Found in San Jose, California, Mi Pueblo Food Center is the leading grocery retailer in Northern California. They are known for their authentic, fresh Latino food shopping experience for the community.
It was established and founded in the year of 1991 by Juvenal Chavez. Mister Juevenal migrated in the year of 1984 from Mexico before finding himself in business in 1986 along with his brother.
They have 16 stores found throughout the Bay Area in San Francisco, Monterey Bay Peninsula and Central Valley. Due to the high demand from the community, this company continues to expand.
Employees enjoy discounted prices on the company's products. Mi Pueblo Food Center also offers retirement plans, medical, vision and dental insurance benefits to their employees.
What employees love about the company are their salary options and full-time or part time working hours. This company also offers development plans for careers and paid training programs.
How Old Do You Have to be to Apply for Mi Pueblo Food Center?
Age requirement may vary depending on the position the candidate wishes to fill in. Interested applicants usually need to be 16 years old and older.
Deli Cashier – operates the cash register, tallies the customer purchase and checks out groceries accurately and efficiently. They also need to check prices and answers customer queries.
Front End Cashier – indentifies counterfeit money, counts effectively, quickly and accurately, provides excellent customer service and answers customer questions. Front End Cashiers also return unwanted products and items in their respective shelves and retrieve merchandise.
Hot Grill Cook – produces, cooks and prepares deli products and oversees the product quality before serving or selling to customers. They must have common knowledge on handling cutting equipment and using/operating grills and ovens.
Baker – bakes, produces and prepares Hispanic pastries and breads with recipe experience. This position must know the safe usage of bakery equipment and suggests bakery services and products to customers.
Mi Pueblo Food Center Food Center also has careers in other positions within their company such as meat cutters, produce clerks, customer service booth clerks and Class A drivers for their retail stores and distribution centers.
Candidates can apply online through their official website. This is where they provide applicants with a vast array of positions and titles to choose from.
Applying online is available for those who wish to be part of the company's family. They may choose to be part of either the retail and/or distribution team.
Interested applicants can visit the website and find application links online. If the candidate wishes to submit their resumes' in person, in store applications are also available.
When applying for a position within the company, be sure to give detailed, clear and correct information. Individuals must also possess multilingual abilities and excellent communication skills.
Applicants may wait for a week before obtaining a formal job offer from the company, but keep in mind that this depends on the employment time table.
Mi Pueblo Food Center Food Center is rich in culture due to its proud nature. They are comfortable in knowing who they are and they happily embrace the Latino traditions.
The company is working on Cage-Free Eggs to promote change in clients and their customers buying habits. Cage-Free Eggs don't only promote health and community wellness, but also battle animal cruelty.
They are known for the vigilance and hard work they provide to their respected patrons and clients. They do this to give them the best in Hispanic cultural experience.
They support communities and serve the people through campaigns and initiatives. The company launched scholarship programs for the youth of today to give them a bigger, brighter future ahead.


We've marshalled the truffle crew together and this time we've headed out to Chateau Yering for their annual Truffle degustation lunch. This year there's a change - the truffles have all been sourced from Victoria - from Tibooburra in the Yarra Valley and the Otways.
As soon as you enter the dining room you are welcomed by that beautiful truffle aroma coming from the truffle butter.
And just to fill us with lust, on the fireplace stood this beautiful truffle - I think Elle's got a large enough handbag to stash that in without anyone noticing.
Two canapes presented on black slate - the cracker had the texture of prawn crackers - a line of truffled creme fraiche piped along the centre.
Egg cheese and truffle - a combination that always works.
This is the type of dish that deserves to be looked at so you fully appreciate it. I loved the bite of that tiny breakfast radish, a sharp freshness to cut through that deliciously creamy panna cotta that was packed with parmesan flavour.
A good combination of clean, earthy flavours of beetroot and that crisp coated cigar of creamy persian fetta, bound with that lovely aroma of truffles.
Quite an amazing ravioli - they were filled with a potato foam that just oozed as you cut into them.
Perfectly cooked squab, still tender and juicy - you had the contrast of crisp skinned leg and barely cooked breast.
There's a bit of a Mugaritz influence in the charcoal grilled wagyu - playfully painted black, inside it's still wonderfully rare.
I always look forward to truffle desserts and this one really hit the spot. There's something to be said about just how well banana and truffle work together.
Just a little something to finish.
wow, this looks like one amazing meal. Had no idea chateau yering does this every year. Might have to keep an eye out for next year!


With this adaptor you can use Canon EOS (EF and EF-S mount) lenses on Sony Alpha DSLR/SLT cameras (A200, A350, A700, A900, A55, etc.).
This is manual adaptor, no electronic connections between lens and camera - please use Aperture priority or, best, Manual (M) mode. Set shutter speed, ISO manually; manual focusing. If no aperture control ring on the lens aperture can't be controlled. The distance how close you can focus depends of the lens. To focus, use both - focus ring and zoom ring.


This month we're doing another of our Reese's Southern Wisdom blog posts. The timing is actually perfect. August is a favorite month for travel, family vacations and just getting out of town. For people, that's a good thing. For sales, not so much. With customers not picking up the phone to call for sales or services, a business needs to find a way to bring in revenues during a slow period.
Many people are quick to send out email blasts, trusting their computers to do the work of drumming up business. That may not be the best approach during slow months.
A better approach is to step away from the computer and pick up the phone. Which leads us to this month's Reese's Wisdom topic – warm calls. See that play on words – Warm Calls – warm month of August?
Reese told me warm calls was one of the ways he stayed in touch with his clients so they remembered him not only for business but fondly knowing he cared about them. This is not the same as "WARM SALES" meaning not a done deal. This meaning of "warm" is reaching out to just check in and have a nice "warm" chat. Not business. Just seeing how they are doing. Reese made a point of keeping track of things of importance to his clients. He kept all the details in his Act and periodically, if he saw an article or heard of something that would interest a client, he'd pick up the phone, and chat about that topic. Not planned – totally impromptu call to check in.
The idea is reach out to customers, tell them it's not a sales call and that you are just checking in. Ask them how their summer has been going? How's the family. If you have been doing a good job with your CRM, you should have little tidbits of information stored away that talk about what your client's like personally.
Is it golf? Have they been out playing and if so how's it going? Is it pets? Do some research ahead of time and tell them about an article you saw that talked about keeping pets safe in warmer or colder months.
The concept behind the warm calls is to keep your company and who you are in front of them so when they do need services or product, they think of you. The calls shouldn't only be during the summer either. They should be happening with some frequency. Not so much that it's annoying but enough that the customer knows it's a quick call to just check in.
You'd be surprised how often they will say thanks for the call and that they have been meaning to reach out. That happens to us all the time. We must be candid and say we don't do the calls as often as we should ourselves. Everyone gets all caught up in the day to day events and forgets to reach out and "touch" our clients.
They say you need to reach out and "touch" a new prospect 7 times to land a sale. That also applies to current customers. If you not somehow in front of them one way or another, they could potentially move somewhere else. You are trying to ensure that your client knows you care about them for more than just revenue. That you want to be a trusted partner. Taking the time to ask about them and remember things about them shows you have a vested interest in them as people, not just dollars and cents.
Take the time to reach out with warm, inviting calls. You'll like the results.


Reverse painted mezzotint laid down onto glass; The Humourist or Piping Girl. Engraved by Philip Corbut after the painting by Jan Miense Molenaar, printed for Robert Sayer and London published circa 1758.
Within the original carved 'Hogarth' frame.


Florida-based flood protection company Geodesign Barriers built the dams in less than six hours.
MYRTLE BEACH, SC, October 03, 2018 /24-7PressRelease/ — Flood protection company Geodesign Barriers surrounded three Myrtle Beach homes with their steel flood barriers and kept them dry throughout ten days of flooding, with three feet of water covering the area.
When the Waccamaw River and the Intracoastal Waterway near Myrtle Beach, SC, flooded from the heavy rains following Hurricane Florence, three homeowners decided to fight back with flood barriers. Geodesign Barriers, a flood protection company out of Hobe Sound, FL, answered a call from Myrtle Beach homeowner Ted Richardson on the night of Thursday, September 20th and loaded a truck with equipment to make the 650-mile drive to South Carolina the following day. By mid-Saturday, the two-man crew from Geodesign had surrounded three houses, well before the flood had reached any of them.
The flood barriers were a huge success and kept all three houses completely dry, saving the homeowners from more than $100,000 in damages. The successful dams gathered interest from the National Guard in South Carolina as well as FEMA and the Army Corps of Engineers.
"The barriers saved my home," said Ted Richardson, who finished building his dream house less than one year ago.
Geodesign Barriers is a Florida-based flood protection company. It is a subsidiary of Swedish flood protection and civil engineering company Geodesign AB, with a history of twenty-three years in flood protection in Europe, and has recently established itself in the United States. The flood barriers in Geodesign's product portfolio come in two different variants: a premium steel barrier (used in Myrtle Beach) and a diamond plate barrier, which is extendable up to eight feet. Both product lines are infinitely connectable in length and require no tools to assemble. The A-frame design creates a self-anchoring barrier and the plastic liner provides a perfect seal to keep water out.


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redpajama_set_name: RedPajamaCommonCrawl


text:
IRMA GOLD
Zooming through lockdown
Like half the country, the ACT is back in lockdown and this means that a bunch of my IRL bookish happenings shifted to Zoom. But one that was always intended for Zoom was F*CK COVID: An Online Literary Affair, organised by the dynamic team at the ACT Writers Centre.
Before starting, with AWC crew Claire and Nigel
Screen 1 of the crowd, with me inside the yellow box!
When the event was first proposed I remember thinking that online probably wasn't necessary. Melbourne, Sydney and Canberra weren't in lockdown — oh, how those days seem like a distant dream! But clearly the organisers are fortune tellers and this event ended up being the highlight of my locked-down weekend. Plus every time I typed 'F*CK COVID' it was like a fist punch of defiance.
The event sold out in three days. Then more tickets were released, and it quickly sold out again. I was on a panel with Mark Brandi, moderated by Nigel Featherstone, called 'Hard truths; Risky fiction', and what an absolute delight it was. Nigel was his usual magnificent and thoughtful self, expertly guiding the conversation, and Mark and I found so many synergies in our work and writing process.
My 'set' for F*CK COVID
Mark's The Others is an absolute cracker of a book and kept me up until the early hours of the morning. Like The Breaking, which I was there to discuss, it's tricky to talk about without giving away key plot points! But I found our conversation so rich and thought-provoking, and I hope the audience did too! It's always difficult post-event to remember exactly what was said, which is why Sue Terry's incredible write-up of the panel is invaluable! I will defer to her summary of everything, except to say that I work full-time as an editor, not part-time, which makes finding time to write extra challenging, especially when you combine that with being a single parent of three children. But there are cracks in life, and I seize on them whenever I can!
Jumping now to school visits, I wanted to mention the gorgeous kids at Dawul Remote Community School which is located in the East Kimberley region of Western Australia. This is where Zoom comes into its own, because how lucky was I to visit this school remotely! I shared the stage (or screen!) with DeadlyScience's Corey Tutt. I was fortunate to edit Corey's brilliant middle-grade book, The First Scientists (Hardie Grant, out 13 October 2021), so it was an absolute blast chatting to the kids with him. They had so many great questions about books and writing, and I came away enlivened, as I always do. My own kids are homeschooling during lockdown and were under strict instructions to keep out! Just one of the many challenges (as all parents know) of trying to simultaneously work and homeschool.
Next up was a pre-record for the inaugural Macgregor Primary Writers Festival — a whole week in which the school does nothing but celebrate books and writers. How blissful does that sound! They had an incredible line-up, including Andy Griffiths, Jackie French, Bronwyn Bancroft and yours truly, among others. If only I could travel back in time and be a kid at that school!
And finally there was my Editing Essentials presentation for SCBWI (Society of Children's Book Writers and Illustrators) which covered editing the full gamut of kids books, from picture books through to YA. The SCBWI crew organised a stellar line-up and there was a lovely big crowd who had great questions. When asked which was my favourite children's genre to edit I had to say ALL OF THEM!
These events have brightened my lockdown immeasurably. Massive thanks to all the organisers who are making sure adults and kids alike have plenty of literary goodness to sustain them in these crazy times.
The debut release storm
I have started trying to write this post so many times but pre-publicity for The Breaking has me feeling like I'm in the middle of a storm. A tropical storm, perhaps (I love the tropics), but a storm nevertheless.
I had the best of intentions. Over the Christmas holiday period I knew I would have a couple of manuscripts to edit but that there would be plenty of time to write a bunch of guest blog posts and Q&A interviews. My plan was to get ahead on everything so that come release day I wouldn't be overwhelmed.
There was one small problem that I hadn't accounted for. Christmas slow mode. It happens every year, and yet every year I forget about it. My family came up from Melbourne (extra wonderful after all their months in lockdown) and I stopped working. I never stop working. One of the dangers of working freelance is that evenings and weekends are just extra work days, so I never really stop. And then when I do, it's like someone switched my motor off. I didn't want to go near my email, or even think about anything other than just being with friends and family and enjoying the summer. Then I took the kids north for a week (bliss), and then it was still school holidays. It took me a long while to get back into gear. And needless to say, instead of being ahead, I was then behind.
I did manage to get some new author photos done. I'd been putting it off for so long because I loathe being in front of the camera, but I actually surprised myself by enjoying the shoot. All credit to the fabulous Karleen Minney who directed my awkward body into better photographic shapes. Well, except for this outake. I was at saturation point here and couldn't figure out what to do with my hands (seriously, hands are the worst on a shoot).
Since then I've been doing interviews for print and podcast, writing more Q&As, signing stock that arrived early to some of my local bookstores, and working with my publicist to plan a book tour, which is super exciting. I was also on a panel with superstar combo Karen Viggers and Zoya Patel talking about the representation of women in contemporary writing, which was so much fun. And The Breaking was allowed to break its embargo for its first outing.
After launching in Canberra next Thursday 4 March I'll be heading to Brisbane for an event at Avid Reader on Thursday 11 March and then spending two weeks visiting bookshops all down the east coast, ending in Melbourne with an event for Readings at The Collective on Tuesday 23 March. If you're in one of these cities, I'd love to see you at these events!
It is a nerve-wracking thing releasing a book into the world. And although I've published a collection of short fiction and some children's books, because this is my debut novel it almost feels like the first time again. Feedback from people who've read early copies of the book has filled me with such joy, especially from those I know whose opinions I respect enormously. And it is so happy-making to receive all the photos of readers' pre-ordered copies arriving.
The book is officially in bookshops today, and on the weekend there was a lovely big spread in the paper ahead of its release. So this thing is on, the book's out there, and I'm going to ride that wild storm to the end.
Secrets from the Green Room
Mega exciting news! This year I've been busily planning a new writing podcast with my co-host Craig Cormick, called Secrets from the Green Room. Craig and I have known each other for more than 20 years. I first met him in my second year studying creative writing when he happened to be my tutor, and since then we've made books together, been in a writing group together, and now we're hosting a podcast together. And boy is it a lot of work starting a podcast! I knew it would be, and yet…
Our tagline is 'The author stories you won't hear anywhere else' because the podcast is taking green room chat live. When writers get together — be it in green rooms or bars or cafes — they talk frankly about the pleasures and pitfalls of writing and publishing in ways that they usually don't when put on a stage at a festival. So Secrets from the Green Room is going to take you backstage, with thanks to our sponsor and supporter, the ACT Writers Centre.
Season 1 features James Bradley, Holden Sheppard, Karen Viggers, Chris Hammer, Anna Spargo-Ryan, and more. We talk about everything from rejected manuscripts that never made it to publication (Anna Spargo-Ryan), how the publisher you choose can have a big impact on sales — and no, it's not necessarily about big versus small publishers (Chris Hammer), the perceived glamour of an author's life versus the reality (Karen Viggers), being snubbed by literary big shots in the green room (Holden Sheppard) and so many other things besides.
Ep 1 is now live! It features my interview with Anna Spargo-Ryan. I can't tell you how much I enjoyed talking to her about how she grew up with her own publishing house (sort of!), the manuscripts that never made it to publication, how she accidentally pitched a book on Twitter that led to a heated auction, what said heated auction involved (hint: a lot of emotional paralysis on the couch), the worst rejection of her writing life and a whole lot more.
You can find us on Apple podcasts or wherever you listen (obviously we'd love you to subscribe) and all the socials: Twitter, Instagram and Facebook (obviously we'd love you to follow). And you can drop us a line via our website. Hope you can join us for the ride!
Launching in the time of COVID
Launching a book into the world can be a strange and surreal experience at the best of times, but launching a book into a pandemic just got a whole lot stranger. Authors have been forced to adjust to new technologies and ways of engaging with readers, and reconcile themselves to the fact that events are now all via a screen. So I asked three authors how their recent book releases compare with their previous books — back when we were all naïve and thought pandemics belonged only in novels. Laura Elvery, Elizabeth Tan and Mirandi Riwoe share the best and the worst of their book babies going out during the time of COVID.
Laura Elvery
In the week after Ordinary Matter came out, my sister and I drove to Brisbane bookshops following an itinerary my publicist had organised. I don't remember doing this for my first book. It was new to head into a shop and try to non-awkwardly introduce myself. It was new to sign piles of books and try to note all the locations of stacks around the shop. And the whole time sanitising, sanitising, sanitising. (Also new was somebody at one of the shops saying, 'Wouldn't it be funny if you had COVID because then you would have taken down all the bookstores in town?' INDEED! A good joke!)
Strangely, I felt both a little more armoured than I did with my first book (a thicker skin, no newborn baby strapped to my chest, less time on my hands now to fret) but also less armoured (turns out some people actually knew I'd written a book and were waiting for it). In late February 2018 I was about 38 weeks pregnant. The launch for Trick of the Light was this incredibly fun party with 100 people, and it was, for me, all about making it to the event in one piece. A week or so either side and I'd have to reschedule. Look at photos of me that night and I'm just beaming — I'd made it. One week later my son made it into the world too. I sat up in the hospital bed with a stack of copies that Avid Reader had sent along for signing, my baby asleep beside me.
But, look. A book during a pandemic! Could be worse! The good bits: in Brisbane, I can actually go into bookstores and spot Ordinary Matter on a table. I had more people at this Zoom launch than at the one in 2018. My sister-in-law and my little niece sat at their dining table in Copenhagen and watched. My oldest friend in the world, now living in Townsville, could watch. I got messages from writers in other parts of Australia who tuned in. My next-door neighbour could both hear me speaking through our shared apartment wall AND through her laptop. Good times!
More good bits: that I'm published at all. That Ordinary Matter remains a 2020 title and was pushed back only by one month, not a whole year, or not indefinitely. Podcasts and radio interviews. Good reviews coming in. That it's a privilege to be reviewed at all. That it's validating to have reviewers mention my second book in the context of the first. That there was a first book at all.
But some disappointing parts remain. I have friends whose books have been delayed, and friends whose livelihoods have suffered. No events at any bookshop, full-stop. No in-person Q&As. After years of writing the damn thing and then receiving early invites to writers' festivals — no writers' festivals. That all feels a bit sad. No line of loved ones waiting for their copy to be signed, waiting to grab a hug and a photo and a glass of wine together down the road.
Next time.
Laura Elvery is the author of two short story collections, Trick of the Light and Ordinary Matter, published by UQP in September 2020. She has won several short story prizes in Australia and her work is published in Griffith Review, The Saturday Paper, Meanjin and Overland. Laura has a PhD in Creative Writing and Literary Studies. She lives in Brisbane.
Elizabeth Tan
My first book, Rubik, was launched into the world by the exuberant Brooke Davis in April 2017, at Beaufort Street Books in North Perth. While I remember the night of Rubik's launch with incredible fondness and gratitude, I also remember hanging from tenterhooks of nervousness for the entire month. Will enough people turn up? How much wine should I buy? How am I supposed to act among all these people from various social groups smooshed together, all of whom know a different me? How can I sufficiently convey my appreciation to everyone?
Smart Ovens for Lonely People launch
As the days crept closer to the June 2020 publication date of my second book, Smart Ovens for Lonely People, I worried about enduring all those anxieties again, but without that propelling energy which accompanies the release of a debut.
In late March 2020, when the whole country was locking down, my publisher, Alice Grundy, emailed me to ask if I wanted to delay the release of Smart Ovens. It was impossible for us to know the best decision. Certainly, I could see the benefit of waiting. But I knew it in my heart: it was time for the book to leave my hands.
The last story I wrote for Smart Ovens was 'Ron Swanson's Stencilled 'Stache', whose protagonist is an ASMR YouTube artist. At the time Alice emailed me, virtual literary events were already popping up. I realised I'd been given the strange gift of not having to organise and navigate a big social gathering. 'A virtual launch wouldn't be totally out of character for this book,' I eventually replied to Alice, adding: 'e.g. an ASMR-themed launch?'
The launches of Rubik and Smart Ovens were incomparably different experiences — I can't say one was better than the other. Some of my anxieties persisted, or were replaced with new anxieties, especially about the technical aspects of the launch. My partner, Shane, helped me work out the best way to record, edit, subtitle, and broadcast the launch — I couldn't have done it without him.
One nice thing about the virtual launch was that people outside my hometown could attend and participate — especially Alice, who I've met in person only a handful of times. Alice recruited Bram Presser and Jane Rawson to record ASMR videos to contribute to the launch, which they did spectacularly. I also appreciated that friends who missed out on the live broadcast could still watch the launch later.
What I love most about online events is that there's a tremendous amount of goodwill — nobody expects perfection. It's clear that everyone is using the tools, props and software that they have on-hand. We have to be resourceful and imaginative like children. On the day of the broadcast of my launch, with the live chat humming, I felt very much like a child putting on a bizarre, gleeful play for my friends. Together, we cultivated a sweet, peculiar kind of intimacy — a perfect fit for Smart Ovens for Lonely People.
Elizabeth Tan is a writer from Perth, Western Australia. Her first book, Rubik, was published in 2017 by Brio. Her second book, Smart Ovens for Lonely People, was shortlisted for the 2020 Readings Prize for New Australian Fiction. View the Smart Ovens launch: https://youtu.be/zR41sptHI-A.
Mirandi Riwoe
At the very end of February this year, when coronavirus still seemed a distant problem, my husband and I flew to Los Angeles. We stayed in Santa Monica and visited family, rode rental bikes, ate out on the crowded pier, caught Ubers everywhere. By about 5 March, we heard news that a couple of LAX workers had contracted COVID-19 and that people in Australia were hoarding toilet paper. First, I said to my husband, jokingly, 'I wonder if we should take some toilet paper home with us', and then, more seriously, 'I wonder if my book launch will go ahead.'
'Of course it will,' he said. 'It's on the 27th! Nothing's going to happen in such a short time.'
By the time we arrived back in Australia on the 9th, health warnings and restrictions were kicking off. It's hard to remember how quickly everything happened, but over the next two weeks, the number of people who could attend my book launch at Avid Reader bookstore shrunk, until only a handful of people, including staff, could be spaced out on their deck. And did I really want to put older people, like my father, at risk? (My mother and two adult children had already had to cancel their air tickets to attend my launch.) Luckily, over the week before my launch the lovely people at Avid Reader practiced Zoom meetings with me a few times, and a couple of days before I was to have my launch, we all decided it was best if we went ahead with a Zoom launch instead. I think I had the first Zoom launch in Australia.
I dressed up — just as I would have if I'd had an in-person launch — in a lace cheongsam, put on my red lippy and perched on my dragon couch in front of my computer clutching a glass of champagne. Of course, I would have preferred to be surrounded by loved ones cheering me on, to hug, to gulp down a little too much wine while signing my book, (I had badges and magnets made up to give away with each book), to eat the cupcakes UQP were going to provide with my book cover iced on top, to go next door to Chop Chop Changs and eat noodles with said loved ones. But there were upsides to the Zoom launch. I get terribly nervous talking in front of a crowd, so speaking to the screen was a little less harrowing. And I got to clutch my daughter's guinea pigs during question time. The best part of the Zoom event, though, was that so many lovely people who could not have attended the live event ended up coming to my Zoom launch — interstate family, writers and readers, who I love and admire.
Mirandi's Stone Sky Gold Mountain launch
Missing out on a live launch is such a miniscule thing in the scale of what is happening this year. And I'm so grateful for how supportive readers and other writers have been during this fraught period. Back in March it was very difficult to know what was going to happen. At first I wondered if the release of Stone Sky Gold Mountain should be postponed, but by the time we realised lockdowns and restrictions were going to take place, it was too late. Thankfully, a lot of people have found time to read over the last six months and I hope people continue to find solace in books. There are just so many great novels coming out, despite this pandemic.
Mirandi Riwoe's novel Stone Sky Gold Mountain won the Queensland Literary Award for Fiction 2020. Her novella The Fish Girl won Seizure's Viva la Novella V and was shortlisted for the Stella Prize and the Queensland Literary Award for Fiction.
To go in the draw win a book pack of Laura Elvery's Ordinary Matter, Elizabeth Tan's Smart Ovens for Lonely People and Mirandi Riwoe's Stone Sky Gold Mountain simply sign up to my newsletter (sign-up box on this page).
On zooming: disconnected connection
In the crazy COVID land of 2020, Zoom has emerged as king. I now have online editorial meetings with publishers and authors, and attend book launches, book clubs, writerly drinks, literary festivals and events, all via Zoom. In some ways it's connected me with the literary community more than ever before, allowing me to flit all around Australia. I can cram in a book launch over dinner, or an in-conversation event while waiting in the car during my son's basketball practice (restrictions are fun, hey?). But I miss being in the room with people — seeing their faces (in 3D instead of on a flat screen!), drinking a glass of wine, and generally soaking up the good vibes from being among bookish folk.
Listening to Tegan Bennett Daylight in my car while my son played basketball
The same goes for workshops. I recently ran an online course on The Art of Self-Editing Fiction over three weekends and it was an interesting experience. I'm used to reading the room through people's body language, eye contact and the general level of energy. With Zoom that's all gone. Yes, people appear on screen in Brady Bunch-like rectangles, but as the host you only get to see a few of them. What's more, in order for participants to feel like you're engaging and looking directly at them, you need to look at the camera. This means that the gallery of participants is not actually in your sightline. And then there's your slide show and the chat function to manage.
On the up side, because the sessions were spread out over three weeks, the participants were able to exchange emails with me during the week which meant that I got to know a little about them and their writing. It can't replace chatting with participants in the room, but it was something. And the breakout rooms are a great feature. They enabled me to split all the participants up into pairs so that they could give feedback on the first three pages of each other's novels face to face. So there have been pluses and minuses, but the feedback on the workshops has been wonderful, which is heartening.
My gorgeous new ring light
Zooming with ring light for my Art of Self-editing Fiction workshop
Ultimately, Zoom is a kind of disconnected connection. But right now it's the best we've got. I have three books out next year and I am desperately hoping (please!) that we'll be back to live events by then. In the meantime, authors have been coming to grips with new ways of doing things. I finally bit the bullet and bought a ring light, and what a difference it makes! This week I'm filming a short piece for my next Walker Books title for the foreign rights team, so it couldn't have arrived at a better time. During the last few months I feel like I've been forced to acquire new skills that I'm actually really grateful for.
I'll be even more grateful when I can put them into action in a COVID-free world.
Welcome to my bookish corner where I get to talk all things reading, writing and editing, and generally just be a word nerd. Expect ramblings on literature and the world of publishing. Great to have you join me!
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Shop an amazing breadth of handcrafted, locally made goods from 30+ Artisans during the Glen Arbor Holiday Marketplace.
Saturday, November 24th 2018 from 10am – 3:30pm at the Glen Arbor Township Hall.
Also featuring a variety of beautiful Holiday Greenery for sale!!!
Meet Santa & Mrs. Claus from 11am-1:30pm. They will be at the Glen Arbor Holiday Market with some little toys and goodies! Bring the kids and your own camera for some great photo opportunities and fun.
• M22 Glen Arbor, • Northwoods Home & Gift and • Art's Tavern Annex.
This Saturday is also the national #shopsmall Saturday, presented by American Express. Enjoy the benefits of local shops and restaurants that participate!
These annual community event features a variety of artisans showcasing different types of gifts/work, with an emphasis on local and handmade products/artworks. This is a great opportunity to support your local artisans and shop for yourself and for the holidays! There's different artisans at both markets and plenty of time in the day for you, your friends and family to drive and shop both markets!
• Artisans…SET-UP: Friday 3-7 PM (there will be NO quick set up this year).
• Friday Nov. 28th: After the annual Glen Arbor Tree lighting and carols, All booths will be set up and ready for holiday "business" by 7 PM, Friday evening. Products may be for sale Friday evening at the Holiday Marketplace preview party!
• Saturday Nov. 29th: Marketplace doors open at 10:00 AM and will close at 4:00 PM.
• Meet Santa & Mrs. Santa Claus!!! They will be at the Glen Arbor Holiday Marketplace from 10:30 to 3:00 with some little toys and goodies! Bring the kids and your camera for some great fun and photo opps!
• Refreshments/ lunch by Riverfront Deli, will be for sale during the Glen Arbor Market.
• Following the Market, will be a Tree Lighting Ceremony in the Village of Empire!
It's here again! A Glen Arbor original, "better than a bustling city's Black Friday," our version of the day-after-Thanksgiving shopping, is the annual PJ party!
View full event details and participating retailers here.
Friday Morning November, 28th 2014 from 5am – 8am.
Shop the downtown district stores in your PJ's for extra special discounts and fun! Come Shop, Dine and Stay in the Naturally Beautiful Glen Lake area!
Later that day, join the community Friday evening for the annual Tree Lighting ceremony and Caroling at the GA Township Hall at 6:30pm!
Then, stay after for the Holiday Marketplace Preview Party: in the Town Hall from 7:00-8:00pm for local artisan gifts and shopping!
Shop Small & Local this Weekend!
On Friday, November 29th, be sure to get up early and keep your pajamas on for the annual Pajama Party sales! Participating shops will open at 5am and offer the best prices of the season through 8am. Participating shops include Cherry Republic, M22 Glen Arbor, Art's Tavern, Forest Gallery, Crystal River Outfitters, The Cyclery, Lake Affect, The Sportsman Shop and many more. While the best deals are offered early, many stores will also be offering discounts throughout the day. Beat the crowds and shop local in our beautiful small town!
Later on Friday at 7pm, Glen Arbor will also host their tree lighting ceremony at Township Hall. Huddle together with hot drinks and doughnuts provided by Art's Tavern as the beautiful trees in the center of town are lit for the season. Join in with holiday carolers and experience the peace and beauty of Christmas in Glen Arbor!
Looking for unique and locally made gifts? Come to Glen Arbor's Holiday Marketplace on Saturday, November 30th from 10am-4pm. Michigan artisans, craftspeople and merchants will be on hand showcasing one of a kind treasures for everyone on your holiday list. Items are available for any budget! Also be sure to bring the kids, as Santa and Mrs. Claus will be on site at Noon to meet your child and hear their Christmas wish list. Each child will receive their own special gift from Santa to take home!
Empire will also be holding their Artisans Marketplace on Saturday from 10am-4pm at their Town Hall, just a short drive from Glen Arbor.
These events are a wonderful opportunity to wrap up your shopping list early while supporting local businesses and artists!
Shop an amazing breadth of handcrafted, locally made goods from 25+ Artisans during the Glen Arbor Holiday Marketplace. Also featuring Holiday Greenery for sale!!!
Meet Santa & Mrs. Claus from 11am – 1:30pm! They will be at the Glen Arbor Holiday Market with some little toys and goodies! Bring the kids and your camera for some great fun and photo opportunities.
Glen Arbor's annual Tree Lighting and Caroling, located outside in front of the Town Hall, off of M-22/Western Ave. in downtown Glen Arbor happens promptly at 6:45pm.
The Holiday Market "Preview Party" is located inside the Town Hall immediately following the tree lighting. Mingle, shop and get first picks of all the artisan goods during the Holiday Marketplace preview party, from 7-8pm!
No admission fee for any event, and open to the Public.
Kick off the weekend Friday morning November 25th 2016 from 5 – 8am, with Glen Arbor's traditional Annual PJ Party: A wonderfully stylish version of Day-After-Thanksgiving shopping. Shops and Restaurants may each hold their own hours of participation. Check with individuals for opening times.
Wander boutique and specialty shops in your PJ's for extra discounts on clothing, gourmet foods, household decor, Michigan/USA Made products, locally made gifts, Art, Jewelry, Toys and More!
Bring your family and friends, grab coffee, baked goods and breakfast or lunch while in Glen Arbor that morning, too.
Following, Friday evening is the Tree Lighting and Holiday Market Preview party at the Town Hall. Then, on Saturday #shopsmall in town and get local artisan made goods and gifts at both Empire and Glen Arbor's Holiday Marketplaces!
View, download and print PDF of Participating Merchants flyer & weekend festivities.
Tree Lighting, Caroling & Holiday Market preview Party!
6:30 pm Comments Off on Tree Lighting, Caroling & Holiday Market preview Party!
Shop 30 vendors providing locally made artisan goods at the Glen Arbor Holiday Marketplace. During the market from 12-2:30pm – Meet Santa & Mrs. Claus! They will be at the Glen Arbor Holiday Marketplace with some little toys and goodies! Bring the kids and your camera for some great fun and photo opportunities.
The annual happenings are presented in tandem.
Empire showcases nearly 20 artisan vendors including: handcrafted jewelry and tile works, delicious foods and candies, paintings and stunning photographs, designer cards, holiday ornaments and wreaths, beautiful knitwear and hand-made goods.
There are different artisans at each market and plenty of time in the day to shop both!
This Saturday is also the national #shopsmall Saturday! Presented by American Express. Enjoy the benefits of local shops and restaurants that participate!
Every purchase counts! Shop your greater Glen Lake area neighborhood business!
Are YOU A SMALL BUSINESS? Go to the Shop Small website as a resource to learn more, get FREE printable signage to use and other ways to market your business for Shop Small Saturday!
ALSO HAPPENING TODAY: Glen Arbor and Empire, MI Holiday Artisan Marketplaces!


The Tiji festival takes place this year 12th.13th and 14th of May.2019 . The monks of Lo Manthang's "Choedhe" monastery perform ritual dances during the celebration. The harassment of Ma Tam Ru Ta (in a dance called "Tsa Chham" on the first day), the birth of Dorjee Sonnu as the demon's son (on the second day called "Nga Chham") and the attempt to return the demon to Lord Buddha's realm (on the third and final day) are enacted during the performances.
A short scenic morning flight to Jomsom, the district headquarters of Mustang, through the world's deepest Kali Gandaki Gorge with the glorious view of Annapurna and Dhaulagiri is exceptional. Drive to Ghilling and Stay overnight at lodge.
14th.May.2019 Day 4: Explore the Summer palace and monastery in morning and enjoy the last and final celebration of Tiji festival in Lo Manthang in the afternoon.
Drive to Jomsom then stay overnight at hotel.
We take an early morning flight to Pokhara – a fantastic way to round off the trek, flying right along the Kali Gandaki Gorge between the Annapurna and Dhaulagiri ranges.
2 persons group : $ 1460 per person.
4 persons group : $ 1200 per person.
6 persons group : $ 1100 per person.
8 persons group : $ 1170 per person.
10 persons group : $ 1130 per person.
12 persons and above group: $ 1090 per person.
Lodge ( Twin share ) accommodation during tour.
All meals (Breakfast, lunch and dinner ) while on upper Mustang Tiji festival tour.
Upper mustang map, t-shirt, first aid medical kit box and tour completed certificate.
One professional tour guide and his all expneses as meals, salary, accommodation, equipment and insurance etc.
Private Jeep as per mentioned in itinerary.
Hard and soft table drinks as Tea/coffee, coke, fanta, beer, minerwal water, boilled water, hot shower, desert, laundry, phone bill etc.
Tips for guide ( HIghly suggested ).
Upper Mustang Special permit costs US$ 500 per person of the minimum first 10 days and US$ 50 per person per day thereafter. It must be undertaken only through Registered Trekking Agencies from Government of Nepal (Nepal alternative Trekking Company -Registered no. 303047487) the department of immigration in Kathmandu. We have included in the package.
The provision of ACAP is to maintain and build local tourism infrastructure and preserve the nature. Annapurna Conservation Area Project (ACAP) permit is necessarily required for Annapurna Circuit Trekking. It can be obtained from government registered trekking company as Nepal alternative treks & Expeditions. It's fee is fixed by NTNC Rs. 2260 ( Two thousand two hundred sixty rupees) per person to Mardi himal Trekking. You can not obtain along the entry point, they may return you without carrying ACAP permit. You need passport copy, one passport size photograph and fee in Rs. 2260 ( two thousand two hundred sixty rupees) or equivalent in cash to apply the permit. This permit you can use only single entry in the area but no limitation of period. It is included in the package tour.
Trekker's information Management System ( TIMS) is not required for this region.
Acute mountain sickness is an illness that can affect trekkers at high altitudes, usually above 8,000 feet (2,400 meters). The highest point is Lomanthang which is elevated at 3900 meter, you have very little chance of AMS. If you be precautious about high altitude and follow our guide then you can avoid it.
We will leave you free to choose hotel in Kathmandu and Pokhara as there will be various choices. We will arrange twin share basis room in lodges during the tour. We will arrange shared washing room and toilet.
During our tour, we can enjoy authentic Nepalese food as well the more common international cuisine (Tibetan, Continental, Italian, Indian, etc.) in lodges. Threre will be provided breakfast, lunch and dinner three times along the route on your choice from MENU .
Upper Mustang is easy level of tour, As we will drive the highest elevation 3900 meter, you are preferred an excellent health with average physical fitness, have a positive attitude and strong determination, we can accomplish the tour successfully. Exercising and jogging regularly is good idea to enhance our strength and stability. Past hiking experience would be an asset but no technical skill is required for this trip. Participants with pre-existing medical conditions such as heart, lung, and blood diseases should inform Nepal alternative treks before booking the trek.


No kittens are currently available, thank you for your interest! With only one stud and one queen we only have one or two litters per year. Please feel free to click on our contact link to text or email for more information.


text:
Directions | Contributions
Future Chapel
Yahrzeit Calendar
Partner Congregations
Legacy Gardens
Forest Glades
Green Burial Gardens
The Gan Zikaron Genizah
Memorial Monuments & Markers
Memorial Monuments and Markers
Granite Upright & Slanted Headstones, Colors
Flat Granite, Bronze Markers, Colors
Benches, Vases, Other Memorials, Colors
/Yahrzeit Calendar/
It is Jewish custom to light a Yahrzeit candle to observe the anniversary (Yahrzeit) of the death of a loved one (not the date of burial). Traditionally, Yartzeits are observed on the eve of the anniversary according to the Hebrew calendar which may be calculated and printed or added to your personal calendar. The time of death (before or after sundown) is needed to accurately calculate the proper Hebrew date. Some families chose to observe the date of death on the English (Gregorian) calendar Hebrew date. Some families chose to observe the date of death on the English (Gregorian) calendar.
Multi-Year Yahrzeit Calendar
Enter the name of your loved one and the English date of death for a personalized, multi-year Yahrzeit Calendar.
After sunset
Include Hebrew dates
After your calendar has computed, you will be given the option to download your calendar, or print the page out using Command+P (Mac) or Control+P (Windows).
Benches, Vases and Other Memorials, Colors
The Garden of Remembrance Memorial Park
14321 Comus Rd.
©2020 Copyright | Garden of Remembrance, Inc.
Office: Monday through Thursday, 9:00 a.m. – 5:00 p.m., Friday 9:00 a.m. – 4:00 p.m., (Friday 9:00 a.m. – 3:00 pm from December through February) Sunday 10:00 a.m. – 4:00 p.m. Closed Saturdays, on the first and last day of major Jewish holidays, and on New Year's Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, and December 25 but a staff member is always on call for emergencies.
Grounds: Monday through Thursday, 8:00 a.m. – 5:00 p.m., Friday 8:00 a.m. – 4:00 p.m. (Friday 9:00 a.m. – 3:00 pm from December through February), Sunday 10:00 a.m. – 4:00 p.m. Closed Saturday and on the first and last days of major Jewish holidays.
The offices and grounds close at 3:00 pm on the Eve of Major Jewish holidays and the offices are closed on New Year's Day, Memorial Day, Independence Day, Labor Day, Thanksgiving Day, and December 25 but a staff member is always on call for emergencies.
A member of the Garden of Remembrance staff is available 24 hours a day, seven days a week. Call (301) 428-3000 during or after hours and a staff person will return your call. In the event of a phone problem, please call our emergency phone number directly at (301) 421-4603.


text:
Dalai Lama stresses on complete education
Itanagar, India, May 10 – Tibetan spiritual leader, the Dalai Lama has said one should not be confined to monastic rituals, but should educate himself in such a manner that he is able to serve people at large.
While developing education, it was necessary to preserve and develop the cultural heritage of the society, the Dalai said in his deliberations at West Kameng and Tawang districts of Arunachal Pradesh.
Dalai Lama who was on a 11-day tour of the state said that the Himalayan region was lagging behind in the field of education for which concerted efforts should be made. The spiritual leader, who is scheduled to leave Tawang monastery for Dharamsala today, also spread the message of love, peace and harmony during his stay here, official reports reaching here said. During his stay, the Dalai Lama inaugurated the newly-constructed building of Central Institute of Himalayan Cultural studies at Dahung in West Kameng district. He participated in the consecration ceremony of statues inside the main prayer hall of Gaden Rabgyal Ling monastery near Bomdila, the reports said. The Buddhist leader also performed Kadam Thigley-Chiduk Wang (initiation) in which thousands of devotees from all over the state and neighbouring Bhutan participated.


text:
Dakota Independent Film Festival
ARTISTRY IN THE DETAILS: The Work of Conrad Schmitt Studios
By Allison Weiland
In Blog posts
ARTISTRY IN THE DETAILS: The Work of Conrad Schmitt Studios2020-03-122020-03-12https://siouxfallsstatetheatre.org/wp-content/uploads/2020/11/state-theatre-state-black-with-white_png.pngState Theatrehttps://siouxfallsstatetheatre.org/wp-content/uploads/2020/11/state-theatre-state-black-with-white_png.png200px200px
Movie-goers in Sioux Falls are going to be impressed with the interior of the State Theatre, and not just by the advanced audio-visual equipment, comfortable recliners and new carpeting that will be installed in coming months.
The artwork on the walls of the auditorium will really stand out when plaster work and painting are finished. The area is a construction zone right now, but every little brush stroke is a significant step toward the restoration of the first floor of the historic State Theatre.
"It's going to be breathtaking when that scaffolding comes down. I don't think people have seen anything like this in Sioux Falls," said Rick Statz, national project director for Conrad Schmitt Studios Inc. "It's just going to be a spectacular, intimate theatre space."
Conrad Schmitt Studios is the highly specialized and highly regarded subcontracting company responsible for restoring the decorative plaster and original coloring that helped make the State Theatre a community treasure.
Employees of Wisconsin-based Conrad Schmitt Studios work on beautiful churches, theatres, libraries and other public spaces across the nation. They are familiar with Sioux Falls, however. Employees of the company also have worked on restoration projects at the Cathedral of Saint Joseph and at the Calvary Episcopal Cathedral. They also have worked on the Capitol in Pierre.
At the State Theatre, Conrad Schmitt Studio is among the subcontractors working under Journey Construction, the general contractor for the renovation project. John McClendon is Conrad Schmitt's foreman at the State Theatre.
The company typically has three or four people working at the theatre. Their part of the restoration work is expected to take about four months. They started in mid-November. The theatre, which closed in 1991, is expected to reopen in mid-2020. The exact date has not been determined.
McClendon is beginning his fourth year with Conrad Schmitt, but he has been in the business of decorative painting for about 35 years.
Working on the building with Journey, other subcontractors and State Theatre Company leaders has been a pleasure, and work has gone well, McClendon said.
Restoring the State is an artistic processes. An expert with Conrad Schmitt had to carefully remove eight to 10 layers of paint from some test patches to determine the original color of sections of wall. Tools such as stencils are created to help recapture original designs.
When the theatre was built in the 1920s, green and gold were the dominant colors, with red and blue accents, McClendon said. He and his crew are trying to capture the grandeur of the building in a historically correct way, he said.
"It's been a really good project," he said. "It will definitely be one of the high points of the downtown."
VOLUNTEER SPOTLIGHT: DIANE OLSON
LIGHTS, CAMERA, PROJECTION! – VERUM TECHNOLOGIES TAKES CENTER STAGE
A VOLUNTEER WITH A SPECIAL CONNECTION TO THE STATE THEATRE
NEW RELEASES TO WATCH ON STATE THEATRE VIRTUAL CINEMA
© 2020 siouxfallsstatetheatre.org
Leave us a message here!


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Q: jQuery datepicker maxDate auto onmouseover Good day,
I have a datepicker and I set the selection limit to 5 days before today.
Here is my example code:
$(function() {

    var from_date = $(':input[name="dailyCommand.fromDate"]');
    var endDate = new Date();
    endDate.setDate(endDate.getDate() - 5);

    from_date.prop('readonly',true).datepicker({maxDate: endDate});

})

For example, let say today is 3 March 2016.
The datepicker is working find, but just the last day will auto focus, here is my screen shot:

Image 1 is the datepicker when I click on the text box. From the picture, you can see that the 5th days before today (27th Feb 2016), is displaying color like mouseover, but actually not, I am not pointing my mouse on 27th, I am just click on the datepicker text box.
However, in Image 2, I move my mouse to any day in the picker, the 27th color will display like others, because the 'mouseover' color already on other day. And then I move away my mouse away from the date picker, whole thing display correctly now.
My question is how to fix the 27th color to same as color when I first click on the datepicker text box.
Same thing happen when I tried to simulate in w3c website, the 27th is look like onmouseover:
<!DOCTYPE html>

<link rel="stylesheet" href="//code.jquery.com/ui/1.11.4/themes/smoothness/jquery-ui.css">

  <link rel="stylesheet" href="/resources/demos/style.css">

<input type="text" name="dafromDate" maxlength="20"/>

Note: type="date" is not supported in Internet Explorer.

redpajama_set_name: RedPajamaStackExchange


Great for conferences and conventions.
Personalize badges with names, logos and photos.
Perforations are in between each name badge for easy distribution.
Available in three different trims.
For additional name badge designs, click here.


text:
package com.comsysto.shop.repository.order.api;

import com.comsysto.common.repository.AbstractRepository;
import com.comsysto.shop.repository.order.model.Order;
import org.springframework.data.domain.Sort;

import java.util.Date;
import java.util.List;

/**
 * @author zutherb
 */
public interface OrderRepository extends AbstractRepository<Order> {
    List<Order> findAll(int limit, int offset, Sort sort);
    List<Order> findInRange(Date fromDate, Date toDate, int limit, int offset, Sort sort);
    Order findFirstOrder();
    Order findLastOrder();
    long countInRange(Date fromDate, Date toDate);
    Order findByOrderId(long orderId);
}

redpajama_set_name: RedPajamaGithub


How lovely to see our friends on Bonaire again. The kids have been anticipating this reunion like Christmas and were up at 5am looking out to the horizon to see Bonaire.
We hung around the anchorage for a few days and the kids variously beached, ate, played, visited tortoise sanctury again, got over excited generally. Easter came early this year, and we had a 'roast-up' with all the trimmings. Much laughter and loads of stories of the things the two boats had been doing since we had last spent time together an unbelievable 5 months previously.
Checking out was a disater, as with most things bureacratic in Ecuador, and our agent, Bolivar, had to give the immigration man a 'tip' of $60 to get our passports back, as they said we had left Ecuador on 4-March and had no right to be in Galapagos.
Then it was time to go and we set of for Isabella minus one Zinnia, but plus one Fin. We planned to head round the South side of Isla Espanionla to see if we could spot an albatros as we had been told that the mating season had just started.
Shortly after leaviong at 6am we saw a manta ray jump clean out of the water and do a somersault, not once, but three times about 100m from the boat. Rather than just being a glimpse in the corner of ones eye, we were looking squarely at it. Quite an amazing sight as these Manta rays are huge, maybe 2 or 3m across from tip to tip, so they make quite a spash. No chance of getting a photo of that one though.
As we rounded the Eastern end of Espaniola the boat became as if full of Welsh twitchers, binocular and camnera at the ready. Wow, what a triumph to finally see an albatros in the distance. Another tick in the box, and other featherd friends as well. Boobies (both blue footed and masked), petrels, skipping birds, tropic birds.
But then, as we rounded the corner there was a flock of birds bobbing around in front of us. We could not believe it. There were 100+ Waved Albatrosses right in front of us, and we sailed straight through the flock causing them to lift up and set off in their ungainly fashion by running on the water, and then lauching themselves int he air, their long narrow wings bending into the most graveful shapes. For the next couple of hours we sailed through many flocks of these extraordinary birds. In a life when one is lucky to see even one albatros we feel our bag is complete.
Run . . . Flap . . . Take off . . .
Cosmo with Albatros in front . . .


Light and flaky puff pastry with a herby soya-based filling, all of the classic sausage roll flavours without the animal bits!
Homemade shortcrust pastry with a flavourful roasted vegetable filling.
We currently offer 3 flavours of fillings: Mince and Gravy (pictured), Sweet Potato and Coconut Curry and Creamy Hummus and Mixed Veg, all homemade and all yummy!
Allergens: WHEAT, SOY, BARLEY (flavour dependent).
Hot water crust pastry with a tasty soya-based herby filling, perfect for cold lunches or finger food at events!
Moist sweet potato and chickpea falafel, flavoured with smoked paprika, chives and a pinch a mild curry powder sitting in a buttery pastry case!
Our classic scone but with a vegan cheese, nutritional yeast and chive flavour!


text:
An Interview With Director Duncan Jones (Mute)
Darryl Griffiths
Conducted By: Darryl Griffiths
First off. Just to say that i got to see the film last weekend and thoroughly enjoyed it. Found it to be really thought-provoking stuff.
Thank you mate.
'Mute' has undoubtedly been a passion project of yours, for a number of years. What have been the main challenges in bringing it to the screen and how has the concept evolved over time?
Yeah, it's tricky. I mean Mike Johnson and myself wrote it sixteen years ago and i hadn't made any other films yet. It was kind of being designed to be my first film and just to give you a context of how long ago it was. I think Sexy Beast and Layer Cake had just kinda come out. There was this feeling of this new wave of British gangster films and maybe be able to ride on the wave off the back of that and do this little thing 'Mute', as a contemporary London-based film. Obviously over sixteen years it's changed dramatically from what it was originally into the film that we've made now.
In keeping with the project. Setting it in Berlin in 2052. I know it's a city that is of great sentimental value for you, without being intrusive. From a strict narrative standpoint, what was so appealing about setting it there?
Well, i mean i was there for a little while in the 1970's, when it was this little island of western civilisation in the middle of the Soviet Union. Even back then, you could kind of get a sense that the energy and dynamism about the city, was really about the future and what Berlin was going to become. What was gonna happen to the city in the future, whether it was the fears being kind of disappearing into East Germany or whether Germany was going to be united. Even back then, there was sort of feelings about whether that was going to be an option and every decade that i came back to Berlin after that. Even after the wall came down, i think Berlin of all western hemisphere cities has always felt like a place that had its eye on the future and less on what it was at that particular point in time. Which is kind of ironic because it's such a city which is absolutely built upon its history, but that's the interesting thing about Berlin is that it really does seem kind of dynamic and forward-looking, and for a science-fiction makes it an ideal place to set a story.
Setting the film in the not-too-distant future. Yet with the slick aesthetic, it still feels quite modern day. Were you really looking to maintain that in the building of this world?
Yeah i think one of the things I've noticed in science fiction films, a lot of times it feels like the future is all designed by one company. Obviously you can feel the production designer's hand on it and the aesthetic choices. One of the things that i asked Gavin Bocquet who was my production designer, which is the antithesis of what a production designer wants to hear, is make it ugly. Make it clash. Make things feel like they are designed by different companies that weren't talking to each other when they design things. That was really kind of part of the design and feel of it. What worked in our favour was that as much as possible on location we were shooting in Berlin, in the actual existing city and that kind of gave it an authenticity. It was really about what props and things can we bring to this? What sets can we build on the actual city streets to create something that feels really tangible and real.
Shifting to the characters now. We are mainly led through this world by Leo played by Alexander Skarsgard. He's very much the moral fibre in this decadent world, feeling like a relic of the past. Was it rigid in how you wanted to articulate the character to Alexander or quite collaborative in how you achieved it?
I think it was pretty collaborative. Having lived with it for such a long time, i had pretty strong feelings about elements of it. But to be honest Leo's character was much more flexible because i really understood the challenge that i was asking him to try and navigate. This character is going to have to have a beginning and an end, as far as where he starts and where he ends and not having any dialogue to use as a crutch. So let's together. Come up with the best way for the audience to actually engage and care about this person, knowing that we're going to be relying on other characters talking to him and what you can do in your performance to get them to buy into it. Fortunately we also have half of the film with Cactus and Duck who are basically the other extreme, so that is really what allows us to get away with it. We don't spend the whole film with Leo, perhaps only spend half of it with him.
Leaping to that other extreme. Paul Rudd and Justin Theroux's on-screen partnership is fascinating. With their respective back catalogues, we're almost programmed to like these guys, yet the film goes to such a dark place. Without stripping them of their comic smarts, were you conscious of playing to their strengths whilst pushing them out of their comfort zones with these characters?
Yeah absolutely. I think as far as casting them, it was using the baggage of the fact that they are always seen as such good guys, particularly Paul Rudd who is the audience's darling. I think that was absolutely something that i wanted to do. Use that to get the audience on side and think 'OK, i'm watching these guys because somehow they're going to tie into being the heroes of this movie' and then slowly start to erode and pick away at it, revealing who Cactus and Bill really are.
Of course the film has seen you reunite with prolific composer and Moon collaborator Clint Mansell, serving up a soulful score here particularly for the sequences shared by Leo (Skarsgard) and Naadirah (Seyneb Saleh). How do you feel his work enhances the narrative?
I mean music is such a huge part of film making i think and can carry so much of the emotion, whilst actually changing the emotion of any given scene. Not every project is right for every person as far as composers go, but i always knew that when i got around to doing 'Mute', Clint was the guy i wanted to work with on this. He totally understood and felt the same film i wanted to make, which made it a really enjoyable collaboration. I think he understood how important it was, not just for us to come up with the theme tune that would be the signature to the Leo/Naadirah relationship, but also be able to bring that back to throughout the film. Even when she's not around, to keep her alive just through the music.
With this film, Moon and Source Code. There is undoubtedly a deep affection you have for the science-fiction genre, whilst in 'Mute' being various film noir elements within it too. What were your earliest and fondest memories of this genre offerings, that really inspired you?
Oh that's hard to say. I've always been a fan of escapism. So as far as the science-fiction side of it, i love the escapist aspect of it and now that i'm making films myself. I think what i have grown to love about science-fiction, even with all that escapism. You can actually use it to try and allow people to feel like they can be open to ideas, that they might not be otherwise open to, because you're talking about them in something which doesn't feel like a personal attack on them. There's a certain distance to it because it's just science-fiction, so i think i kind of like that aspect. As for noir thrillers, i feel like i haven't seen that many of them in recent film making. That's probably more on me than on what's being made, but i think that's why i wanted to make one. I kind of felt like i haven't seen a good one in awhile. This is the kind of film that i used to enjoy and would love to see something like that and that's why i wanted to make 'Mute'.
Before 'Mute'. There was the experience of making 'Warcraft'. Coming off the back of helming a big-budget Summer tentpole. Did it significantly alter your thoughts on the Hollywood studio system, especially heading into this project with Netflix involved?
Yeah. It was a long three and a half years of politics and trying to negotiate very intricate problems. Just on a political level making 'Warcraft' and i think off the back of that, i really kind of committed to myself. Promised myself that i'm going to make a film for me next, because this one has been too many compromises and too much politics. So i think that's why i felt like i had to make 'Mute'. The wonderful thing was with the relationship with Netflix, is once they agreed to what i wanted to do, signed off on the script and were happy with the cast. They absolutely just let me go ahead and make the film i wanted to make. I had final cut. I didn't have to agree to anything really. I just made the film i wanted to make.
With the Netflix aspect in mind. After receiving such support, do you believe streaming services in the near future may overtake the major studios, in terms of harbouring talent?
Ermm. I don't know. What i would say is the studios have made a commitment, to making a type of movie that is going to become i think increasingly challenging to keep original and to make them feel like, i'm seeing the same film every year every time i go and see a big studio film. So i respect the creativity of the people that they are getting involved in doing studio films. Because i think they're the ones who are doing the heavy lifting of finding ways to make remakes, franchises, sequels, reboots, in keeping them original as possible. But i think it's going to get tired, unless they start bringing in some original ideas and original characters. Original talent will get you so far, but eventually you need the ideas themselves to be original.
On a final note. Within 'Mute' you get a sense of an emerging world of warm gestures and inclusion, is being oppressed by cold corporate figures. Considering the state of the wider world, were you keen to represent that level of diversity within the film?
I mean Berlin in particular is this incredibly strange place and i think they see themselves as quite apart from the rest of Germany in some ways. But i think the dynamism of that community is mainly because of the massive immigration. The number of Turks and Arabs and Africans and Russians who've come to Berlin and kind of made it this really interesting and dynamic place. I can only see that continuing and becoming more so in the future and i think that was the Berlin we were trying to mirror in some sense. Get ahead of as far as our science-fiction depiction of it, but it's weird. I think the world now is changing so bloody fast, it's very difficult to get a bead on which direction it's going because it's zigzagging every second. But it feels right and while we were in Berlin, it felt like this was a future that could come to pass from where we are now.
Duncan Jones' Mute is available to view on Netflix from Friday 23rd February.
Related Topics:Alexander SkarsgardBerlinClint MansellDuncan JonesJustin TherouxMuteNetflixPaul Rudd
DIRECTOR ALI ZAMANI TALKS 'OPUS OF AN ANGEL'
Long Shot ★★★
Avengers: Endgame Shatters Records With $1.2B Global Opening Weekend
Mo-Cap Fantasy Mouse Guard Scrapped Two Weeks Prior To Production
Avengers: Endgame Eyeing $200-$260 Million Domestic Opening
Avengers: Endgame Breaks Records, Crashes Websites, As Tickets Go On Sale
Dame Helen Mirren Wades Into The Streaming Debate: "F**k Netflix!"


text:
typedef NS_OPTIONS(NSUInteger, FeedBackOptions) {
    kFeedBackRateApp			= 1 << 0,
//    kFeedBackEmailSupport		= 1 << 1, //Email is always added
    kFeedbackSupportGuide		= 1 << 1,
    kFeedBackSocial				= 1 << 2,
};

typedef NS_ENUM(NSInteger, SupportStyle){
    kSupportStyleHappy		= 1,
    kSupportStyleConfused,
	kSupportStyleUnHappy,
};

@interface TTSupportFeedBack : UITableViewController

//Default is to use the AppName as the Handle.  No need to put @ before username
@property (nonatomic, strong) NSString *twitterUsername;
@property (nonatomic, strong) NSString *weiboUsername;

// Message to send when Tweeting/Facebook/Weibo
@property (nonatomic, strong) NSString *socialMsg;

+ (NSString *)defaultHappyHeader;
+ (NSString *)defaultConfusedHeader;
+ (NSString *)defaultUnhappyHeader;

- (instancetype)initWithSupportStyle:(SupportStyle)style;
- (instancetype)initWithSupportStyle:(SupportStyle)style tintColor:(UIColor *)tintColor;
- (instancetype)initWithFeedBackOptions:(FeedBackOptions)options headerMsg:(NSString *)header;
- (instancetype)initWithFeedBackOptions:(FeedBackOptions)options headerMsg:(NSString *)header tintColor:(UIColor *)tintColor;

@end


text:
Q: Did you try Doloto "AJAX application optimization tool" ? have any comments/concerns about? MSDN launched Doloto, Doloto is an AJAX application optimization tool, especially useful for large and complex Web 2.0 applications that contain a lot of code.
Anyone tried it till now, have any comments/concerns about?

A: I've been trying to optimize the javascript of a medium-sized website using Doloto. I would have to say I'm a bit underwhelmed. While seeing how much Doloto could optimize a site is really popular, I suspect actually implementing it is not very common. In fact, Doloto has been crashing every time it attempts to write this site's javascript. I'm sure I can get through this error, but it is definitely annoying.
I've asked a question similar to yours on the Doloto forums if you're interested:
http://social.msdn.microsoft.com/Forums/en-US/doloto/thread/b7519f70-2c02-4548-88f2-1a4af19bf329


text:
Q: How to disable/hide widgets while processing happens in the backround - Flutter I'm working on uploading images to Firebase.
once the upload button clicked showDialog will pop.
 showDialog(
    context: context,
    barrierDismissible: false,
    builder: (BuildContext context) {
      return WillPopScope(
        onWillPop: () {},
        child: AlertDialog(
          title: new Text(
            "Uploading...",
            style: TextStyle(
              color: Color(0xFF051622),
            ),
          ),
          content: Column(
            mainAxisSize: MainAxisSize.min,
            children: [
              Text(    ////////Widget 1
                "Upload time depends on your image sizes and network speed.",
                style: TextStyle(
                    fontSize: 13.0,
                    fontStyle: FontStyle.italic,
                    fontWeight: FontWeight.w500),
              ),
              SizedBox(
                height: 20.0,
              ),
              SpinKitWave(  ///////widget 2
                color: Colors.blueAccent,
                size: 40.0,
              ),
              Text(  ///////widget 3
                "Upload went really smooth",
                style: TextStyle(
                    fontSize: 16.0,
                    fontWeight: FontWeight.w500,
                    fontStyle: FontStyle.italic),
              ),
            ],
          ),
          actions: [
            new FlatButton(   ///////widget 4
              onPressed: () {
                Navigator.of(context).pop();
              },
              child: new Text("Okay"),
            )
          ],
        ),
      );
    });

How can I disable or hide the widget 3 and widget 4 while uploading happens,
and how to hide/disable widget 1 and widget 2 once the upload finished.

PS: I'm a newbie to flutter

A: You can accomplish it by using Visibility widget
Visibility(
     visible:true/false,
     child:Childwidget()
     ....
)

Wrap the widget which you want to show/hide inside the Visibility widget and the through a variable you can give the true/false value to the visible atribute based on the conditions on background process.


text:
Drag Queens & Trannies We Love
Celebrating the cinematic changing times and attitudes of sexual orientation and gender, here are a few of Cine Mata's very favorite characters - 25 in all - who dared to "go there".
June 14, 2016
To Wong Foo
Patrick Swayze, John Leguizamo, Wesley Snipes, Stockard Channing, Bythe Danner * 1995
Director: Beeban Kidron
Screenplay: Douglas Carter Beane
A top favorite for sheer Drag Queen glamour, humor, and gender-bender wisdom. Patrick Swayze is a sparkles as Vida, deftly supported by Snipes as Noxeema and Leguizamo as Chi-Chi.
Vida Boheme: "Yes you will start off a mere boy in a dress, but by the time we are done with this crusade your Auntie Vida and your Auntie Noxee will give you the outrageous outlook and indomitable spirit that it will take to make you a full-fledged Drag Queen."
Albert Nobbs
Glenn Close, Janet McTeer, Mia Wasikowska * 2011
Director: Rodrigo Garcia Screenplay:
Gabriella Prekop)
A heart-breaking film about the sacrifice one 19th century woman makes to be independent in a man's world.
Dr. Holloran: Why aren't you in fancy dress?
Albert Nobbs: Me sir? But I'm a waiter.
Dr. Holloran: Well I'm a doctor. We are both disguised as ourselves. That's a good one, eh?
Divine, Mink Stole, David Lochary, Danny Mills * 1972
Director / Screenplay: John Waters
The undisputed drag queen Divine, the iconic cult filmmaker John Waters and a whole mess of filth and fascinating midnight characters just don't know when to stop - and you know what? We don't want them to!
Connie Marble: Well, Miss Sandstone, Miss uh... SANDY Sandstone, you just must have been wrong in your assumptions, weren't you? I mean, surely you've heard the expression 'don't count your chickens'? Well, APPLY IT! I never gave you a final answer on this whole thing, and as far as you believing that you had the job, well I've never even considered that you would be the applicant that we would choose. You don't know enough! I mean, I wish everyone was like you and had never heard of Divine, but unfortunately it just isn't like that. Now if you wouldn't mind, I have a busy day ahead of me, there's really nothing left to discuss.
Babs Johnson: I'm all dressed up and ready to fall in love!
The Ballad of Little Jo
Suzy Amis, Bo Hopkins, David Chung, Ian McKellen * 1993
Director / Screenplay: Maggie Greenwald
A story of Josephine "Jo" Monaghan, who decides to live a new life in the wild west. Based on a true story.
Shopkeeper: It's against the law to dress improper to your own sex.
Little Jo Monaghan: Yes, ma'am.
Sorority Boys
Barry Watson, Michael Rosenbaum, Harland Williams, Melissa Sagemiller
Heather Matarazzo * 2002
Director: Wallace Wolodarsky
Joe Jarvis / Greg Coolidge
How can this raunchy D-list movie top Tootsie and the Birdcage? Simple – Sorority Boys scratches the surface of this crass and crude flick to reveal a few universal truths – ugly ones, at that – about males and their (mis)treatement of women.
Dave: (Giving Leah a pick-up line) "A woman's face with nature's own hand painted, hast thou, the master-mistress of my passion."
Leah: (Responding) " 'A woman's gentle heart, but not acquainted, with shifting change, as is false women's fashion.' ... Should I get under the table and suck your cock right now?
Dave: "What? Right here?"
Leah: "Please – a few lines of Shakespeare, and you expect a girl to swoon."
Jaye Davidson, Stephen Rea, Miranda Richardson, Forest Whitaker, Jim Broadbent * 1992
Director / Screenplay: Neal Jordan
A surprising film, Davidson's Dil and Rea's Fergus are fascinating as a couple who find love has nothing to do with gender.
Fergus: "The thing is, Dil, you're not a girl."
Dil: "Details, baby. Details."
Gwyneth Paltrow, Joseph Fiennes, Judi Dench, Geoffrey Rush * 1998
Screenplay: Marc Norman, Tom Stoppard
A clever love story, set in London during the late 1500s, involving Shakespeare and a cross-dressing muse.
William Shakespeare: Can you love a fool?
Viola De Lesseps: Can you love a player?
The Birdcage
Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest * 1996
Director: Mike Nichols
Screenplay: Jean Poiret
A champagne feel-good movie that hits all the right high notes, called iconic by just about everyone! Nathan Lane as the fussy Albert and Robin Williams as Armand – you really can't get any better than this for sheer entertainment.
Albert: "Don't give me that tone!"
Armand: "What tone?"
Albert: "That sarcastic contemptuous tone that means you know everything because you're a man, and I know nothing because I'm a woman."
Armand: "You're not a woman."
Albert: "Oh, you bastard!"
Yentl
Barbra Streisand, Amy Irving, Mandy Patinkin * 1983
Director Barbra Streisand, Screenplay: Jack Rosenthal
A young Jewish woman fulfills her dream of going to a religious school - the only stumbling block is that it's for men only.
Bookseller: You're in the wrong place, storybooks for women are over here.
Yentl: [holding a book] I'd like this one, please.
Bookseller: [takes the book away] Sacred books are for men.
Yentl: Why?
Bookseller: It's the law.
Yentl: Where's it written?
Bookseller: It doesn't matter where it's written, it's the law.
Yentl: Well if it's the law it must be written somewhere, perhaps in here
[the book]
Yentl: I'll take it.
Madea
Tyler Perry, 2002 – 2009
Director / Screenplay: Tyler Perry
Tyler Perry's now-famous franchise wrapped in a morality play surrounded by comedy is simply great, no matter what movie is your favorite – "Madea Goes to Jail", "Madea's Family Reunion" I, II, or III, or "Diary of a Mad Black Woman".
Madea: "Cora do me a favor."
Cora: "What?"
Madea: "Put the shut, to the up. Okay? Shut to the up."
Victor/Victoria
Julie Andrews, Robert Preston, James Garner, Lesley Ann Warren, Alex Karras, John Rhys-Davies * 1982
Director / Screenplay: Blake Edwards
A story of a woman who dresses as a man to get a job as a woman. Simple, really.
King Marchand: I just find it hard to believe that you're a man.
Victoria: Because you found me attractive as a woman?
King Marchand: Yes, as a matter of fact.
Victoria: That happens frequently.
King Marchand: Not to me.
Victoria: Just proves the old adage: "There's a first time for everything."
King Marchand: I don't think so.
Victoria: But you're not a hundred per cent sure?
King Marchand: Practically.
Victoria: Ah, but to a man like you, someone who believes he could never, under any circumstances find another man attractive, the margin between "practically" and "for sure" must be as wide as the Grand Canyon.
Hillary Swank and Chloe Sevigny * 1999
Director: Kimberly Pierce
Screenplay: Kimberly Pierce / Andy Bienen)
Hillary Swank took home an Oscar for her searing portrayal of Brandon Teena, a transsexual man fatally trapped by a small town's constricted views in this fact-based award-winning film.
Lana: "Shut up, that's your business. I don't care if you are half monkey or half ape, I'm gettin' you out of here!"
Marilyn Monroe, tony Curtis, Jack Lemmon, George Raft * 1959 Director / Screenplay: Billy Wilder
Two musicians run from the mob and discover their inner female along the way.
Jerry: Have I got things to tell you!
Joe: What happened?
Jerry: I'm engaged.
Joe: Congratulations. Who's the lucky girl?
Jerry: I am!
All the Queen's Men
Eddie Izzard, Matt LeBlanc, James Cosmo *2001
Director: Stefan Ruzowitzky
Screenplay: Digby Wolfe / Joseph Manduke
Eddie Izzard steals the show as Tony, in this WWII comedy about winning the war – on all fronts.
Tony Parker: "Well, actually, I'm a bisexual lesbian in a man's body... but it's more complicated than that."
Juwanna Mann
Miguel A. Nunez Jr, Vivica A. Fox, Kevin Pollak, Tommy Davidson, Jenifer Lewis * 2002
Director: Jesse Vaughan
Screenplay: Bradley Allenstein)
An arrogant, sexist and unemployable basketball star cross-dresses his way to redemption.
Lorne Daniels: This is crazy. No one is gonna believe you're a woman!
Juwanna Mann: You did!
Lorne Daniels: All right. This is blackmail.
Juwanna Mann: No, it's black... FE-male!
Lorne Daniels: That's not funny.
Myra Breckenridge
Raquel Welch, John Huston, Rex Reed, Farrah Fawcett, and Mae West * 1970
Director: Michael Sarne
Screenplay: David Giler, Michael Sarne
The film that started it all! Gore Vidal's gender-bending novel gets the Hollywood treatment – complete with a shuddering view of Mae West in her state of decline (not recline!).
Myra: "I am Myra Breckinridge, whom no man will ever possess. The new woman whose astonishing history started with a surgeon's scalpel, and will end... who-knows-where. Just as Eve was born from Adam's rib, so Myron died to give birth to Myra. Did Myron take his own life, you will ask? Yes, and no, is my answer. Beyond that, my lips are sealed. Let it suffice for me to say that Myron is... with me, and that I am the fulfillment of all his dreams. Who is Myra Breckinridge? What is she? Myra Breckinridge is a dish, and don't you ever forget it, you motherfuckers - as the children say nowadays."
Billy Crudup, Claire Danes, Rupert Everett, Zoe Tapper, Ben Chaplin, Hugh Bonneville, Tom Wilkinson * 2004
Director: Richard Eyre
Screenplay: Jeffrey Hatcher
The play's the thing, and in a world where only men can play the women's roles - confusion will reign!
Ned Kynaston: Do you know the Five Positions of Feminine Subjugation?
Maria: What?
Ned Kynaston: The Five Positions of Feminine Subjugation. No? Perhaps you're more acquainted with the Pose of Tragic Acceptance. Or the Demeanor of Awe and Terror.
Maria: Mr. Kynaston.
Ned Kynaston: How about the Supplicant's Clasp or the Attitude of Prostrate Grief?
Ned Kynaston: Funny, you've seen be perform them a thousand times. I'd have thought they'd taken hold.
Maria: Mr. Kynaston!
Ned Kynaston: Ah, well now, there's a feminine gesture. You seem to have managed the Stamp of Girlish Petulance.
Maria: I just wanted to act. I just wanted to do what you do.
Ned Kynaston: I have worked half my life to do what I do. Fourteen boys crammed in a cellar... Do you know when I was in training for this profession, I was not permitted to wear a woman's dress for three long years, I was not permitted to wear a wig for four - not until I had proved that I had eliminated every masculine gesture, every masculine intonation from my very being. What teacher did you learn from? What cellar was your home?
Maria: I had no teacher, nor such a classroom. But then, I had less need of training.
M. Butterfly
Jeremy Irons, John Lone * 1993
Director: David Cronenberg
Screenplay: David Henry Hwang
A tranny take on the classic opera tragedy, Madame Butterfly. John Lone steals the show with his gentle yet assertive Song to Jeremy Irons stodgy Rene.
Rene Gallimard: "You made me see the beauty of the story, of her death. It's, it's pure sacrifice. He's not worthy of it, but what can she do? She loves him so much. It's very beautiful."
Song Liling: "Well, yes, to a Westerner."
Rene Gallimard: "I beg your pardon?"
Song Liling: "It's one of your favorite fantasies, isn't it? The submissive Oriental woman and the cruel white man."
Felicity Huffman * 2005
Director and Writer: Duncan Tucker
Felicity Huffman's Oscar-nominated role of Bree, a transsexual woman attempting to bridge the generational and gender gap with her son.
Bree Osbourne: "My body may be a work-in-progress, but there is nothing wrong with my soul."
The Adventures of Priscilla, Queen of the Desert
Hugo Weaving, Guy Pearce, Terence Stamp * 1994
Director: Stephan Elliott, Screenplay: Stephan Elliott
Three free spirits bring their talents to an Australian desert resort - with mixed results.
Bernadette: [to Felicia] I've said it before, and I'll say it again: "No more fucking ABBA!"
Zorro, the Gay Blade
George Hamilton, Lauren Hutton, Rob Leibman, Brenda Vaccaro * 1970
Screenplay: Hal Dresner
A playful romp around old California with George Hamilton's cheeky Zorro, his gay twin brother Ramon, and Lauren Hutton's rebel Charlotte Taylor-Wilson.
Charlotte Taylor-Wilson: "How can there be two of you?"
Zorro: "You always said when the revolution came, there would be more for everyone."
Tim Curry, Susan Sarandon, Barry Bostwick * 1975
Director: Jim Sharman
Screenplay: Jim Sharman
An pair of innocent lovers get stuck in one strange hotel in this cult musical.
Janet: Brad, please, let's get out of here!
Brad: For Godssakes, keep a grip on it, Janet.
Janet: But it seems so unhealthy here.
Brad: It's just a party, Janet.
Janet: Well, I wanna go!
Brad: Well, we can't go back to the car unless we get to a phone.
Janet: Well, ask the butler or someone!
Brad: Just a moment, Janet. We don't want to interfere with their celebration.
Janet: This isn't the Junior Chamber of Commerce, Brad!
John Cameron Mitchell, Michael Pitt, Miriam Shor, Andrea Martin * 2001
Director / Writer:
A wig-happy transsexual looks for love and fame in all the wrong places.
Hedwig: One day in the late mid-eighties, I was in my early late-twenties. I had just been dismissed from University after delivering a brilliant lecture on the aggressive influence of German philosophy on rock 'n' roll entitled, 'You, Kant, Always Get What You Want.' At 26, my academic career was over, I had never kissed a boy, and I was still sleeping with mom. Such were the thoughts flooding my tiny head on the day that I was sunning myself... in an old bomb crater I had discovered near the Wall. I am naked, face down, on a broken piece of church, inhaling a fragrant westerly breeze. [sees the golden arches of a McDonald's sign over the wall] My God, I deserve a break today.
Bruce Willis, Milla Jovovich, Gary Oldman, Ian Holm, Chris Tucker * 1997
Director / Writer: Luc Besson
A guy, a Goddess-in-training and a bad guy race against time in this sci-fi thriller that boasts Chris Tucker as one unforgettable TV host. Oprah, move over!
DJ Ruby Rhod: Korben sweetheart, what was that? It was BAD! It had no fire, no energy, no nothing! Y'know I got a Show to run here, and it must pop POP POP! So tomorrow from 5 to 7 will you PLEASE act like you have more than a two word vocabulary. It must be green, okay?
Korben Dallas: Can I talk to you for a second?
[Throws Ruby up against a wall]
Korben Dallas: I didn't come here to play Pumbaa on the radio. So tomorrow from 5 to 7 your gonna give yourself a hand, You green?
DJ Ruby Rhod: [Strangling Voice] Supergreen.
Dustin Hoffman, Jessica Lange, Bill Murray *1982
Director: Sydney Pollack
Screenplay: Don McGuire and
 Larry Gelbart
A classic tale about a boy who gets a part in a TV soap by dressing as a woman, boy falls in love with girl, girl sets up boy with her father… Dustin Hoffman's Michael and Jessica Lange's Julie bond amid backstage chaos and real-life confusion to the delight of all.
Michael Dorsey: "You should have seen the look on her face when she thought I was a lesbian."
George Fields: "Lesbian? You just said gay."
Michael Dorsey: "No, no, no - SANDY thinks I'm gay, JULIE thinks I'm a lesbian."
All quotes are from IMDb.