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Ebertfest 2016: Sound Some Opinions
By Jacob Oller on April 19, 2016 • ( Leave a comment )
Film festivals are always an exhausting delight because critics and filmmakers love films as an ever-growing extension of their love of people. Even if the curmudgeons may not admit to liking people, they won't deny their fascination with them. Each film, each panel discussion and each audience Q&A session — no matter how disastrous — inescapably infects everyone. Gossip becomes an inevitable consequence of attendance, just one more shared experience among the screenings.
This was my first Ebertfest. The annual festival, started by Roger Ebert and continued on in his memory, takes place at the gigantic and beautifully restored Virginia Theatre in Urbana-Champaign, Illinois. It's old school, with cramped seating, a balcony, ornate woodwork and an in-house organist who plays intermissional showtunes like he's auditioning for Yes. I took the Amtrak down, leaving Chicago for the first time since I moved there from Oklahoma City last month. I'd only covered one film festival prior to this, a local Oklahoma City fest called deadCENTER for being dead center in the middle of nowhere, so of course it was interesting to see how things were run at a more established event.
Like their theatre, the attendees are old school. Cameras, phones — these are unthinkable accessories to the audience. I sat next to multiple people who had crocheted their own seat covers. Most people were local, ambassadors for their city — people that knew a guy at the police station if you needed something. Then you overhear two grandmothers discussing De Palma and Hitchcock's male gaze. Compared to deadCENTER, a festival so new and so excited to be something cultural in Oklahoma that it overtakes the entire city for a week, EbertFest attracts a loyal niche — fitting for a film critic's festival.
I saw three films at the fest, met many critics and made some friends. I was also bumped from an over-booked hotel, thrown out of a VIP section, accosted by volunteer security and snuck into an afterparty. I was only there for about 14 hours. Here's hoping that next year I attend the full four days.
But let's talk about the movies, yes?
The first film on Saturday was Force of Destiny by Ebert family favorite, writer/director Paul Cox, who has a specific visual style a few degrees off from stilted. His semi-autobiographical film, which watches a sculptor find love (and culture) during a diagnosis of liver cancer, often has an abnormal energy, like if David Lynch directed a Nicholas Sparks movie. And a Sparks film is the closest plot correlation you'll get. Force of Destiny has all the weak parts of a romantic comedy without any comedy, all the uncomfortable romantic implications of a cancerous older white man (David Wenham, known best in the US as Faramir from The Lord of the Rings) finding love in a one-dimensional young Indian woman (Bollywood star Shahana Goswami) without any interesting approach to love or culture.
It's all the more disappointing because it includes hints of the visual poetry it could've been. Moments of Hertzfeldtian It's Such a Beautiful Day imagery flash by as home video footage of birds, light and trees is interspersed within a poetically narrated framework. Unfortunately, it doesn't have close to the same impact because we don't feel anything for these characters. Their relationships are skeletal and borderline offensive. An ex-wife lingers around for no real purpose, as we're never sure why they separated or how, if at all, their relationship could improve. Perhaps she's just there to cart around their daughter, a quirkily-dressed, two-legged hug that feels a very general sadness that her father has cancer. Well, there's a part where she suddenly opens a car door and shrieks "My father is very ill!", which — without the basis of character — has some of the same non-sequitur humor as something like The Room.
Some of the same awkwardness manifests in the camera movements. Cox's visual style becomes so undercut by his narrative incompetence that the aimlessness seems accidentally inept, evoking the inartistic flailings of one-man disasters like Fateful Findings. Then something like an explicit surgery scene pulls out a liver and shocks you back to your senses. There's power here, but not in the sloppy, slogging, tepid narrative.
After a nice lunch (and a few beers, out of defiance to Faramir's busted liver), I got back in the theatre for movie two.
Love & Mercy, the Brian Wilson biopic, is a structurally unkempt look at the Beach Boy savant's life. Besides playing temporal hopscotch between young Brian (Paul Dano, a chubby, helpless worm in the best way) and old Brian (John Cusack, a third-rate Forrest Gump), the film's story follows the collapse of The Beach Boys and Brian's escape from an abusive therapist (Paul Giamatti) with the help of a car saleswoman (Elizabeth Banks). Neither are told satisfactorily, though both have interesting components. The film brushes by sensitive topics like caring for the mentally ill and the possible aural benefits a unique mental state could produce, but bites off so much that it can only utter a few syllables on each topic before crumbs fall down its windpipe and it chokes.
That said, it is beautiful to listen to. The scenes in the recording studio are madcap, tense and encapsulated with enough musical explanation that even those that don't know which end to blow into a recorder can follow along. Though Giamatti and Banks are one-note characters, they hit their notes hard. Giamatti rumbles and bellows like always while Banks is all icy confidence that cracks and breaks with her huge grin. Sadly, the enjoyable bits are battered and bruised in the time eddies. The discrepancies between the ongoing story in the past and that in the present, as well as the lack of logic between time jumps, makes for a disorienting journey that may be better spent listening to Pet Sounds one more time.
Finally, the last movie of the day (sort of an interesting counterpoint of sound design to Love & Mercy) was Brian De Palma's Blow Out.
I'd never seen the film, though I was familiar with Michelangelo Antonioni's photographic basis, Blow-Up. A sound designer (a photographer in the original) accidentally captures what he suspects to be a murder on tape, then becomes obsessed with the truth. Although poignant in our age of surveillance and constant reliance on backdoorable electronics, it also captured a time and type of movie that, as Leonard Maltin noted in his opening to the Q&A, couldn't exist in the time of cell phones.
The analog-driven film, with its clicks, whirs, levers and miles of magnetic tape, builds a sonic environment of mechanical cicadas always buzzing in your ears. Combined with a Hitchcockian sense of tension and misogynistic gaze, the film is simultaneously riveting and squirm-inducing. It wasn't until the climactic scene, a patriotic parade held at the cusp of Reagan's America, that I understood the gross injustice of it all. That's not what this America stood for. It was an America of commodified screams, bodies and information. Conspiracy theorists were either impotent or terrorists, one or zero, on or off. And while the hyper-capitalist madness happened, corruption ran deep under the guise of simple kindnesses.
Heartbreakingly cynical and outrageously entertaining, John Travolta gives one of his best performances as an increasingly broken seeker of truth while Nancy Allen plays a sap whose willful ignorance we begin to understand. Not a happy film, but an unflinching film whose moments (especially with the panoramic, split-screened and explosive visual flair of De Palma) won't be forgotten.
From AAA TV to Z-movies, Oklahoma City-based critic Jacob Oller (@JacobOller) would like to bring the world together through entertainment, writing about it for publications like The Guardian, the Oklahoma Gazette, and his own blog. He's a decent impressionist, semi-decent karaoke participant, and terrible dancer, although you'll have to get a few drinks in him first.
Categories: 2016 Film Essays, Featured, Film Essays, Freelancer Writers, Jacob Oller
Tagged as: 425, Alfred Hitchcock, Blow Out, Blow-Up, Brian De Palma, Brian Wilson, Chicago, David Lynch, David Wenham, deadCENTER, Don Hertzfeld, Ebertfest, Elizabeth Banks, Faramir, Fateful Findings, Force of Destiny, Forrest Gump, Illinois, It's Such a Beautiful Day, Jacob Oller, John Cusack, John Travolta, Leonard Maltin, Love & Mercy, Michelangelo Antonioni, Nancy Allen, Nicholas Sparks, Oklahoma City, Paul Cox, Paul Dano, Paul Giamatti, Roger Ebert, Shahana Goswami, The Beach Boys, The Lord of the Rings, The Room, Urbana-Champaign, Virginia Theatre, Yes
Kinoteka Polish Film Festival: Rediscovering 'The Secret Garden'
Why Criticism?


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The Examiner determines that "the limitations followed by the terms 'configured to' and 'adapted to' are not positively [re]cited limitations and not fully given patentable weight." Id. at 5 (we understand the Examiner to mean the limitations following the terms "configured to" and "adapted to"). Continuing, the Examiner determines that "the recitation that an element is 'adapted to' perform a function is not a positive limitation but only requires the ability to so perform" and "does not constitute a limitation in any patentable sense." Ans. 6 (citing In re Hutchison, 154 F.2d 135 (CCPA 1946)).
We further agree with Appellants that the Examiner has improperly failed to address the "configured to" and "adapted to" recitations of claim 1. See Appeal Br. 11-12. "[T]he phrase 'adapted to' generally means 'made to,' 'designed to,' or 'configured to,' though it can also be used more broadly to mean 'capable of or 'suitable for."' In re Man Mach. Interface Techs. LLC, 822 F.3d 1282, 1286 (Fed. Cir. 2016) (citing In re Giannelli, 739 F.3d 1375, 1379 (Fed. Cir. 2014)). In Giannelli, the court looked to the written description of the application and determined that the phrase "adapted to," in view of the specification, has a narrower meaning than "capable of' or "suited for." Giannelli, 739 F.3d at 1379; see also Aspex Eyewear, Inc. v. Marchan Eyewear, Inc., 672 F.3d 1335, 1349 (Fed. Cir. 2012) (holding that "adapted to" required elements to be "designed or configured to accomplish the specified objective, not simply that they can be made to serve that purpose"). In this case, we likewise look to Appellants' Specification to discern the meaning of "configured to" and "adapted to."


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Body's own gene editing system generates leukemia stem cells
Inhibiting the editing enzyme may provide a new therapeutic approach for blood cancers
University of California - San Diego
IMAGE: Chronic myeloid leukemia blood cells. view more
Credit: N/A
Cancer stem cells are like zombies -- even after a tumor is destroyed, they can keep coming back. These cells have an unlimited capacity to regenerate themselves, making more cancer stem cells and more tumors. Researchers at University of California San Diego School of Medicine have now unraveled how pre-leukemic white blood cell precursors become leukemia stem cells. The study, published June 9 in Cell Stem Cell, used human cells to define the RNA editing enzyme ADAR1's role in leukemia, and find a way to stop it.
While DNA is like the architect's blueprint for a cell, RNA is the like the engineer's interpretation of the blueprint. That RNA version is frequently flawed in cancer. While many studies have uncovered pivotal DNA mutations in cancer, few have addressed the roles of RNA and mechanisms that regulate RNA.
"In this study, we showed that cancer stem cells co-opt a RNA editing system to clone themselves. What's more, we found a method to dial it down," said senior author Catriona Jamieson, MD, PhD, associate professor of medicine and chief of the Division of Regenerative Medicine at UC San Diego School of Medicine.
The enzyme at the center of this study, ADAR1, can edit the sequence of microRNAs, small pieces of genetic material. By swapping out just one microRNA building block for another, ADAR1 alters the carefully orchestrated system cells use to control which genes are turned on or off at which times.
ADAR1 is known to promote cancer progression and resistance to therapy. In this study, Jamieson's team used human blast crisis chronic myeloid leukemia cells in the lab, and mice transplanted with these cells, to determine ADAR1's role in governing leukemia stem cells.
The researchers uncovered a series of molecular events. First, white blood cells with a leukemia-promoting gene mutation become more sensitive to signs of inflammation. That inflammatory response activates ADAR1. Then, hyper-ADAR1 editing slows down the microRNAs known as let-7. Ultimately, this activity increases cellular regeneration, or self-renewal, turning white blood cell precursors into leukemia stem cells. Leukemia stem cells promote an aggressive, therapy-resistant form of the disease called blast crisis.
"This is the first mechanistic link between pro-cancer inflammatory signals and RNA editing-driven reprogramming of precursor cells into leukemia stem cells," said Jamieson, who is also deputy director of the Sanford Stem Cell Clinical Center at UC San Diego Health, director of the CIRM Alpha Stem Cell Clinic at UC San Diego School of Medicine and director of stem cell research at UC San Diego Moores Cancer Center.
After learning how the ADAR1 system works, Jamieson's team looked for a way to stop it. By inhibiting sensitivity to inflammation or inhibiting ADAR1 with a small molecule tool compound, the researchers were able to counter ADAR1's effect on leukemia stem cell self-renewal and restore let-7. Self-renewal of blast crisis chronic myeloid leukemia cells was reduced by approximately 40 percent when treated with the small molecule, called 8-Aza, as compared to untreated cells.
"Based on this research, we believe that detecting ADAR1 activity will be important for predicting cancer progression. In addition, inhibiting this enzyme represents a unique therapeutic vulnerability in cancer stem cells with active inflammatory signaling that may respond to pharmacologic inhibitors of inflammation sensitivity or selective ADAR1 inhibitors that are currently being developed," Jamieson said.
Study co-authors include: Maria Anna Zipeto, Angela C. Court, Anil Sadarangani, Nathaniel P. Delos-Santos, Larisa Balaian, Gabriel Pineda, Sheldon R. Morris, Cayla N. Mason, Ifat Geron, Christian Barrett, Daniel J. Goff, Russell Wall, Kelly A. Frazer, Leslie A. Crews, Qingfei Jiang, UC San Diego; Hye-Jung Chun, Marco A. Marra, BC Cancer Agency; Maurizio Pellecchia, Sanford Burnham Prebys Medical Discovery Institute; and Mark Minden, Princess Margaret Hospital.
Heather Buschman
hbuschman@ucsd.edu
@UCSanDiego
http://www.ucsd.edu
National Institutes of Health, California Institute for Regenerative Medicine, Canadian Institute of Health Research, Office of the Assistant Secretary of Defense for Health Affairs - Peer Reviewed Cancer Research Program, Genome Canada, and others
CML Blood Cells (IMAGE)
Catriona Jamieson, University of California - San Diego (IMAGE)
http://dx.doi.org/10.1016/j.stemcr.2016.05.004

redpajama_set_name: RedPajamaCommonCrawl


Halloween is a bewitching holiday that always brings us a lot of fun with its spooky, mysterious atmosphere! Join me in this tutorial to create a whimsical scene featuring a haunted house on a hill in Adobe Illustrator. We'll use the Pencil Tool, Gradient Tool, Blending Modes, and our boundless imagination. Sharpen your digital pencils and let's get started!
I usually start creating my artwork by making a rough sketch. When the sketch is ready, create a New Document of a comfortable size in Adobe Illustrator and set it to RGB Color Mode.
File > Place your sketch in the document and click twice on the layer in Layers panel to call out the Layer Options menu. Check the Template box, thus locking the layer and dimming the image.
Go on and form a color palette, which will help us to create a proper mystical mood for our artwork. Start by creating two small, even squares, one above the other, using the Rectangle Tool (M). Fill the upper square with dark-blue color and the lower one with pink color.
Select both squares and go to Object > Blend > Make or use the Blend Tool (W) to create a group of squares. You can change the Blend Options in Object > Blend > Blend Options and set the Spacing to Specified Distance of 60 px.
Create a second Blend Group, using yellow and dark-orange colors, and then Object > Expand both groups.
Select the dark-purple palette that we've just made and click the New Color Group button (a folder icon) in the Swatches panel, creating a group of swatches. Do the same moves with the yellow-orange palette.
Let's make our drawing process more fluid and comfortable. Place our Sketch Layer on top of the Layers panel and set the Blending Mode of the sketch image to Multiply (you will have to Unlock the layer for a while by clicking the lock icon). Use the lower layer for drawing, so that your sketch remains visible on top of all other objects.
Let's tweak and tune our digital pencil! Click twice on the Pencil Tool (N) icon in the Tools panel and set the Fidelity and Smoothness values to 2 in the pop-up Pencil Tool Options window. Tick the Fill new pencil strokes and the Edit selected paths checkboxes. Leave all other options as default.
Select the second-darkest color of our palette and freehand the silhouette of the haunted house, following the lines of the sketch.
Create a rectangle for the background, using the Rectangle Tool (M), and Send to Back (Shift-Control-[). Fill the background with the radial gradient, applying the yellow and lilac tones of our palette. Move the center point of the gradient up and to the left, using the Gradient Tool (G) to create the proper environmental light for our future composition.
Proceed by outlining the quirky hill and filling it with linear gradient from dark blue to a lighter purple, creating a strong contrast with the background.
Draw out another hill behind the first one. Make it slightly lighter to create a feeling that it is far away, thus emphasizing the perspective.
Add a few tree silhouettes: a creepy crooked tree with bare branches in the foreground and a group of fir trees on the right-hand side of our haunted house. The scene is starting to look more interesting and eerie.
Let's add the brightest, most eye-catching element of our composition—the whimsy moon! A crescent moon, to be more exact. Trace its silhouette with the Pencil Tool (N), making as many bumps and dimples as you can. Add some fancy details, such as a piece of a moon stone levitating between the tips of the crescent, and some small drop-shapes to create the effect of a dripping surface.
Move on and add a few cloud silhouettes, partially covering the moon to make the image more intricate. Use the second brightest color from our blue-purple palette.
Continue adding clouds and making the picture more detailed. Put some of the clouds on top and hide the others behind the moon by Sending them to Back (Shift-Control-[).
Now for the fun part! Take the Pencil Tool (N), set the Fill color to None and the Stroke color to the brightest yellow. Scribble around the moon with a circular movement of your hand, creating a rough, sketchy effect.
Let's make the moon more realistic and dimensional. Pencil a shape inside the crescent, following its lower part, but making it a bit smaller. Fill the newly created element with linear gradient from bright yellow (the same as the crescent color) to darker yellow, so that it blends nicely with the main shape.
Add another shape for the upper part of our crescent and fill it with linear gradient from yellow to black. Switch the Blending Mode to Screen, making the moon slick and shiny.
Add a small, elliptical shape, forming a dimple. Switch to Multiply Blending Mode and fill the shape with linear gradient from yellow to white, creating a shadow and the impression of deepness.
Duplicate the created dimple and place it on the other side of the crescent, adding more holes. Make the dimple embossed by placing a bright, thin stripe in Screen Blending Mode along the edge of the hole.
Copy the shape that we created earlier in the lower part of our crescent and fill it with a darker tint of yellow. Go to Effect > Stylize > Feather and apply a gentle blurring effect with 30 px Radius value.
Finally, our crescent looks like a sugar candy and attracts the viewer's attention with its smooth shapes! Let's move on and decorate other elements of our artwork in the same shiny style.
First of all, we need to add some details to each cloud. This process might seem a bit tedious, but if you're keen on freehand drawing, you will enjoy watching your picture get fleshed out. Draw the swirls and twirls on each bulge of the cloud—lighter for the highlights and darker for the shadows.
Fill the darker shape with linear gradient, one end of which has the same color as the cloud, while the other end is slightly darker. As for the highlight shapes, use the Screen Blending Mode and a linear gradient with bright-orange color on one end and black on the other.
Rotate the gradients using the Gradient Tool (G) so that they blend seamlessly with the basic cloud shape.
Add smaller reflections to intensify the moonlight, creating a glossy effect on the bulgy parts of the cloud.
Work more on the other clouds, paying attention to their colors: make those lower clouds darker than the upper ones, as if they are hidden in the lowlands and don't reflect as much light from the moon.
Continue adding luminance to the upper part of our composition.
Draw those tiny swirls and paw-like shapes with the Pencil Tool (N) with a flowing movement of your hand.
The colors of the overtones should match the environment lighting. In fact, the lower clouds should have a cool, bluish highlight, while the clouds that are closer to the moon keep their warm, yellow-orange tones.
Let's take a look at the overall composition to ensure that we haven't missed anything.
Use the Shape Builder Tool (Shift-M) to fix the parts of the clouds that are overlapping with the hill, or simply press Control-[ to rearrange the objects, moving the cloud under the hill.
Edit the color of the trees in the same way, making their lower edge blend with the ground.
Add a path leading to the haunted house. Make its lower part much wider to emphasize the perspective and to show that the house is located far away from the viewer.
Use the Rectangle Tool (M) to create thin stripes and combine them into a group of planks, forming a supporting structure for the house.
Let's create an illusion of a bright light coming through the windows of the house, adding a touch of mystery. Our sketch already contains some windows, so we just need to outline them. For this step I use the Pen Tool (P) to create a half-ellipse shape, but you can use the Pencil Tool (N) if you prefer, or just erase a part of an ellipse to create the same window aperture as you see on the screenshot below.
Fill the created shape with dark-blue linear gradient and add a smaller copy of the same shape above, filling it with linear gradient from pale-orange to dark-orange.
Duplicate the dark shape and select its upper anchor point with the Direct Selection Tool (A). Drag the anchor point down to put the shape flat on the ground.
Adjust the gradients, creating a sense of light pouring on the ground out of the open window (or it is more likely to be a front door).
Use the Reflect Tool (O) to mirror the created element over the Vertical Axis. Make several copies of the reflected window and place them on the opposite wall, decreasing their size.
Create multiple copies of the windows and put them in the appropriate places.
Move on and form the left side wall by adding a curved rectangle shape. Fill the shape with a gentle lilac-white linear gradient and switch it to Multiply Blending Mode, thus creating a shadow and making the house dimensional.
Render the roof of the house in the same way as the wall.
Add a sharp, zigzagged shape above the roof. Select both objects and use the Minus Front function in Pathfinder to form some cracks.
Work over the other parts of the house in the same way, rendering shadows and creating a realistic look.
To create a mysterious, Halloween atmosphere in our image, we're going to add some minor details. Individually, they'll barely be noticeable at first glance, but they'll all come together to create the effect we're looking for. Let's add some of these tiny elements here and there to make our artwork more intricate.
First of all, add more light to the windows, by adding a conelike shape and filling it with a bright gradient in Screen Blending Mode.
Now let's make a small but very important element, which produces a subtle, magical effect—the sparkle! Sparkles always create a feeling of something mysterious and supernatural.
Making a sparkle is quite simple: create two even circles and fill them with radial gradients as shown on the screenshot below. Use yellow-black gradient with a small center for one circle and orange-black gradient with a larger center for the other.
Put one circle above the other and switch them to Screen Blending Mode. The black color will become transparent, creating a warm glow. Magic indeed!
Spread the sparkles in front of a doorway as if they are flying out of the house.
Decorate several more windows using the same technique. However, avoid adding sparkles to all of the windows so as not to overload the picture with small details, because they create "noise" which can be very distracting for the viewers.
Our picture is almost complete! Let's add some interesting elements, which will attract more attention and enliven the composition. We need some characters suitable for a Halloween theme. As you remember, we already have a naked tree in the foreground, so let's add a bat hanging upside-down on one of the branches.
Draw a whimsy curved shape using the Pencil Tool (N) to depict the left part of a bat's silhouette. Reflect the shape over the Vertical Axis and combine the halves, forming a single silhouette. Add a darker shape above, forming a wing, wrapped around our bat. Add two red eyes, making them sharp-pointed to create an evil look.
Let's fit our bat on the tree. Make it darker, if needed, to emphasize the contrast between the character and the background.
Use one of the sparkles that we created a few steps ago and put it over the bat's eye, making it glow bright red.
Draw out a scribbled shape, imitating the tree bark. Use the same filling gradient as we have on the walls of the house, switching to Multiply Blending Mode.
We have the last move left! Let's add brightness to our image, making it more vivid and saturated. Make a big rectangle, covering the whole Artboard, and fill it with radial gradient, consisting of orange, pink and dark-purple colors, as shown on the screenshot.
Switch the Blending Mode to Overlay and decrease the Opacity to 30%. This simple method gives our image a bright, candy-like look! Now the colors look much better.
Create another rectangle the same size as our Artboard and put it above all other elements by clicking Shift-Control-]. Select everything (Control-A) and right‑click to call a pop-up menu. Make Clipping Mask to hide the pieces outside the Artboard.
Yay! Our Creepy House on the Hill is Finished!
Congratulations! You've just finished building a mysterious Halloween scene and should be proud of yourself. I hope you've enjoyed following these guidelines and found some useful tips and tricks for your future work. Happy Halloween, folks!


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Certified Irish Angus Beef Schools Competition
In November 2016, we entered the competition known to us at the time as "The Angus Thing". The competition became known to us by our TY Co-ordinator and Agricultural science teacher Miss. Hession. She approached us as the farmers in the class wondering would be interested in entering a competition to win five Angus calves.
We first submitted a three-minute video to the Irish Angus Producer Group in Virginia, Co. Cavan displaying our ideas for promotion of Certified Irish Angus Beef to both farmers and consumers, an understanding of the sponsors (ABP, Kepak, Irish Angus Producer Group) and a bit about Agricultural Science in the school. We spend weeks filming and producing it ourselves on a school IPad.
While on an Organic Farm Walk on John's Farm we were notified that we had made it past the first stage of the competition. An interview in Mullingar on the 17th of January loomed. We engulfed ourselves in the competition from then on. We began to gather contacts and information about the breed and the sponsors of the competition.
We squeezed into school blazers and off we went to the Mullingar Park Hotel. We were quizzed on our video by the judges, two from the Producer group, an Agricultural Science teacher, and a representative each from Kepak and ABP. One week later we got the good news that we were successful in the interview and an exhibition in Croke Park on the 15th of March was on the horizon.
From this point on bringing the calves home was our main focus. We left no stone unturned before Croke Park, tracing down any relevant contact, attending marts, visiting restaurants, taking farmer questionnaires, and gathering any relevant information. With the help of Valerie Keaveney, Ms. Hession and various teachers we designed our display for Croke Park. We focused on various aspects for our display such as ICBF euro-star ratings, Beter Leven (Dutch) animal welfare standards, advantages of Angus', the farmer's views, how we would rear the calves and our overall promotion of Certified Irish Angus Beef.
At Croke Park the 120 schools from the start was whittled down to 34. Industry experts judged us such as representatives from The Irish Farmers Journal, ABP, Kepak, Bord Bia, Tesco and UCD to name a few. The day consisted of us presenting our ideas to judges to convince them to give us the calves.
In the end the work was worth it and we were successful in winning the calves. We were assigned with the theme of 'Mental Health and Well-Being among Farmers' along with sub-headings such as 'Organic Farming', 'TB Compensation' and the 'Benefit of Tidy Farms'. We will receive the 6-month-old Angus cross calves at the 2017 National Ploughing Championships after we complete the three days talking to members of the public. Another four schools were selected alongside us to get the calves. We are in competition with these schools to get the overall winner's prize of €2000 in March 2019 after the cattle are slaughtered.
The competition has brought us to a lot of people and places such as meeting IFA president, Joe Healy, European Agricultural Commissioner Phil Hogan and MEP Mairead McGuinness to name a few. We'd like to sincerely thank everyone in the school who helped and supported us along the way, we hope to see you at the ploughing!
Cycle Against Sucide


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Q: Subtracting overlap of ranges in Python I have a question which has been asked before here:
Subtract Overlaps Between Two Ranges Without Sets, however, the solution provided there seems to be outdated and gives me the following error:
from interval import Interval, IntervalSet
r1 = IntervalSet([Interval(1, 1000), Interval(1100, 1200)])
r2 = IntervalSet([Interval(30, 50), Interval(60, 200), Interval(1150, 1300)])
print(r1 - r2)

TypeError: '<' not supported between instances of 'Interval' and 'Interval'

I am working with python 3.6. I've searched a lot but I could not find why this problem is arising. I would appreciate any hint to solve this problem.

A: If you read a bit on, you"ll see that the solution you posted from @Ned Deily isn't working for python 3. Then you will also see different approaches and solutions to this problem, so you can try some and see which one works for you, like this answer posted by @senderle in that very link:
import itertools

def range_diff(r1, r2):
    s1, e1 = r1
    s2, e2 = r2
    endpoints = sorted((s1, s2, e1, e2))
    result = []
    if endpoints[0] == s1:
        result.append((endpoints[0], endpoints[1]))
    if endpoints[3] == e1:
        result.append((endpoints[2], endpoints[3]))
    return result

def multirange_diff(r1_list, r2_list):
    for r2 in r2_list:
        r1_list = list(itertools.chain(*[range_diff(r1, r2) for r1 in r1_list]))
    return r1_list

I've tried it with succes, you can see for yourself if the other answers are also working for you.

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text:
Venue News & Notes: Nashville Sports Arenas Flooded
By Carolyn Braff, Editor
Tuesday, May 4, 2010 - 9:50 am
The massive amount of recent rain and bulging rivers in Nashville, TN, are playing havoc with area sports arenas and athletic fields. At about 3 p.m. Monday, water began to rush onto LP Field's playing surface, reaching approximately 6 ft. high and nearly reaching the first row of seats. "I am certain there will be some sort of water damage to all areas of the field service level," said Robbie Bohren, the Titans' director of media relations. Bridgestone Arena has 2 in. of standing water throughout the event level, according to Predators SVP Gerry Helper. "It seems to be coming in faster than we can pump it out," Helper said. "My understanding is that the water is actually coming up from below, up through the drains. It's not like it's coming from street level and down"…
…World Cup organizers thanked South Africa's stadium-construction workers by giving them free match tickets on Monday but also warned that their work is not quite done. FIFA General Secretary Jerome Valcke recognized the contribution of the country's 27,000 builders on a rainy day at Soccer City in Johannesburg. Outside the site of the World Cup opener and final, there still was much to do, as dirt and bricks lay in piles and one of the access roads was flooded. South Africa has built five stadiums for the tournament, which runs June 11-July 11, and Soccer City has been given a $200 million overhaul. The event's first African host has spent $1.3 billion on its 10 venues…
…AEG, the owner of London's O2 arena, has emerged as a contender to take over the Olympic Stadium after the 2012 Olympic Games. The American sports and entertainment company is one of 106 parties to have expressed an interest in assuming control of the venue after 2012. Potential bidders have until 17 May to register their interest in the 80,000-seat stadium. A short list of about 30 is expected to be drawn up, with a final decision to be taken in July…
…The big screen outside Pittsburgh's Mellon Arena will pale in comparison with what you'll find inside the Penguins' new Consol Energy Center when it opens later this year. But the massive, four-sided high-definition scoreboard is just one of the treats for fans. The Consol Energy Center promises a fan experience second to none in the world of sports. The new arena will be replete with the latest technologies, including its centerpiece scoreboard, which features four 25- by 15-ft. HD screens suspended from the roof…
…A stadium proposal for the San Francisco 49ers in Santa Clara, CA, apparently plans a facility that could fit two home teams, according to KGO-TV San Francisco, leading to speculation that the Niners and Oakland Raiders could move to Santa Clara together. This could make the proposal more attractive to Santa Clara voters, who would have to put fewer of their tax dollars into the stadium if another team were there to offset some of the supposed $937 million in costs it will take to erect the thing. "We have no plans to share the Santa Clara stadium with another team," 49er spokesperson Lisa Lang told KGO-TV. "That's just not something that we plan to do and we're not working on it"…
…The first step in solving the Columbus, OH, Blue Jackets' financial woes — and ultimately keeping the NHL team in town — could involve Nationwide Arena's competition just a few miles north. Xen Riggs, associate VP in Ohio State University's administration and planning department, told Columbus Business First that the Jackets and OSU are likely weeks away from striking a deal that will put the university in charge of booking and day-to-day administrative options at the arena. That would put OSU's Jerome Schottenstein Center and Nationwide Arena under one management roof. Should OSU step in to manage the arena, Nationwide Realty Investors Ltd. wouldn't renew ties with SMG, the Philadelphia company that has run booking since the facility opened in 2000.


text:
B1 Intermediate 634 Folder Collection
(quiet piano music)
- The more and more I do car videos,
the more I'm surprised at what viewers wanna see.
In my height I thought,
"Well, everybody is gonna wanna see Ferraris,
"or just pure sports cars like the Chevy Corsica," but no.
Over and over again, this has been requested,
the Mazda CX-9.
(bang)
Believe it or not, the CX-9 is on the same architecture
as the CX-5 and the Mazda 3.
You would never guess because this thing looks immense.
It's wider, longer.
It's just more beefy.
Now when you talk about exteriors,
everybody has got a different opinion.
When you look at that, I almost got in a fist fight
over that grille with Turbowski.
Straight on, I think it's one of the best integrations
on any Mazda car, but when you get to the side,
it looks like you drove it into a wall,
and that's what he said.
And the more I look at the car from the side,
the more I feel the same way.
So let's talk about the front.
You have the LED accents in the headlights,
much like all the new modern Mazdas,
but you also have LED low beams and high beams,
which are a really nice touch.
The light output is excellent at night on this car.
Coming along the side of the CX-9,
this is where you start to see that up-sizing effect
that I spoke about earlier.
The lines work really well on this vehicle specifically.
It doesn't look awkward
like it does on some of the smaller cars.
One of my favorite parts
are these gunmetal-ish 20 inch wheels,
and yes, I know, the tires are gonna cost
a ridiculous amount for this car, but it looks so good here.
But where this falls apart,
and we talked about this in the shop, is this.
These plastic, non-painted panels all over the car,
and it just is a total distraction here.
And then on top of it,
they stick this chrome finishing accent on it,
and it just, you know what?
I actually would take this
and I would have a body shop paint all of it.
I just don't like it.
The back of the CX-9, I can just describe it
really in one way, and that is streamlined.
The lines are really clean.
There's just not an overuse of anything.
I'm not a huge fan of the chrome,
but the taillight design is compact,
the center lines are compact.
It just looks really clean and efficient.
Now unlike the CX-5, this has a power lift gate,
which is just like every other power lift gate.
It's way too slow.
You really don't have much manual control over it.
So for a vehicle like this, of course,
you're gonna have an electronic liftgate.
I couldn't see them doing a manual one.
It's just too big.
Here's what's good about the back end of the CX-9 is
everything is manual back here.
To flip down the seats,
the actual headrest goes down automatically
when you pull this lever and you push it down.
Now, pulling it back up is a little bit of a stretch,
and I'll be honest, I don't like it at all.
I have longer legs.
If you're really short,
this is probably gonna be a pain in the ass for you.
The second thing I don't like is these handles here,
these release handles.
They feel so cheap.
They feel like I could literally break them off
in probably a hundred times of pulling this,
especially if you're really reaching and in a hurry.
I don't know how they're gonna hold up,
but I'm just saying, try them out for yourself.
The next thing is, there is a ton of room
when you fold down all these seats.
Now the other negative here is
there is a huge gap in between,
and I noticed that right away
when I threw my tripod in the back.
It would always get stuck in between the seats,
and god, does it piss me off,
because I can't reach it from the back.
I have to go in the back door, dig it out, and pull it up.
And I can't move these seats back,
the frontal seats, to close that gap,
and I'm not sure if there's something I'm missing here,
but it's definitely something to note.
(dramatic tones)
So we are under the CX-9,
and what we've learned about this
is that for the most part, the architecture underneath
is shared with the CX-5 and the Mazda 3.
So a lot of all this has been reused.
Now in terms of suspension components, linkages, bushings,
tie rod ends, all that type of stuff
is all unique to the CX-9 and has been up-sized
because this is a much larger vehicle, but you can tell
with the frame structure and the sub-frame structure
how much room is in this suspension,
and the wheel wells on this
because they moved things outward.
And obviously it's nice,
because you can actually see in here for once.
The front part of the underbody is like identical
to the other Mazdas we've seen.
You have the front aerial panels,
all of this is covered up for air flow purposes.
There is strategically mounted drain holes
and holes all over the place.
- There are a very large amount of holes.
We should count 'em.
- It would probably take a week
to count all these holes under here.
But you're no stranger to counting holes, so.
We do have a service panel
to get to the oil drain cock and the filter.
- Why do they have two screw type fasteners here
and two push-in type fasteners here?
- Why not just go all four of these,
'cause these are gonna break
or some yahoo is just gonna throw 'em out.
- Right.
- It's gonna fall off anyways.
- I don't like it.
Strut-based front suspension.
No adjustability for alignment aside from tow.
But something you noticed right away
that's different from the other Mazdas.
- What's that?
- The rubber isolators.
- Oh yes.
- Vibration dampers.
They have them strategically placed on this car.
You have one on the lower control arms,
and you noticed some other ones, too.
- [Scott] Two on the struts.
- Yeah, two on the actual struts themselves in the uprights.
And the actual wheel wells are coated
with a material to reduce road noise.
It's a felt-like fabric that reduces tire and wheel noise,
tire road noise, whatever.
So that's really about it on the front, Scott.
So as we get to the back and the middle of the vehicle,
this is an all-wheel drive model,
and I cannot believe they offer
a front wheel drive only for this
because of the torque output at low RPMs,
but these on-demand systems
in most all-wheel drive cars or SUVs of this type
are primarily front-wheel drive biased.
Now the drive shaft is always spinning while it's driving,
and this whole rear end is activated
via an electromagnetic clutch
which is controlled electronically.
So when the computer decides
that it needs to send power to the rear, (snaps fingers)
it sends voltage, locks that clutch,
and can slip the clutch as well
to send power to these rear wheels
to balance out the power split front to rear.
Now this is not any different than all the other systems
from Toyota, Hyundai, Honda, all of that, it's the same.
Now where Mazda differentiates
where they talk about this all the time
is their use of sensor data.
They wanna make this as proactive as possible,
which means it looks at ambient temperature.
It looks at steering angle sensors.
It looks at g-force, yaw rate,
so it knows if you're on a hill.
If you're on a hill, obviously,
it wants to send the power differently.
It knows when it's super cold out, potential snow,
when your windshield wipers are on, it knows when it's wet,
so it can always adjust the power before you get slippage.
It can react faster than you can.
So that's their big thing.
They spent a ton of time with that.
Now in terms of the actual drive train,
from talking to Dave, or I've emailed Dave some questions,
this is almost identical to the CX-5.
The differential is identical.
They haven't really up-sized it here.
Most everything is shared from the CX-5,
and actually in the CX-5 during the planning
they knew they were gonna build this,
so a lot of it is very similar.
(sighs)
This is the way of the future, bro.
- The big wheels and big grilles.
- Yep.
How much are these?
- 200 bucks.
What's the tread life?
- I didn't even look at that.
I was afraid to look at that.
- Pertinent information, 300.
- God.
Okay, so you're gonna pay,
for a really crumby set of tires on here,
about 165 is gonna be about the lowest you're gonna find.
These are 200 and you can go all the way up to about 289.
Winter tires are about 180 for this.
So it's something to note in terms of consumables,
and you'll probably get what,
two years out of these, three years?
- Depends on who's driving.
You're driving it, a year.
- Yeah, with all the torque in the front,
at least you can rotate 'em, 'cause I think
you're gonna be tearing up the fronts
if you're driving hard.
You said this hood is almost as long as that, what?
- 1963 Bonneville.
This is, what did I say?
48 inches from the metal to here.
That's 52.
- [Mark] The Bonneville is 52 and this is 48?
- [Scott] Yeah, and that has a proper engine
and a proper layout.
- What's not proper about this?
- Just look at it.
My God.
- Okay, so let's talk about this,
because this is a big deal.
A lot of people that are
huge Mazda fanatics or fans in general
have been waiting a long time for this 2.5 liter,
to have a car that makes some horsepower and torque,
- They should've built a V6
instead of did this to a four cylinder.
- They didn't want a V6.
That's why they built this,
is to avoid having to do V6s and V8s,
because they feel they can get
the same effect out of a turbo four as a V6,
have it more powerful and more efficient--
- And 10 times more complicated.
- It is complicated, I'll give you that.
I would not wanna work on this car.
We looked at it front to back,
and compared to the regular two liter and 2.5,
this is vastly more complicated.
So let's talk about what makes this special
and why they did it the way they did,
because this is much different
than a lot of the other turbo applications
that are out there.
For one, it still has a high compression ratio.
- Why didn't they just do a diesel?
- That's what this feels like driving it.
Because diesel has more problems with emissions,
and they do have a diesel in Europe,
but they can't bring it over here
because they can't get it certified
to pass California emissions, all the emissions nonsense,
so that's why they're doing this.
So the first thing that they attempted to do
was create a turbocharged motor
that has almost no turbo lag.
And to do that, they've had to custom make or custom design
a head with three exhaust ports instead of four.
So your outside cylinders have their two exhaust ports.
Your middle two cylinders share one exhaust port.
And they've done trickery
with the way they get the exhaust gas out
to help pull the exhaust gas
out of those middle two cylinders
so all the exhaust gas is coming out efficiently.
So one of the ways they've done it
is to build a exhaust manifold connected to the head,
and the turbo is right after it.
So you have head, exhaust manifold and butterfly valve,
and your turbo sandwiched together.
And that middle butterfly valve
allows the actual valve to close
on those three exhaust ports,
and what it does is it routes exhaust gas upward
to three smaller exhaust ports,
which it creates a highly more compressed air flow
to spool up that turbo almost from idle.
So they're using a trickery through the head design,
through this exhaust manifold with a butterfly valve,
to reroute the gas, to spin up the turbo fast,
and when that turbo gets going, they open up that flap,
all the exhaust gases flow out at full speed
for higher RPM action.
So what it gives 'em is the ability to have no turbo lag
at the lower RPM, provide consistent, linear power.
That's what this is all about.
The next, so we've got a couple other things to talk about.
The EGR system is cooled, well that's what this has,
an EGR cooler, and the whole idea is
to cool that exhaust gas that's going back
into the intake or into the engine
to reduce cylinder high temperature,
high compression, higher risk of knock,
they wanna reduce the risk of knock.
Really, there is so many tricks in this engine.
In terms of head design, they've taken measures.
I asked about carbon buildup.
That was the big thing.
Now that they have a turbo on this,
how are they gonna deal with intake valve carbon buildup
from the direct injection?
And Dave--
- It won't have it.
- Yeah, that's what Dave's answer was.
They're not gonna have to deal with it on here because--
- 'Cause the air blows too fast past intake valves
it can't ever stick.
- Right, well no, it wasn't so much
about the speed of the air.
- I know.
- It was about the temperature, that they're able to control
the combustion and the ignition temperatures
and all of that in the cylinder head
to prevent the carbon from building up.
If you can keep the temperatures in there
at the proper range, you don't get as much carbon buildup,
and the way that they've designed
their actual cylinder walls, their ring design, all of that,
there's very minimal blow by,
including the way they've done the turbo seals.
There's a lot less oil, a lot less blow by.
So long story short, Dave is saying
that carbon buildup on the intake valves
is going to be a non-issue on this motor.
So we're just gonna have to take him for his word.
- [Scott] We'll see.
- Now adding a turbo, which Mazda has not had for a while,
you run a heavier weight oil, 5W-30,
to handle the heat, the higher temperatures.
So I asked Dave, "Do they run an engine oil cooler?"
And they do run an oil water-heat exchanger for this car,
so technically, oil cooling
should not be an issue unless you're in maybe
really, really hot climate uphill towing situations,
but overall, it should be a non-issue for this car.
So now the more real question.
We could talk about all the technology in here.
That's a more in-depth discussion,
and you can find more about it on the Internet.
But the biggest thing that people wanna know is,
will this fit in the Mazda 3 and the Mazda 6 and the CX-5?
- If they put a five foot long front end on it, sure.
- Actually that's, they've said
that it will fit in those cars, that it will be,
this could drop directly into all of those,
because it's the same architecture.
- There's your market.
You can start doing swaps.
- And do some swaps.
I hadn't driven this car,
and I heard about it and I was excited about it,
'cause I thought this would be really good
on a Mazda 3 or a 6 or even a CX-5, right?
So after driving it,
there's no way this is gonna go in a Mazda 3 or a Mazda 6.
It would be an absolute nightmare to drive.
It would be horrible.
There's too much torque at the bottom end
to control all of that to front wheels
on a lightweight platform.
- No, no, no, you turn the engine that right way,
send the power to the back.
- You're not gonna do that on Mazda 3 and 6.
- They should consider it.
Base everything off the Miata and just--
- Just build it, build that outward?
Yeah, that's exactly what I think most people would want.
The CX-9.
It's time to take a drive,
and I've chosen sub-optimal weather.
Parts of pavement are wet, others are dry,
which is a good test for the all wheel drive system
in the CX-9, including its new power output.
So let's take it around the pavement that is broken
and see how it does over some chop.
The CX-9 is a cruiser,
but it's definitely more on the sporty side.
The big bumps sometimes unsettle it, but for the most part,
90% of bad pavement feels smooth in here.
In terms of road noise isolation, it does a really good job.
I mean, these are huge 20 inch wheels,
so sometimes you feel a little bit of tramlining,
a little bit of pulling when you hit some bumps,
but for the most part,
I think they've struck a really good balance here
without having to use adjustable dampers
to get the sport on the smooth pavement
and for it to soak up the bumps
on just all the bad stuff, too.
We got problems.
Hey, get in my car!
Get in here!
They don't wanna get in.
They never wanna get in.
And the CX-9 is Mazda's quietest vehicle ever.
Now part of the trickery is,
as Dave Coleman and other engineers have stated is,
they were able to reduce so much weight outta here
they could add some back,
which means they've added sound insulation
into the doors and particularly the floorboards,
and it helps a lot in the overall quality
of the driving experience,
specifically on a vehicle like this
where it's more of a cruiser.
You're gonna buy this for comfort and not sporty driving.
Now in terms of fitment and quality,
there are some rattles in here,
and it's coming from one of the pillars
on the front right passenger side,
from the plastics around the windows.
And I pushed on it, pushed in different areas,
and it's a little annoying,
but that's exactly what happens
when you start to silence everything down.
Every little creak, vibration, you start to notice,
and that's something that can be very frustrating.
Personally, over the life of a car,
I'd rather have a little bit more road noise.
I'm trying to track down
these nagging little creaks and rattles everywhere.
The next part about the driving experience
is this HUD, and now you no longer have
a flip up Plexiglas screen that I wanted to rip off.
It's projected onto the glass
like cars have been doing since the '80s,
and it's a pretty good HUD, but I have to turn it off.
Because it's LED backlit, there's some flicker,
and when the car has vibration,
you start to see the actual projection onto the glass
vibrate with the car, and to me it's very distracting.
So you can turn it off in the actual infotainment menus
by going under Settings and AD Display.
And you have to actually scroll down
and uncheck Active Driving Display.
Done, easy, except when you turn the car back on,
it automatically turns back on every time.
It doesn't stay off, which is super annoying to me
that I have to disable it every time.
So then you have to go into the height adjustment,
move it all the way up.
This is technology for ya.
Mazda has finally got a turbocharged engine
that makes some significant amount of torque and horsepower.
So what is it like accelerating in this vehicle?
Let's check it out.
I'm gonna brake-torque it just a little bit
to get the turbo up just so you can see
the best case scenario here.
(engine revving) (tires screeching)
So, first impressions,
you feel a lot more torque than horsepower.
That initial push back into your seat at the lower RPMs
is where you feel everything.
As it starts to wind up towards the higher RPM it falls off
and you actually have to shift sooner in manual mode
to get the most out of it.
Let's check out the handling in some of these damp roads,
and I have traction control off and I'm in manual mode.
Dry pavement now, so we'll get some dry grip.
Very well dampened over the tracks.
You can feel that all wheel drive system working
with initial understeer,
and then it starts to neutralize a little bit.
It's pretty good.
Now we're gonna turn sport mode on
and the transmission not manual mode
and turn traction control off
so all the stability systems are on.
There's a little bit of understeer.
The steering weight is heavy on this car,
and one of the things about it is
they've tuned this to give you some steering feedback.
For a big car, it communicates really well
with what the vehicle is doing at all times.
A lot of SUVs or heavier vehicles
do this light steering feel to give you the sense
that the vehicle is lighter than it is,
and then you turn in so quick and it upsets the car.
You don't have that problem with the CX-9.
Now the thing is, this is still a heavy SUV.
It completely hide its weight.
The all-wheel drive system can only do so much
to neutralize the handling.
Now with the turbo in this car
and they way that the turbo is tuned
to give you all that torque up front,
it tends to torque steer the front a lot,
especially when that boost comes on.
And it's not as natural and not as neutral
as the other Mazda cars I've drive.
So I'll tell you the first thing I did.
When I got this vehicle from the fleet company,
I wanted to try out to see what the power delivery was
in 87 versus 93, because the ECU on this car will adjust
for different types of fuel, and give you more power.
It won't pull as much timing using 93 octane.
So I burned through that initial tank of fuel,
and the one thing I notice about it was
definitely you lost horsepower at the higher end.
It felt like you fell off a cliff.
You'd get all this torque,
and at about 4500 to 5000 RPMs, nothing was happening.
There was no pull.
So I flushed all that out, got 93 octane in here,
and after about 100 miles, you can definitely feel
there's a lot more pull in the higher RPM.
It just, it doesn't fall on its face
as fast as it did with the 87,
which is really good for somebody who wants to drive this
in a more aggressive fashion
to have more linear power delivery, and I really like that.
You can drive it more like a normal sports car
because this is tuned with 87 octane to not do that.
It's designed for people
that aren't gonna put their foot down.
Yeah, so these tires aren't particularly the greatest on wet
as you could see there.
It washes out a little bit with the stability system off,
but usually it'll give you a little bit of slippage
with the stability control on,
obviously it's set up for safety and it will correct,
but this is definitely more understeer prone than anything.
That's to be expected, too.
I mean, it's an on-demand system.
It's gonna favor front wheel drive.
Let's take it through the turns in fully automatic here
and see how it does.
I don't have a lot of confidence in these tires.
There is torque steer.
You can feel the wheel tugging at you
a little bit in this car, of course,
because of all the torque delivery.
And they don't have the best lateral wet grip.
All understeering through there.
But what's impressive overall
is that you can drive this in an aggressive manner
and have a little bit of fun
for the size and weight of this.
They didn't just wanna sterilize all the sport out of it,
which I can really appreciate.
There's comfort.
There's good steering feel.
There's good low end power for daily driving,
and that's a huge, huge factor for most people.
You don't have to wind the piss out of this 2.5 liter turbo
to get it going.
Again, you really have to back off on the wet.
This thing wants to understeer for sure.
Torque steer, see how the brakes do here.
Good, brakes are solid.
There's no confidence issues.
Yeah, this is some of the price you pay
for having all that torque, 300 pounds, at such a low end.
You start to wash out, you start to lose traction,
and that stability control system
has to work a little bit more to keep the car in check.
Last but not least, the transmission.
And I've said this about other Mazda cars.
This is one of the best automatics,
regardless of price point under like $60,000.
It's a torque converted setup
that has the torque converter locked up almost all the time.
It has almost instantaneous downshifts.
It rev matches all your downshifts,
so when I go from fourth to third, second,
it's never jarring, it's always ready to go.
Upshifting and downshifting is a total joy here,
and it's one of the best parts
about Mazda automatics, I'll be honest,
and it's not a drudgery like some of the other vehicles.
Like your SUVs from Toyota and Hyundai,
they are just so slow.
The transmissions are just tuned for one thing,
and that is not doing much or having any fun at all.
You can at least have some fun in here
by manually shifting it, and it's a big pro for me
if I was gonna get a hauler like this.
Now the transmission does
an extremely good job in sport mode
of automatically downshifting,
keeping you in the power band at all times.
So if you're in aggressive driving mode
and you don't wanna manually shift this,
sport mode will do it for you based on g-force.
If it knows you're coming into a turn and there's lateral g,
it will downshift, prepare you for the turn
so the actual motor in the turbo is on boil,
which is really nice.
In regular driving mode, not in sport,
the transmission just goes into the most efficient state,
and you'll notice that it's programming
is to always shift about 5500 RPMs,
well away from the red line
to always keep you in the torque curve
where all that torque is coming,
because the power falls off at the top end.
So at the end, there's some big pros for the CX-9,
and the big one is this is the most refined Mazda ever made.
It's quiet, it's comfortable.
It does well over all pavement types.
It's got a super sporty transmission, super smooth,
and the motor has finally got some balls
for a Mazda vehicle, and it's fuel efficient.
My worst tank, and that was just trying
to blow through all the fuel as fast as possible,
was 18.1 miles per gallon.
Now that I've been driving it like a normal person,
I'm getting upwards of 25,
which is really good for the size of this vehicle.
Now the negatives are, it's not as sporty as you'd think.
It's not as fast as you would think.
If you're running 87 octane regular gas in here,
all the fun is had in the first 4,000 RPMs.
You can't rev this thing out and make power,
and that's a big deal for somebody
who's more of a driving enthusiast.
If you're somebody that's putting around
it's gonna be a total non-issue.
You always feel like there's power in the low RPMs,
which is how you drive every day,
but that's something to note.
The other negative is the HUD.
I can't turn it off permanently.
I have to disable it every time I get in the car.
And there's a couple creaks and rattles in here,
and just overall some things they need to work out,
like the rear view mirror just is always moving.
It's always loose.
I mean, there's just little quality issues in here
that I think that they can improve
in the manufacturing process
and the quality process over time.
But overall, let's take a look
at the overall interior experience.
(piano notes)
Getting inside the Mazda CX-9.
This is the signature edition,
which means it's fully loaded, totally tarted out.
It's got everything that you'd expect,
and this feels like an entry level luxury car.
This has gotta be Mazda's best interior yet.
You can tell their interior designers
have gotten their shit together here.
Let me explain what I mean by that.
It's the diversity of materials, the choices they've made.
If you've ever been into an affordable car
with a black interior and all black leather,
a lot of 'em look very bland and monochrome,
and their attempts to break up all that black
seem kind of chintzy or cheap or just half assed.
Here you don't have that problem.
The upper dash has this soft touch material
that almost feels like leather.
The whole middle section of the dash,
they decided to go with this really dark brown material,
or dark brown which also feels like leather
that runs across the whole center dash
and into the door panels where the actual door handles are.
And it's just a really nice touch,
and to just top all that off,
they've decided to use real aluminum trim
across the whole center dash and into the actual door areas,
which is so nice after you've seen so many cheap attempts
at recreating aluminum with plastic.
Now every interior has its quirks,
and as much as I like it, there are problems with it.
So here they are.
And I understand this right off the bat
with all these matte textures,
from a design standpoint you need some shiny bits
to break up all of that, right?
So that's what they've done.
There is this piano gloss or glossy plastic
in high traffic areas, like the window switches
and in the entire center console,
because this doesn't have the wood option.
So what it looks like in here is it looks dull,
full of micro scratches, splotches,
and there's a gouge on the passenger side,
and it just looks bad.
It looks like you have to put a lot of work
into keeping it clean, or it's just susceptible
to develop those problems.
The second thing I absolutely hate is the plastic chrome,
and they put it, again, on the window switch area
and around this whole center console.
And when I'm driving in the sun,
I feel like I just wanna put my sunglasses on
because it's so reflective down here.
I just can't get used to it and it's just not my bag,
so whether you have a problem with it
you're gonna have to get in here and see for yourself.
Back to the good stuff, ergonomics and the touch points,
the things that you interact with every day.
This steering wheel is excellent.
No, it's not overtly sporty but it's contoured just right
as a daily driver or as a comfortable driver.
You're not inundated with a million buttons
on the steering wheel, either.
You have arrows that tell you
what your forward and back is for your track selection.
You're not doing any guesswork.
Your leather wrapped shift knob here on the automatic,
if you're in manual mode it feels really solid,
almost like a manual transmission knob.
The turn signal stocks,
there's no digi turn signals or wiper stocks here.
All your buttons are easily accessible.
Your HVAC controls are carryover
from the Mazda 3 and Mazda 6
with the addition of the rear control here.
Everything works so well, feels so high quality.
The padding is in the right place for your elbows.
Your right knee area is padded,
but your left is not, which sucks.
Overall, this is a very, very high quality,
luxury feeling interior.
In terms of seats, these are the most comfortable seats
Mazda has made in a modern car.
They're better than the three by a long stretch
and they're better than the Mazda 6.
They are pretty comfortable.
They are not the industry best because there's a little bit
of sportiness and firmness here, but overall I like them.
The one thing I don't like is the driver's seat.
The electronic control,
I can't move the seat forward
and recline or decline the seat at the same time.
It's one button switch at a time,
which is a pain in the ass
if I have to move the seats forward or back
for somebody in the back seat.
Now weird thing is, the passenger seat is not like that.
You can do both buttons at a time and it will adjust,
so I don't know if that just needs to be fixed
or if it's actually a programming problem.
Last but not least, is infotainment and the sound system.
Now every single Mazda model
with this infotainment is identical.
There's no variation.
There's not 20 different versions of the same thing,
which means they've standardized it,
and coming from a technical background,
I really appreciate what they've done here.
Now, using it is nice
because it's a touch screen when you're stopped,
so it's easy to get around, and it's very responsive.
And then you have a central command knob here
in the center console when you're moving.
Once you master it, stupid simple to use, very little lag.
And the steering wheel controls are super intuitive as well.
It makes it a very comfortable,
non-intimidating user experience.
Now the negative part is,
this is a Linux-based operating system,
and they had an API opened up to developers
to come up with applications for this car,
and they have not done anything with it
in two and a half years.
There's still no Android integration,
there's still no Apple integration,
and it's falling behind in that regard.
As much as it's quick and easy,
there needs to be some ability for users
to side load different things to make it more interesting
and more powerful to use for power users, really.
The infotainment is run off this screen on the dash,
which looks like it's stuck up here
like a VTech My First Tablet for kids.
It does not go down, either physically or electronically.
It's always there, and that might be
a deal breaker for some, but you're gonna see
a lot of manufacturers starting to do this same thing,
and it is what it is.
This second row is where the CX-9
starts to get me real hot real fast,
and that's because it makes up
for a lot of the problems with the back area.
These seats adjust so well, so easily.
They're split, obviously, 20, 60, 40, whatever it is.
It does recline, it has a recline feature.
It's all manual, there's no power seats.
And it's very comfortable.
The way that this front seat,
the actual back of the front seat, is contoured,
it's really good for creating knee space,
which is pretty important,
because the second row is your most usable,
but it does look like
a five year old from a child labor camp
stitched the back of these seats.
They look horrible.
There is HVAC in the back.
It's not dual zone, but it obviously,
at least you get some vents and some control back here.
There is no heated or cooled seats in the back,
so don't get too worked up about that.
Compared to some of the other
three row vehicles I've been in recently,
this gives you a ton of ingress and egress
outside into the back seat,
namely if you're a shorter driver in the front
or short passenger.
These seats are up in the front a lot.
It's like ridiculous.
It's so easy to get in and outta here.
It's like two feet, two legs, easily,
well almost two legs, and I'm skinny,
but if those front seats are back too much,
you're gonna have to be like an evolved chimpanzee
to get back there, but I like the amount of space
and I like the amount of room,
and the third row is pretty usable.
Now the negative part is, this seat, the bigger one,
it takes a lot of upper body strength
to move it down and up,
and that's one thing, it's really heavy,
and I'm struggling to lift it one armed with my left arm,
and if you're a female and you're petite
and you're struggling, this is gonna be a pain in the ass.
And dare I say it,
this is exactly why if you need three rows
I would always buy a minivan over this
because you don't have to fight with all this shit.
But I know I just said a dirty word
for a lot of people out there
that can't even fathom owning a minivan.
So what's the conclusion?
Well that's pretty simple.
This is the best mainstream vehicle Mazda has ever produced
in terms of refinement, quality, comfort,
driving dynamics, interior space, attention to detail,
and you can tell with it,
it's a big cruiser without feeling like a big cruiser.
Now that's where some of the problem comes in,
because this still has some of the Mazda DNA,
and what that means is, trying to strip out weight
where they didn't need it and complexity.
Like, you don't have the panoramic sunroof
or seat coolers or seat heaters in the back seats.
And those are things that people
are going to be looking for and cross shopping for
in more of a luxury level SUV,
things that Hyundai and Kia have in their vehicles
that this doesn't.
And I don't know if they're gonna steer people
away from some of those other brands
to sacrifice just for better driving dynamics,
I just don't know.
That's one of the reasons
why it's a confusing vehicle to me.
Review | 2016 Mazda CX-9 | Plump Yet Satisfying
634 Folder Collection
Ken Lee published on December 16, 2016


Unified wireless is a scalable wireless local area network solution that combines wired and wireless services. In contrast to legacy wireless networks that provide access via independent wireless access points or routers, unified wireless make use of centralised control policies that allow network administrators to manage the configuration of all access points. When supported by a compatible wireless switch, administrators need only send software images to each access point and then apply the desired policy as a one-time configuration.
D-Link has a wide range of accessories and useful extras to help put the finishes touches to your network solution. They are designed to help deliver added functionalities or capabilities in order for the network to perform at its best. D-Link provides accessories that are compatible and interoperable for all our networking products such as storage, IP surveillance, switching, security and wireless.


I'm back with TV doctors | laura PHOTOGRAPHS!
They're not really TV doctors, actually, but don't they look like it? These are a few stock photos I recently shot for Golden Gate Urgent Care. If you are in San Francisco and you find yourself in need of an ER, I cannot say enough nice things about these doctors. I was lucky enough to meet them when I wasn't sick (although my instagram feed featuring these folks confused a few people, including my Mom, who all thought I was actually in the ER and taking pictures – I assure you all, as much as I love photography, that's the last thing I'd do in that situation) and I couldn't get over how genuinely nice and caring they were. I also think they look pretty great in their new photos too.
I hope you all are doing well. I'm finally returning to this little blog and the editing room after a little time off.
Next > San Francisco City Hall Elopement on Classic Bride Today!


Ubuntu 11.10 (and maybe earlier versions as well) have a default theme called "Ambiance". This theme controls the colors of window borders and other such things. One of the things it controls is the background color of tooltips (those little things that hover over something when you mouse over it). In the Ambiance theme that background is black with a light foreground color for the text.
I even tried making the preference files unwritable to prevent my preference from being overwritten. This resulted in the tooltip being the correct color the first time mousing over something each time I ran Eclipse, but then it would immediately revert to black on black.
There is a bug on this over on the Eclipse bug site which is marked as "RESOLVED FIXED" which it clearly is not.
After trying many of the various suggestions out there on the internet to fix this, I found one solution which worked.
The solution involves taking the "Ambiance" theme that comes with Ubuntu 11.10, copying it to your home directory, and modifying it to change the tooltip background color.
Once installed you can find it in the Unity dock under the name "Advanced Settings". This means that it isn't called Gnome Tweak Tool, it's listed as "Advanced Settings"
Once running go to the "Themes" section of the "Advanced Settings" tool and change your "Window Theme" from "Ambiance" to Ambiance-fixed-tooltip-bg-color"


text:
Jordan + 5 more
Inter-Agency Regional Response for Syrian Refugees: Egypt, Iraq, Jordan, Lebanon, Turkey, 26 February - 4 March 2013
ONE MILLION SYRIAN REFUGEES
"With a million people in flight, millions more displaced internally, and thousands of people continuing to cross the border every day, Syria is spiralling towards full-scale disaster" - UN High Commissioner for Refugees António Guterres.
Underfunding remains a major operational challenge. It is vital and urgent that host Governments and their populations are well supported by the international community in sharing the heavy burden.
The exodus of Syrian refugees accelerated dramatically in recent weeks, doubling in three months to 1 million from 500,000 in December 2012.
Impact on host countries is severe:
Lebanon - population has increased by as much as 10 per cent.
Jordan - energy, water, health and education services are being strained to the limit.
Turkey - Government has spent over US$600 million setting up 17 refugee camps, with more under construction.
Iraq - hosting more than 100,000 Syrian refugees in addition to its own crisis with more than 1 million Iraqi IDPs.
Egypt - over 20,000 Syrian refugees registered and a further 23,000 identified as in need of assistance.
UN High Commissioner for Refugees
Iraq: Sinjar Area-based Assessment - Profile, December 2021
UNHCR Jordan: Azraq Refugee Camp - Factsheet, December 2021
Syria + 3 more
Syria, Lebanon and Jordan Emergency Appeal 2022
Research Terms of Reference Jalawla Area-Based Assessment (ABA) IRQ2101 Iraq (December 2021, Version 1)
Manual and Guideline


Neighborcare Health offers emergency dental care services to patients of all ages on a same-day or walk-in basis. We also provide referrals to other dental providers, if necessary. Please call your clinic if you are experiencing a dental emergency. For walk-in appointments for emergency dental needs, please arrive 90 minutes before the clinic closes.


text:
Player migration report: Brazil chased by France
The CIES Football Observatory just disclosed a report analysing the presence of expatriate footballers in 145 leagues from 96 national associations worldwide.
With 1,287 players abroad, Brazil tops the rankings for exporting countries. However, while the number of Brazilians went down by 14 compared to 2020, that of the second most represented nation abroad, France, increased by 124 to reach a new record high of 946.
On the 1st of May 2021, despite the pandemic, the number of expatriates grew by almost 5% in comparison to the same date in 2020: from 13,025 to 13,664.
This increase in difficult circumstances confirms that the internationalisation of the footballers' labour market is a well-established process.
Expatriates represent 21.3% of players surveyed: from 26.4% in the domestic leagues of UEFA member associations down to only 8.9% in those of the CONMEBOL.
Overall, more than a fifth of expatriate players originate from Brazil, France and Argentina (21.4%).
If we take the number of expatriates in comparison to the population resident in the country of origin, Iceland tops the rankings. There is one expatriate Icelandic footballer for every 5,584 inhabitants of the island.
Montenegro is second (one expatriate for every 6,759 inhabitants), ahead of Croatia (10,792), Uruguay (11,889) and Serbia (15,742).
Access the Report for free!
More exclusive data on the CIES Football Observatory's Atlas of Migration.
About the CIES Football Observatory
The CIES Football Observatory is a research group within the International Centre for Sports Studies (CIES). Created in 2005 by Dr. Raffaele Poli and Dr. Loïc Ravenel, the CIES Football Observatory currently comprises a staff of four full-time permanent researchers who specialise in the statistical analysis of football. Click here for more information.
About the CIES
The International Centre for Sports Studies (CIES) is an independent study centre located in Neuchâtel, Switzerland. It was created in 1995 as a joint venture between the Fédération Internationale de Football Association (FIFA), the University of Neuchâtel, the City and State of Neuchatel. Click here for more information. Click here for more information.
CIES – Centre International d'Étude du Sport
Avenue DuPeyrou 1, 2000 Neuchâtel
Phone +41 32 718 39 00 - Fax +41 32 718 39 01


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More than 300 days of sunshine and its location along the Columbia River provide a variety of recreational activities including world-class fishing, birding, bike trails and parks. Golf at one of three courses or bask in the sun at one of Kennewick's 27 beautifully maintained parks. The name "Kennewick" is believed to be a native word meaning "grassy place." It has also been called "winter paradise," mostly because of the mild winters in the area.
Kennewick is the host city of the Tri-City Americans hockey team, that plays their home games in the Toyota Center, which hosts many other regional events.
The Southridge Sports and Events Complex is also located in Kennewick, just of Highway 395. The 52-acre state of the art multi-use complex attracts over 100,000 visitors for a variety of local, regional and national tournaments. The complex also has the only indoor sports pavilion in the region which can be used for both sporting activities and events.
Make memories and experience a piece of world class art at the Gesa Carousel of Dreams located just off of Highway 395 next to Southridge Sports and Events Complex. The vintage 1910 Charles Carmel Carousel was restored to its original condition and installed in Kennewick for the public to enjoy.
There are over 160 wineries within a 60 mile radius of Kennewick. Centrally located in the heart of Washington State wine country, the city provides an ideal location for a weekend of wine tasting under the sun. The downtown Kennewick waterfront area is home to Columbia Gardens Urban Wine & Artisan Village. The wine village houses 2 full production wineries and four tasting rooms. Check out the multiple food offerings available as you wander the 3.5 acre site.
9/11 Memorial
Three steel beams that once were part of the World Trade Center proudly stand at the Southridge Sports and Events Complex Kennewick as a memorial to the 2,996 people who lost their lives on September 11, 2001. The artifact, weighing nearly 6,000 pounds, is flanked by two columns of basalt to symbolize the New York City towers, a flag and benches.
Historic Downtown and Waterfront
Located between the Hwy 395 Blue Bridge and Hwy 397 Cable Bridge, discover the unique character and nostalgic charm of this historic district. Public art connects waterfront views on Clover Island to specialty shops and galleries in historic downtown.
Numerica Hometown Holiday Event
Experience a classic holiday atmosphere in downtown Kennewick this holiday season. Santa's Arrival Parade has been modified this year into a parade of windows that can be enjoyed the whole month of December. The Historic Downtown Partnership will be hosting a safe and physically distanced activity to include a map and clues to solve a holiday riddle.
Retail therapy awaits at more than 150 shopping, dining and entertainment options at Kennewick's Columbia Center Mall, surrounded by 4 square miles of mega retail paradise. Enjoy savvy salons, boutiques and dining at Southridge (Hwy 395 and Hildebrand Blvd), and specialty shops, goodies and galleries in the historic downtown and waterfront district.
The Toyota Center is home to the Tri-City Americans WHL hockey team and the Tri-Cities Fever AFL2 football franchise. The facility also plays host to numerous concerts and theater events each year.
Water Follies
For more than 50 years, thousands of spectators converge on the banks of the Columbia River the last full weekend of July for the Tri-City Water Follies Unlimited hydroplane races and over-the-river airshow.
Kennewick Public Art
Historic Downtown & Waterfront
Playground of Dreams


text:
Cathy Young on Elliot Rodger, #YesAllWomen, and Toxic Gender Warfare
Reason Staff | 5.29.2014 11:00 AM
Urban Hikers
Last weekend's horror in Santa Barbara, California, where 22-year-old Elliot Rodger killed six people and wounded more than a dozen before shooting himself, unexpectedly sparked a feminist moment. With revelations that Rodger's killing spree was fueled by anger over rejection by women and that he had posted on what some described as a "men's rights" forum (actually, a forum for bitter "involuntarily celibate" men), many rushed to frame the shooting as a stark example of the violent misogyny said to be pervasive in our culture. The Twitter hashtag #YesAllWomen sprung up as an expression of solidarity and a reminder of the ubiquity of male terrorism and abuse in women's lives. Most of the posters in the hashtag were certainly motivated by the best of intentions. But in the end, writes Cathy Young, this response not only appropriated a human tragedy for an ideological agenda but turned it into toxic gender warfare.
NEXT: Growing Bipartisan Chorus Demands Resignation of V.A. Chief Shinseki


text:
Q: Python 3.5x, 3.6x and 3.7x Install Fails on Windows 7 even with Universal C runtime updated I have tried installing 3.5x, 3.6x and 3.7x on my windows 7 pro 64 bit OS with both the executable installer and the web based one from https://www.python.org/downloads/windows/ , I updated my Universal C runtime, restarted, uninstalled all previous versions, disabled my firewall in the event of the downloads being blocked, all return the same error, the setup freezes on 0%, then crashes with "i399: Apply complete, result: 0x80072f7d," in the log file. Any help appreciated

A: Try the follow tips:

*

*Turn off your Antivirus then try the install again.

*Clear your %temp% folder on your PC.

*Try installing in Repair mode.

A: The solution I founded for this is uncheck the download of the debugging symbols and debug binaries


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Super Formula je najviša klasa jednosjeda automobilizma u Japanu.

Tijekom šezdesetih godina, automobilističke utrke su bile jako popularne u Japanu. Prva Velika nagrada Japana održana je 1963. na stazi Suzuka, a 1976. VN Japana ulazi u kalendar Formule 1. Prvo prvenstvo Super Formule je održano 1973., a naslov je osvojio Japanac Motoharu Kurosawa. Prije svog dolaska u Formulu 1, mnogo vozača je nastupalo u Super Formuli; Ralf Schumacher, Heinz-Harald Frentzen, Eddie Irvine, Mika Salo, Pedro de la Rosa, Kazuki Nakajima i drugi. Od 1973. do danas, natjecanje je nekoliko puta mijenjalo službeni naziv.

Tehničke specifikacije

Svi bolidi Super Formule koriste Dallarinu šasiju i 2,0-litrene turbo motore s četiri cilindra i izravnim ubrizgavanjem goriva koje isporučuju Toyota (RI4A) i Honda (HR414E). Jedini dobavljač guma je japanski proizvođač Yokohama. U prošlosti su bolidi koristili i šasije Marcha i Lole, BMW i Cosworth motore, kao i Bridgestone i Dunlop gume. Bolidi moraju težiti 660 kg s vozačem, minimalna težina motora je 85 kg, a snaga je 550 KS koja je ograničena protokom goriva. Mjenjač isporučuje britanski specijalist Ricardo i ima šest brzina koje se biraju polugama iza upravljača, dok karbonske diskove i kliješta isporučuje Brembo. Bolidi imaju i sustav za pretjecanje Overtake system (OTS) koji se temelji na kratkotrajnom povećanju protoka goriva što povećava snagu motora za oko 5%, a vozači dodatnu snagu na raspolaganju imaju 20 sekundi. OTS vozači smiju koristiti pet puta u utrci. Sigurnosni standardi udovoljavaju propisima iz FIA-e iz 2010.

Prvenstvo

Staze

Prvenstvo se sastoji od sedam utrka, a započinje i završava na stazi Suzuka u travnju i listopadu. Vozi se još i na stazi Autopolis u Ōiti, stazi Sportsland Sugo u Miyagiju, stazi Fuji Speedway koja je ugostila utrke Formule 1 1976., 1977., 2007. i 2008., stazi Twin Ring Motegi na kojoj su se vozile i utrke IndyCara u prošlosti i na stazi Okayama International Circuit u Okayami.

Sistem bodovanja

 Ovaj sustav bodovanja vrijedi od prve do šeste utrke, dok na posljednjoj sedmoj utrci sve ostaje isto osim što pobjednik osvaja 13 bodova.

Naziv prvenstva

Prvaci

Izvori

Vanjske poveznice
Super Formula Championship

Međunarodna automobilistička natjecanja u Japanu

redpajama_set_name: RedPajamaWikipedia


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Q: Calling Method of a Class within StructureMap Registry Configuration I can't help but think there is a better way to do this than my current code within my StructureMap Registry.
  For<ISchedulerFactory>().Use(() => new StdSchedulerFactory());
  For<IScheduler>().Use(() => new StdSchedulerFactory().GetScheduler());

Is there a way to have it use the previous registered type and call the method from that?  (GetScheduler() is on ISchedulerFactory interface)

A: Yes, you can do this:
For<IScheduler>().Use(c => c.GetInstance<ISchedulerFactory>().GetScheduler());


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'The Dead Don't Die' Movie Review
Ernesto Valenzuela Posted On June 17, 2019
The Dead Don't Die is a prime example that cinema isn't dead. This may sound like an exaggeration, but Film Twitter seems to think blockbusters reign supreme and indie films don't see the light of day. Then there's Jim Jarmusch's latest arthouse film, with distribution from Focus Features and a wide release during the summer movie season. Cinema definitely isn't dead folks. The Dead Don't Die is a black comedy zombie film that takes place in a quaint and quiet town. Its odd story structure and comedic beats are carried by its impressive cast and while a bit droll, the film is endearing.
Starring Bill Murray, Adam Driver, and Chloë Sevigny, the trio do more their fair share of work carrying the film. The movie also features an ensemble cast alongside the trio mentioned in classic Jarmusch fashion. Almost every actor in this film has worked with him before on one of his many other films. Speaking of Jarmusch's filmography, The Dead Don't Die is special because it is his first foray into the zombie film genre. The concept of two icons of filmmaking, Bill Murray and Zombies, being put together in a film, was exciting. General audiences were excited to see it. Does the film deliver? The answer, is sort of.
While we do get our fair share of Bill Murray and Zombies, this film is not your typical zombie film. With its cleverly political message weaved into the story and dry humor, it's hard to compare to any zombie film. Even films such as Shaun of the Dead don't quite compare to what Jarmusch has created here. This arthouse film, disguised as a zombie film, uses its cast to its advantage to tell its odd story. Bill Murray and Adam Driver take the main focus, with other interweaving stories in the film starring other talent. Steve Buscemi, Tilda Swinton, RZA, and Iggy Pop are some of the people who take part in this film. Each has their time to shine, and it is only with this cast that the dry humor manages to work.
The zombies are a big thing that need to be addressed as well. Jarmusch does his spin on the zombie genre in a fun and creative way in this film. The dead are stuck to repeating the same things they did while living, providing interesting commentary and hilarious situations. This could, however turn off some audiences to the film and maybe even confuse others. The story and characters in this film aren't exactly the most relatable at times. Seldom does a character in this film react how you expect them too. That is the charm of a Jarmusch film, though. It could even introduce the casual moviegoer to his work, too. There are plenty of crowd pleasing moments for fans of the zombie film genre, though. Hacking, slashing, and full on zombie carnage is present in the film too.
So, while the film has what you expect from a zombie film, it also has a lot that you don't expect too. This mixture of both zombie action and arthouse storytelling is something i'm not entirely sure general audiences will appreciate. It's something I'm not entirely sure if I appreciated or not. The droll humor eventually can take a toll on the viewer by the time the credits roll. The plot-lines in the film don't really have any sort of resolution or ending, which can leave some confused. The trio of Driver, Murray, and Sevigny shine in this film, as well as the ensemble, but that can't help the story. As much as Jarmusch deconstructs the zombie genre he also plays to it, making for a confusing but fun time. The multiple stops to ponder on the futility of it all makes the film lose momentum sometimes, too.
Still, The Dead Don't Die is a prime example that cinema isn't dead. Thanks to wide distribution, Jim Jarmusch's latest deconstruction of cinema will reach the mainstream audience. While some casual moviegoers come for the zombie gore and Bill Murray, there's a chance they will stay for it's odd commentary and explore more 'different' films like it. While there are odd choices made with The Dead Don't Die, there are more good ones to justify this film.If there's anyone to thank for supporting weird, different, "independent" cinema, it's Jim Jarmusch. Cinema isn't dead. At least, not yet. – Ernesto Valenzuela
GRADE: 7.5/10
The Dead Don't Die is now playing in theaters.
The film stars Bill Murray, Adam Driver, Chloë Sevigny, and Tilda Swinton
Ernesto Valenzuela
Avid Marvel fan and father of two dogs. Writing about movies and comics since 2017.
Full Circle Pride: 'The Handmaiden'


In celebration of the TESOL Convention in Baltimore, MD this year, I thought it would be interesting to highlight some of the professional organizations that serve ESL teachers. TThere are quite a few of them, each with a special niche in education.
http://www.cal.org/caela/ The Center for Adult English Language Acquisition was created to help states support their adult English language learners.
What professional organizations are you a member of, and why?


Incandescent Sky - "Paths and Angles"
Incandescent Sky is an all instrumental group from Providence, RI and this is their second CD release. There are 8 tracks in 55 minutes of sometimes really floating space music (There Is Hope) or more ominous music like the Ataranxiety, which features a good number of voice samples and is heavily built on a melodic synthesizer line that deconstructs after 2 minutes, at which point the track really takes off and features Chapman Stick. Angles begins quite new age like before the drums and bass kick in and lift the track up and the guitar kicks in and a very complex track emerges. The Path of Resistance is a strange track with a lot of small things to listen for. Inside Irises begins with piano and is quite happy but devolves into a really spacey piece in the middle with some guitar synthesizer and a change in the piano style. The May Rules is a long 11 minute piece which begins with some really cool wind synthesizer (wish I owned one of these!) and is very spacey. The track stays very laid back and psychedelic the whole way through. The CD ends with Trade Winds, which features some totally insane guitar that is panned all over the place and combined with a lot of strange sounds. Quite a cool track. Every track on this CD is different and a real journey. Great stuff.
For more information you can visit the Incandescent Sky web site at: http://www.noisynoise.com/incandescentsky.