts after winning a late free Mandatory Credit ©INPHO/James Crombie | The Sports Chronicle – John Leonard on Diarmuid Connolly
I first met Dermo in the DCU gym in 2007. I had become a weights junkie in my quest to get any edge I could in pursuit of Cluxton and that No.1 jersey. I was squatting, plyometricing, bench pressing and ice bathing every other day. I was guzzling protein shakes and horsing creatine into me like nobody's business.
"He's almost as mad in the head as you are Lenny," Ski Wade (still the scariest man I have met in GAA) told me as he paired us up for a session.
I liked Dermo from the get-go. He was quiet enough with a teak tough edge to him. As footballers you don't have too much time to delve into the deeper sides of your personalities. I mean, I was always a philosophising, poetic c**t. But you could never let your team mates know that. There is a certain Alpha Code that is needed for teams to work. If you break down that barrier, then you move away from the soldier of war. And you want soldiers of war when you fight on the GAA pitch.
But "Dermo" as I was introduced to him, was a tough nut. We went through that gym session easy enough. We didn't say too much. We both spoke gruffly enough in Dublin accents. We had a laugh about one or two of the other mad yokes on the team. He took the session seriously enough and I knew that this was someone who would do what had to be done to succeed.
And in the first training matches we had, it was amazing to see how much space he could create for himself. As a fresh face he was put on the "B" team and had the likes of David Henry and Paul Griffin marking him. He was deceptively quick. A drop of the shoulder to the left, accelerate the opposite way and he'd be away. What I found more impressive was his speed with the ball.
"He moved like a race horse. Defenders could barely keep up with him.
Like Alan Brogan, he was two footed and shared a similar ability to jink and weave. And like his club mate Mossy Quinn, he was extremely accurate. He was like a Marino blend of these two fine specimens of footballers. Of all the players I have played with, he would be right up there as one of the best. I would put Jason Sherlock, Alan Brogan and Diarmuid Connolly as three who all share that creative genius. They create time and space on the ball and are clinical and composed under the greatest of pressures.
Setanta Sports Irish Sports Book of the Year Awards, Royal College of Physicians of Ireland, Dublin 3/12/2015 John Leonards, "Dub Sub Confidential," was announced the overall winner at the inaugural Setanta Sports Book of the Year awards ceremony held in the beautiful Dun's Library, in the Royal College of Physicians, Dublin. As the winner, John will receive a €1,500 cash prize, a specially commissioned trophy and €10,000 worth of TV advertising on Setanta Sports. Mandatory Credit ©INPHO/Cathal Noonan | The Sports Chronicle – John Leonard on Diarmuid Connolly
In search of times lost…
Dermo holds all the answers to our questions in his head. And I would imagine it is a simple enough equation.
"Does he have the hunger for it? Does he have the motivation?
There is nobody who can answer that save for himself. I have found that if you go through the paces in anything in life, the wheels come off under pressure. If you do not have a vision for your future, then it cannot happen. If his goal is not to come back and star in a Dublin jersey this year, then it is impossible for it to happen.
And let us be clear: Dublin are a much better team when he plays. There is simply no doubt about it. For all the talk of monies and financial doping in the GAA, one thing you cannot question is the difference naturally talented players make to teams. The likes of David Clifford in Kerry are impossible to coach or train. Players like Diarmuid Connolly do not come from 10 year coaching programs. They are born gifted. And they have their own burning desire to succeed. They are relentless in their own minds. Until they burn out.
When the GAA season gathers momentum later in the year, sometime during the Super 8's, we will see the Division 1 teams battle it out for supremacy. Kerry, Mayo and the rest will both fancy putting the Dubs to the test. What would you pay to see Lee Keegan and Dermo squaring up to each other in a packed Croke Park sometime in the sultry days of Irish summer? Wouldn't it be nice to have the final say in that saga? The neutral observer might imagine Keegan has had the upper hand in their exchanges. I have no doubt Diarmuid would like to settle that debate once and for all.
Allianz Football League Division 1 Semi-Final 14/4/2013 Dublin vs Mayo Mayo's Lee Keegan and Diarmuid Connolly of Dublin clash off the ball Mandatory Credit ©INPHO/James Crombie /// GAA All-Ireland Senior Football Championship Final, Croke Park, Dublin 18/9/2016 Dublin vs Mayo Dublin's Diarmuid Connolly with Lee Keegan of Mayo Mandatory Credit ©INPHO/Morgan Treacy | The Sports Chronicle – John Leonard on Diarmuid Connolly
If I was Diarmuid Connolly, I would focus on this year ahead. Fuck the begrudgers, the media hacks talking shite and the ignorant keyboard warriors. I would focus on getting that passion back in the heart. It is there. It is just waiting to be lit.
The vast majority of GAA fans want to see him back playing that attacking football that makes young boys and girls dream.
There will be time for the travel. There will be time for the women and the dollars and the rest. Come back and lead the young Dubs on the march for Sam. Some day they will want you for Dancing with the Stars. Some day they will be asking you to be a pundit. Some day you will be living in a far flung town in your forties with a greying beard, a jiggly gut and a receding hairline. Some day you will look back and wonder if it was all a dream.
Life is too short to waste. It moves too quickly to think that you can succeed being half assed about it. If you are going to take a break from it all, then take a proper break! Do it in style. Take it from someone who knows how to waste those precious prime years of your life! Commit to it.
You could go to Morocco and smoke opiates with the Desert Shamans and write a gibberish story about it. Or move to Greece and be seen pictured laughing with a cocktail in hand, open shirted on the back of a yacht, blue skies and scantily clad females akimbo. Or maybe head to Africa and live off the land eating berries and hunting with a bow and arrow.
I could go on…
Or you could remain in dirty ould Dublin town. Knuckle down and get ready for the greatest battle with yourself. Stay and fight and win your place back at the heart and soul of this Dublin team. The true fans are waiting. The best in the business want to take you on. Are you ready to cement yourself into the annals of history? Do not let a summer in Boston swanning around, be the last chapter of your footballing legacy.
You are much too good for that.
John/Sober Paddy,
If you enjoyed John's article, you might like to read Johnny Magee's "I Should Thank Éire Óg For Beating Us".
The Sports Chronicle brings you stories from the world of sport by the players, the coaches and the unsung heroes, all in their own words.
You can also check out our Podcast. Subscribe today for more.
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Manufacture and distribution of gas industry in Indonesia sees 4% growth due to rising demand from industrial and residential consumers. However, the industry's expansion remains limited due to challenges with infrastructural issues, as investments into development lag. Since costs grow at a higher pace than revenue, profits of the industry increase by only 3% in 2016. Industry turnover forecast to see 9% CAGR over 2016-2021 as a result of increasing demand and developing infrastructure .
This Euromonitor industrial report provides unique data and analysis of Manufacture and Distribution of Gas in Indonesia: ISIC 402. With this industrial report, you'll be able to explore in detail the entire industry from its sources of supply to its buyers.


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We Were Promised
Jetpacks Flew
On Thursday night, We Were Promised Jetpacks came to town to play the Grog Shop. The show was the band first time since 2016 and they are currently supporting late 2018's The More I Sleep the Less I Dream. Which is a long time ago to be touring on a record for the first time but the band spent all of last year celebrating the tenth anniversary of its debut LP, These Four Walls.
The four-piece opened the set with "Human Error"; the band commanded the crowd from the opening lines "I was writer…" Most of the set was made up of tasty grooves spanning all four of the bands albums. Lead singer Adam's voice sounded stronger than it has in a very long time. The only down part of the set was during the high notes of "Repeating Patterns," some people just don't hit those Prince-level tones.
The band usually draws a sizeable crowd when they have played in the past but the gig on Thursday was special as it was a sold out crowd, packed into the little venue. The admiration the band had for the audience fighting the cold and snow outside to fill the show was very noticeable and refreshing to see. Rarely does it feel as genuine as the multiple times Adam took to thank the crowd, say how much they appreciated everyone and how many people where there. And the crowd showered the band with the love right back. The crowd took the woos during "Moving Clocks Run Slow" to the next level.
The middle of the set featured the grooviest part of the night with the building and building of sound during "Keep Warm" which segued into "Roll Up Your Sleeves" and "Sore Thumb." A ridiculously effective 1-2-3 combo and you could feel the ground shaking from the crowd.
Before ending the set, the band played its biggest song "Quite Little Voices," which is a song that they've "[tried] to write a song that people like more but it's not gonna happen, [expletive], sing along!" and the crowd did just that. They wrapped up the 13-song, 70-minute set with "Pear Tree" and for me it drove home what was the best set I've seen from this band.
Slaughter Beach, Dog opened the show and their sound is much different then Jetpacks which was a nice quite start to the evening. It's nice to have a variation of styles of "indie rock" on a bill. It just becomes overly frustrating when a crowd can't be quite, curb conversation and disrespects a band like they did; as good as they were for WWPJ they were equally as bad for the opener. Which takes nothing away from the song writing and performance the band displayed.
Review by Troy Smith


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text:
Q: Back Up for Wordpress Need some advice from anybody who knows.We have a client website that is wordpress ecommerce and it is huge. too big for backup buddy. to back up. To do so manually takes virtually a day. what else is available to do good Scheduled backups for ecommerce sites, so people don't lose the info if it gets hacked etc.. or keeps an up to date backup if it has constant changes. thanks in advance

A: If you have console access to the mysql server, just use mysqldump and setup a task. I suggest using Amazon RDS, you can set them to make nightly backups for you automatically in the configuration process.
backup:
mysqldump -h hostname -u root -p[root_password] [database_name] > dumpfilename.sql

restore:
mysql -h hostname -u root -p[root_password] [database_name] < dumpfilename.sql

A: Updraft Pus can be used for backups and migrations. Files are compressed and stored on the server for quick recovery and also can be downloaded or uploaded to remote storage. Allows you to choose what to backup too, plugins, uploads, database, themes. Has a scheduled backup feature too.
Not sure if it will work for your site though, depending on how large your site is. It's free so you could try and see how long it takes to back it up. I've used it on some large client sites and it performs well.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Use chef-solo to install Oracle JDK 7 Assume I have the java cookbook and its dependencies downloaded from http://community.opscode.com/cookbooks and can run chef-solo successfully.
Is there a command that I can run to install the latest Oracle JDK onto a Linux box, that does not involve creating a new recipe or editing the attributes/default.rb file in cookbook/java?
I know that I can use the -o option to provide the runlist...
I guess that I would need to use -j some-file-with.json to override the attributes... but I haven't been able to figure out what that json content looks like.

A: chef-solo is looking for a json file (when specified) with this format.
So to run your specific scenario, you'd want something like this:
{
  "java": {
    "install_flavor": "oracle_rpm",
    "jdk_version": "7",
    "oracle": {
      "accept_oracle_download_terms": true
    }
  },
  "run_list": [
    "recipe[java]"
  ]
}

Best of luck!


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One of the main problems in credit risk management is the correlated default. In large portfolios, computing the default dependencies among issuers is an essential part in quantifying the portfolio's credit. The most important problems related to credit risk management are understanding the complex dependence structure of the associated variables and lacking the data. This paper aims at introducing a new methodology for credit risk management based on Bayesian copulas. In this paper, the focus is specifically on a new method of simulating the joint distribution of default risk. This methodology joins the use of copulas and Bayesian models. Using copulas, the joint multivariate probability distribution of a random vector can be separated into individual components characterized by marginal distributions. The model is based on a jump diffusion process for the intensities. Another important problem in credit risk management is the lack of data, which influences the parameter estimation. Considering this drawback, the employment of Bayesian methods and simulation tools could be a natural solution to the problem. This suggests the use of Bayesian models, computed via simulation methods and in particular, Markov chain Monte Carlo. Bayesian methods in Student's $t$ copula are efficient enough for heavy tail distribution. Moreover, our main outcome is that the application of Bayesian methodology causes a reduction of measure while that copula is Student's $t$. Finally, the conclusion of Bayesian copulas with classic copulas was compared through a simulation study.
Keywords: Bayesian copula, credit risk, jump diffusion process, Markov chain Monte Carlo.


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Need stress relief at a challenging time? Try slime.
Sloomoo, an interactive 'slime museum,' is fun for kids — and teaches adults the power of play
At the Sloomoo Institute, an interactive "museum of slime" in New York City, I confront a massive wall installation layered with fistfuls of colored slime. It looks like something Jackson Pollock might have done, if he worked in 3D, and in slime splotches.
After using mandatory hand wipes, I reach into a five-gallon vat, pull out a piece of party-pink-colored "butter slime" — the softest of 30 types offered — and place it on the installation. Each visitor to Sloomoo, of any age, is asked to contribute to the wall, "which is what you want to do when you're a kid," the museum's co-founder, Karen Robinovitz, tells me. "This is our version of graffiti."
Since it opened last October in SoHo — and before it closed for safety during the COVID-19 pandemic — more than 90,000 people visited this 8,000-square-foot, interactive slime utopia, paying $38 apiece to play with various types of malleable goo. The attractions include a DIY bar where you can design your own slime; a glow-in-the-dark slime room; and a "lake" filled with 250 gallons of slime, into which guests are invited to wade. If you want to have slime poured all over you, as in the 1980s Canadian TV show "You Can't Do That On Television," that can be arranged for an additional $30: Once you're standing under the "Sloomoo Falls," decked out in a custom poncho and goggles, two "slimetenders" pour slime all over you from 15 feet above.
The Sloomoo Institute in New York includes a timeline of slime.
I read a list of rules on the wall, one being "Don't eat slime." Noted. The others include no throwing slime, no running, and "have fun."
The kids don't need much encouragement for that. But as the rules suggest, Sloomoo invites adults to play, too — reclaiming their inner child, and possibly finding something more. This temple to a squishy, oozing, shapeless toy also embraces slime's role as a therapeutic, stress-relieving tool — the kind of transformative substance that can help people through challenging times and museum-free social isolation. After all, Sloomoo's very existence is a testament to slime's power to lift people out of tough moments: It was started by two serial entrepreneurs suffering from depression.
In 2017, Robinovitz — who was then the co-owner of DBA, an agency that represents social media personalities — separated from her husband. A few months later, he passed away unexpectedly, without a final discussion or a goodbye. Her world collapsed.
"I fell into a crippling depression, a sadness I never knew possible. I couldn't function," she says. Nine months later, she lost a cousin in the Parkland, Florida shooting. "I hated the world," she recalls. "I hardly left my house."
One day, a good friend visited with her daughter. The teen brought purple slime, which she had purchased online from an independent "slimer," as a way to amuse herself while the adults talked. Robinovitz asked to use it as well. Four hours later, she was still enthralled.
"This did something to me," she said. "The more I played, the more I felt joy. I brought it to dinners, therapy, and found myself able to let go of pain while I was playing with it."
Slime is known, in scientific circles, as a non-Newtonian fluid, because it doesn't follow Newton's laws of viscosity. Neither a solid nor a liquid, it's a malleable entity made of glue and an activator solution, which binds the glue molecules to other ingredients — foaming soap, glycerin, lotion, fake snow. Mattel first produced a slime toy in the 1970s, and sometimes sold it mixed with rubber eyeballs, worms, and tadpoles. By the mid-2010s, homemade slime had become a massive fad and a YouTube phenomenon: Robinovitz notes that sales of Elmer's Glue doubled in December 2016 due to slime-driven demand.
"The more I played, the more I felt joy. I brought it to dinners, therapy, and found myself able to let go of pain while I was playing with it."
At the time Robinovitz discovered slime, her friend Sara Schiller, who worked in hospitality, was dealing with her own depression. Robinovitz, in an effort to lift her dear friend's spirits, brought the only thing that had helped her. The slime was therapeutically contagious. Schiller became joyously obsessed as well.
A few weeks later they were talking on the phone, slime in their hands, marveling at the healing properties the shapeless item offered, when they realized their DIY therapy also had business potential. A year later, after partnering with slimologists and mental health consultants and ordering raw materials, they opened their inner slime sanctum. They named it "Sloomoo" after a social media trend in which you remove the vowels from your name and replace them with "oo" — it's "slime" without the "i" and the "e."
At Sloomoo, Robinovitz takes me to the slingshot exhibit, where two "slimetenders" help me stick a piece of yellow slime into a plastic pocket, pull it back as far as possible, and send it sailing. My target is Robinovitz, who's standing behind a protective booth, recording a video of the slime coming at her. I feel silly — not to mention out of shape — handling the slingshot, but enjoy watching the slime smack the clear wall.
That feeling has roots in physiology, says Stuart Brown, M.D., founder and president of the National Institute for Play. All types of play trigger a host of beneficial physical reactions, he says: "A symphony of neurotransmitters and activity is triggered. Endorphins are released. Those produce a feel-good experience." That goes for adults as well as children: In joint therapy sessions, he says, he has found that playing games helps couples rekindle their relationships and explore other forms of emotional intimacy. (As if to underscore the mind-body connection, Sloomoo even features an EEG machine, which measures patrons' brain waves as they play with slime, and projects them on a screen above their heads.)
Sara Schiller stretches cloud slime at the Sloomoo Institute.
The joys of a toy as tactile as slime are particularly useful today, when so much play is mediated through screens, says Judith Joseph, M.D., a consultant at Sloomoo and practicing psychiatrist who teaches at New York University. "Fortnite, Minecraft, and Candy Crush are designed to be isolating and addictive and to make you want to reach a mark that's not reachable," she says. "The kind of play and results slime offers is different because there's no risk ratio, there's no winning or losing. There's no end point. It's creative freeform."
Joseph says the slime experience can also help people avoid workplace burnout and technology overload. "Sloomoo offers immersive play that prevents you from being distracted entirely by devices," she says. "It's also an experience people typically share with others and when play is social, the benefits are even greater."
Promoting mental health is important to the Sloomoo creators, who donate $1.50 from each ticket to three mental health charities: Love is Louder, the National Alliance on Mental Illness, and Sad Girls Club. But mainly, they wanted to create an emporium of fun. "We have a huge need for something that makes us innocent and to bring play back into people's lives. Slime does both while activating and stimulating four of our five senses," says Robinovitz, who has mastered the art of folding slime, ribbon-like, as if it were taffy. "It's colorful and beautiful. Many have a soothing sound. Some pop or crackle. They smell like ginger ale, cake batter, or bubblegum, so it brings you back to memories. And as you touch it, usually with both hands, it's constantly changing shape."
With help from Joseph and other consultants, Sloomoo was designed to gradually increase the tactile experience as the visitor goes from room to room, sampling slimes with different scents and textures. In a hidden "kitchen," a 4,000-square-foot space in the basement, five to ten hired slime-makers produce 1,200 gallons of slime each week.
"When I'm stressed, I want a beaded slime because I want it to make noise. The sound of the crunch lets me work out whatever is in my brain."
"Making slime is like being a chef," Robinowitz explains. "It's about creating the right mix of ingredients for the perfect texture, scent, color, and composition."
When I stop at the DIY slime counter, an unexpected nostalgia whooshes over me. I uncharacteristically choose a soft pink-colored butter slime as my base and cotton candy as my scent, with ladybug and cupcake charms. Sasha Pensanti, a manager in the kitchen, nods approvingly. Clearly she's seen this metamorphosis before.
"When I give the adults a hand wipe, most say, 'That's OK. I'm not going to touch anything. We came for the kids.' They end up touching everything," she says. "By the time they're by the lake, they're sticking their feet in it and saying it's the best part."
Pensanti became a slime maker in 2017 as a way to pull herself out of a depression and earn additional income. Robinovitz, who found her on the web, was one of her customers. Sharing a passion for slime, the two became friends. Pensanti, ready for a full-time job, later accepted Robinovitz's offer to work at Sloomoo.
The Sloomoo Institute features slime stations.
Pensanti continues to use slime in her personal life, as well. To calm down during subway rush hour, she plays with butter slime, "which swirls and stretches," she explains. "When I'm stressed, I want a beaded slime because I want it to make noise. The sound of the crunch lets me work out whatever is in my brain. It's very tactile and makes my brain feel happy."
Happiness permeates Sloomoo; you can tell by the way the place sounds. Every 15 minutes or so, music pulsates through the space as slimetenders do a five-second countdown, and two or three people decked out in plastic stand underneath a waterproof area, ready to be slimed. Bucketfuls of different colored slime fall over them; I watch their bodies drip with goo. Parents cheer. Kids scream. Everyone claps. This includes Sunshine Aboubaker, who has brought her four-year-old daughter, Olaniyi.
"This reminds me of when I was little and I'd take the glue and peel it off my hands, she says, her entire hand immersed in green goo. "We don't play enough as an adult. At a certain age we are told to grow up and stop playing, and that's wrong."
Robinovitz says Sloomoo plans to re-open as soon as it's safe, and is exploring "a handful of big cities" for an expansion. For now, I'll have a takeaway jar of slime to hold onto, and a few other souvenirs. On my way out of Sloomoo, I scored a tie-dyed T-shirt with the museum's mascot — a drop of slime personified — on the back, and a pair of black gloves without fingertips, a gift from Robinovitz. I looked at my watch before exiting and realized I'd been playing with slime for over an hour.
"Everyone says the same thing when they leave," Robinovitz told me. "They can't believe how much time has gone by, and that they had so much fun."
Alix Strauss is a writer based in New York.
Photos by Mary Altaffer/Associated Press
The lengths we'll go — and the risks we'll take — to get together
The secret ingredient of comfort food? Struggle.
By Kara Baskin


"A great progressive" was how Schoenberg described Brahms, determinedly refuting the much touted idea that still persists today that the latter was essentially conservative. The influence of Brahms's methodology on Schoenberg's own was strong: the gradual dissolution of traditional harmony was underpinned by a Brahmsian rigour in matters of cell-like thematic transformation and developmental complexity. The two composers can complement each other when performed together, and for his latest concert with the London Philharmonic Orchestra, Christoph Eschenbach prefaced Brahms's German Requiem with Verklärte Nacht in its 1943 version for string orchestra.
Eschenbach is noted for his fondness for expansive tempi, and the central section of Verklärte Nacht could perhaps have done with greater pressure and emotional density. But for a work all too often treated with rhapsodic self-indulgence, it was admirably lucid in texture and counterpoint, its lines overlapping and tangling with an ideal mix of precision and sensuality. The balance was immaculately judged, the string sound exquisite.
Clarity of line and counterpoint also dominated the Brahms in a profoundly humane performance that blended the intimate with the monumental. Eschenbach's combination of slow speeds and great depth of feeling proved immensely persuasive here. Measured treads and strongly emphasised pedal points suggested an underlay of ritual grandeur; transparency in strings and woodwind brought fervent inwardness to moments of repose and contemplation. Whether hushed in devotional wonder at Wie Lieblich Sind Deine Wohnungen, or letting rip in the tremendous assertion of hope that closes the sixth movement, the London Philharmonic Choir were outstanding. Baritone Matthias Goerne sounded lofty and rather detached. Sarah Tynan had a couple of moments of unsteadiness in the great soprano solo that forms the work's emotional fulcrum.


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How to get data from a particular device in lopy ?
I just need to know how to get data from a particular device ? To make clear, I am using Lopy as a repeater.For example, now I am sending data from arduino, and lopy perfectly transmits to the server. But now I have to create a list in lopy with the several device address , so it should only get data from those particular devices. I hope everyone understands me.I will share my code here.
@robert-hh Sorry for the late and Thanks for your reply. I have tried with simple change like adding if statement with particular device address but it's not working. Is there any other possible way ?
@harish-kumar You cannot restrict your Lopy repeater to receive messages only from certain devices. You have to add any controls at your script level. And be also aware, that at the LoRaWAN server you will all data see as being sent by your repeater.