All the news on ASUS Zenfone 2 in our articles.
We will here explain to you how to put a movie on ASUS Zenfone 2 so you can enjoy better the technical wonders of your ASUS Zenfone 2.
You first need to make sure your ASUS Zenfone 2 is powered, that you have an USB cord you can connect your phone to your computer with, and that you have legally obtained movie files.
We will now tell you how to put a movie on ASUS Zenfone 2 from your computer. If you have never setup a connection between your computer and your ASUS Zenfone 2, connect it with the USB cable to your computer.
You then have to set your ASUS Zenfone 2 as a storage device.
It is your ASUS Zenfone 2.
All you have to do now, is open your ASUS Zenfone 2 as a disk drive on your computer.
In an other window, go to the movie file you want to put on your ASUS Zenfone 2. Click and keep the click down while dragging the movie to the "Movie" file.
Let it download on your ASUS Zenfone 2. When it is done, disconnect your phone from your computer.
Our other articles on ASUS Zenfone 2 can help you.
This solution allows you to legally access a movie and play it on your device without having to use anything other than your ASUS Zenfone 2, at the condition it has access to the internet. First, you have to go to your Google Play Store app. On the homepage, click on the top left menu with three layered lines.


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Ray LaMontagne was born in New Hampshire, but as he put it, his family was "just passing through." His parents split up shortly after his birth, and his mother began a pattern of moving her six children wherever she could find employment and housing, which meant LaMontagne grew up as the perennial new kid in school (when and if he went to school at all). He did graduate high school, however, and found himself working in a shoe factory in Maine when he heard Stephen Stills' "Tree Top Flyer" on the radio. The song amounted to an epiphany for LaMontagne, and he made up his mind on the spot to become a singer and musician.


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Q: Screen Flicker on Windows 10 with Multiple Monitors On a Latitude E6530, I get a flickering screen issue only after both upgrading to windows 10 and while using a monitor. The problem doesn't appear otherwise.
Both monitors seem to be set to 60 Hz.
I tried updating my Nvidia driver, didn't work.
This occurs with more than one monitor.
Given that this occurs with the upgrade to windows 10 I'm forced to think its a driver issue, but if updating the drivers doesn't fix it I don't know what else to try.
It appears to me that the flicker only occurs on the laptop's screen and not the secondary monitor.
Edit: By switching off optimus and rebooting, installing the latest intel graphics drivers, I get no flicker. I don't like Optimus being enabled though, so I'd like a solution that doesn't involve using the intel card at all...

A: On laptops Windows will always [laptops using Nvidia GPU's, not sure about AMD] run on the integrated GPU on the CPU, and only switch to the dedicated GPU in applications apart from that, that demand it.
You can also try going to the Nvidia Control Panel, and go to Manage 3D Settings, and set the preferred GPU to Nvidia Dedicated GPU.
Not sure if that completely answered your question though. :/

A: *

*Step 1: Boot Windows In Safe Mode.

*Step 2: Uninstall NVIDIA GPU Driver.

*Step 3: Restart Windows In Safe Mode.

*Step 4: Reinstall The Driver

redpajama_set_name: RedPajamaStackExchange


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text:
Elath (, modern Elat; tiberià 'Êláṯ; llatí: Aila) fou una antiga ciutat esmentada a la Bíblia hebrea a la part nord del golf d'Aqaba, veïna de les poblacions d'Eloth i Ezion-Geber.

 Històricament, la ciutat d'Àqaba, Jordània s'ha associat amb aquesta antiga ciutat.
 La moderna Eilat, port d'Israel, al costat d'Àqaba, fou anomenada així en record de l'antiga Elath.

redpajama_set_name: RedPajamaWikipedia


Big money and real gangsters wait for risky and adventurous gamers. Reel Steal slot machine is full of features and great prizes five reels, nine lines video slot by Net Entertainment. It is quite different from standard gambling machines like Mega Joker online by Novomatic, so we suggest to play them both and decide what type of slots are more preferable.
Menu buttons: "Bet lines", "Paytable", "Bet level", "Start", "Max bet", "Coin Value" are situated under the game field.
Screens "Bet" and "Win" show you selected wager for a game and wined money respectively.
Screen below buttons shows chosen bet level and lines, general coins amount and its value.
"Bet level" – the button alters stakes from 9 to 90. You have 10 levels to change wager.
"Bet lines" – this slot has 9 altering bet lines.
"Start" – green round button to start Reel Steal slot round.
"Max Bet" – is played with the highest wager per lines.
"Coin Value" – changeable button too in the range 0.01 – 0.50.
Small black buttons at the left corner help with settings changings and pressing button "?" opens game instruction.
From left reel to right one are counted winning combos.
Only highest prize will be counted.
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Programmers provided this game with special icons – scatter and wild, in Reel Steal slot review it is worthy of special mention. So yellow car is wild and it changes other icon, but not Scatter. This lucky symbols multiplies your prize 5 times, and during free spins – 25 times!
Explosive is scatter and 3 in row explosions opens 15 bonus spins, 4 – 20 spins and 5 – 25. During free-of-charge spins your prize is increased 5 times. Each fuse on the reels at rewarding spins gives you extra spin.


text:
Черни рид е село в Южна България. То се намира в община Ивайловград, област Хасково. Старото му име е Кара тепе.

География
Село Черни рид се намира в планински район. Намира се на 15 км от Ивайловград и 42 км от Крумовград

История

Културни и природни забележителности
Има паметник построен през 1918 г. за падналите бойци през Балканската война.

Села в област Хасково
Населени места в община Ивайловград


A Gratitude Journal is a great way to implement mindfulness and positive psychology into our daily life. We are so overwhelmed with negative messages every day. Everything we are told to consume and to buy is marketed as a way to make our lives better – that we will not have enough to make us happy until we get the next thing, or have the next experience. These messages can wear us down, allowing us to forget the benefits and privileges of what we already have. More importantly, it distracts us from who we already are and what we have to offer.
Beginning and ending our day with gratitude can truly make a world of difference to our lives, focusing in on what we have, how lucky we are, and that we are coping. This is not about ignoring the bad in life – unfortunately none of us really have a problem doing that. What we do have a problem doing is stopping, appreciating, and feeling it is enough, for now. This is not about denying all the hardships and obstacles we face, it is about simply taking a proactive moment, twice a day, to remind ourselves of what we do have, from having the ability to partake in a loving relationship, to simply having milk in the fridge for our tea.
While there are numerous apps for gratitude, I find the art of putting pen to paper can be very soothing. It also allows for a practice that is separate to everything else we do on our phone. Ritual is important. (While I think it can be great to have a gratitude app that we can log positive moments or thoughts in as and when they happen, in order to begin the morning and bedtime ritual I think it's very important to keep it offline for now).
Keep your journal in your room. If you do not have a desk space, keep it by your bed. I find that the more attractive the journal (whether that is ornate or minimalist for you is your call!), the more enticing it can be to begin.
Before you leave your room in the morning, take 5 deep, SLOW breaths. Open your curtains.
Write down what you are grateful for in this weather -directly respond to your environment each morning. Whether it is appreciation for a clear sky and warm weather, or having an umbrella, or having had a roof over your head while it thundered outside overnight, find the gratitude for your current privilege in relation to the weather.
As you are facing the day ahead, consider your blessings. This can be as straightforward as "I have milk in the fridge. I can afford a coffee on the way to work. I have access to a public transport system. I have a job. I have central heating, I can afford the vitamin C that I take every morning. I was privileged enough to get the education which affords me a job". While this may seem simplistic, it channels your mindset into a place of coping.
Don't rush your words. Reflect and consider how you feel and see what comes to mind. You might surprise yourself.
No matter how good or bad you feel, try to pinpoint what you are capable of getting from this day, whether it is "I have the good health and energy to have a productive day" or "I have a cosy duvet and internet access to support me through this difficult day".
So not include negatives. While it can certainly be beneficial to write out our negative feelings – our fears, our pain – that is for another journal. This is a clear focus on the positive, however much or however little you feel there is in this exact moment. Stay in this moment. Remember, this is not about being in denial or about forgetting the negative. It is about remembering and appreciating the positives. There is more than enough external and internal ways for the negatives to be reinforced. Take this small time for yourself.
It's really good to repeat the ritual at night whenever you can, as a reflection on the day's positives. Even it was a day from hell, find the gratitude. If you had a fierce argument, find the gratitude in your ability to communicate. If you are angry about your communication, find the gratitude in that too. "I am grateful to be know that I need to work on my communication skills, and I can take personal responsibility for my actions. I am lucky to be capable of self-reflection as I learn my way".
If you are interested in reading more about gratitude journaling, I like the positive living websites Tiny Buddha, Elephant Journal and Trust Your journey.


text:
Новосе́лица () — село в Староконстантиновском районе Хмельницкой области Украины.

Население по переписи 2001 года составляло 525 человек. Почтовый индекс — 31162. Телефонный код — 3854. Занимает площадь 1,083 км². Код КОАТУУ — 6824285604.

География
Село расположено на берегу реки Иква в 40 км от города Хмельницкий.

Достопримечательности
 В окрестностях села расположен памятник природы с названием Миролюбненская.
 Дворец Гижицкого.
 Новоселицкий парк.

Местный совет
31160, Хмельницкая обл., Староконстантиновский р-н, с. Миролюбное

Примечания

Ссылки
 Новоселица на сайте Верховной рады Украины
 Административно-территориальное устройство Хмельницкой области

Населённые пункты Староконстантиновского района


IN a major catastrophe like the Mexican earthquake and the mud slides in Colombia, experts say, the psychological world collapses just as resoundingly as the physical one.
The most prominent psychological casualty is the sense of invulnerability with which most people manage to face the risks of daily life. Also shattered, psychologists are finding, are a person's sense that his or her world is comprehensible and has meaning, and for many years after the trauma a person's very sense of worth may be damaged.
"The common belief that people recover after a few weeks from disaster is based on mistaking denial for recovery," said Dr. Mardi Horowitz, a psychiatrist at the University of California medical school at San Francisco.
Dr. Horowitz's research has shown that many psychological symptoms do not appear until long after the victim seems to have fully recovered from the disaster, and when the problems do arise - such as difficulty concentrating, depression or sleeplessness - their causes may go unrecognized.
The study of the psychological impact of trauma of all sorts has become a major topic for researchers. While psychoanalytic theories have dealt in the main with the devastating effects of emotional trauma in early childhood, the new work examines the emotional aftershocks of disasters of every sort.
As psychologists and psychiatrists assess the impact of catastrophes large and small, they are finding that the worst natural disaster holds something in common in its psychic impact with what may seem a minor crisis, such as a witnessing a brutal crime. And they find, for example, that children come to grips with disaster in ways that are very different from those of adults. Moreover, the evidence is that rescuers and even bystanders also can be vulnerable to psychological costs.
Some research suggests that the more benevolent a person had assumed the setting of a disaster to be, the worse its psychological impact can be. A study at the University of Illinois found that women who had been raped in settings they once thought were safe were more fearful in general afterward than were women who had been raped in dangerous settings.
Children vary in their reactions depending on their age, according to research by two psychiatrists, Dr. Robert Pynoos of the University of California at Los Angeles and Dr. Spencer Eth of the University of Southern California, who have studied children who witnessed brutal crimes. The severest impact is on the youngest children, those of preschool age. ''They feel the most helpless and passive when confronted by overwhelming danger, and require the most assistance to re-establish psychic equilibrium,'' Dr. Pynoos and Dr. Eth wrote in an article in ''Trauma and Its Wake'' (Bruner/Mazel).
Young children in severe danger often react by a mute, stunned withdrawal; one 3-year-old sat next to her murdered mother for eight hours until a roommate discovered them. After the disaster has passed, preschool age children often regress, acting like an anxious younger child, whining, clinging or throwing tantrums. Children at this age are most likely to dwell on the fantasy that the tragedy has not occurred, and that everything is magically all right.
Children of school age, on the other hand, have a much broader repertory of responses. Some children at this age will spend an inordinate time retelling the traumatic incident in detail, but with a lack of emotion. Others will become fixated in a state of constant guardedness, as though braced for danger at any moment.
Aware of the irreversiblity of death, they are less prone than the younger child to dwell incessantly on the fantasy that a dead loved one will return. But children of this age will often re-enact the tragedy in fantasy, imagining themselves as having rescued the victim, according to Dr. Pynoos and Dr. Eth.
Teen-agers, they write, tend to resemble adults in reacting to disaster. One common reaction is a premature entrance to adulthood, a false sense of readiness to take on adult responsibilities. Teen-agers are also prone to respond with rebelliousness, such as truancy and sexual adventures, all out of keeping with their personality before the trauma. Dr. Pynoos and Dr. Eth note that teen-agers are much more realistic in their understanding of the event itself than are the younger children, who sometimes blame themselves for the disaster. Teen-agers, on the other hand, while they can accurately assess how little their own acts may have figured into the chain of events, may still inflate their guilt feelings at having survived, as many adults do.
Such variations in the impact of disaster must be seen against the broader background of the normal progression of psychological responses, which have been recognized for centuries. When the diarist Samuel Pepys described his reactions to the Great Fire of London, which destroyed much of the city in 1666, his account followed what psychologists have come to see as a classic pattern: disbelief followed by a forgetfulness of the disaster, insomnia, disturbing dreams and extreme anxiety.
Similar symptoms are commonly observed among the ''shell shock'' victims of the wars. The pattern, now called the ''post-traumatic stress syndrome,'' includes recurrent dreams of the traumatic event, the numbing of emotions, and guilt about having survived when others have not.
While there is no prescribed sequence for psychological recovery from disaster, experts recognize specific stages that oscillate in ways that can differ from person to person. Some of the most detailed research on the emotional aftermath of disaster is described by Dr. Horowitz in his book ''Stress Response Syndromes,'' published by Jason Aronson.
The normal immediate response to a severe trauma, Dr. Horowitz says, is an outcry of fear, rage or sadness at the terrible impact on one's life, which is often followed closely by a state of dazed shock. That shock is the beginning of a psychological denial of the tragedy, a denial that seems to serve a positive purpose in allowing the person to come to grips with his shattered world at a rate he can manage. For weeks or even years after the event, denial - blocking the facts from awareness - oscillates with intrusive thoughts of the tragedy, as the person slowly comes to face its full emotional truth.
When that process of adjustment goes awry, though, a variety of more severe problems can arise, according to Dr. Horowitz. For example, the immediate impact of the disaster may be overwhelming, leaving the person emotionally swamped. If the initial reaction of, say, distress and fear is not relieved, the person may sink into a state of total exhaustion or the feelings may escalate into outright panic.
During the longer course of recovery, Dr. Horowitz has found, people may either fall prey to extremes of denial or to being emotionally flooded by thoughts of the event. Extreme denial can take many forms, including a general numbing of emotions, serious loss of the ability to concentrate or to follow a train of thought, or an avoidance of topics even vaguely associated with the event. On the other hand, when memories of the event intrude too much, it can take such forms as an excessive alertness of dangers that do not exist, sudden waves of uncontrollable emotion, bad dreams or constant rumination on the event that cannot be put out of mind.
When the psychological process of coming to grips with the event goes uncompleted, Dr. Horowitz notes, the dangers can be more subtle, sometimes taking the form of psychosomatic complaints like stomach problems, headaches or inability to work or to love. When the recovery process goes awry in these ways, Dr. Horowitz notes, psychotherapy that deals with the original trauma is called for, even years later.
''The sudden emergence of fears or nightmares long after the tragedy has passed usually surprises everyone else, who thought the person had already recovered,'' Dr. Horowitz said. A recent report in The American Journal of Psychiatry tells of a World War II veteran who had no post-war problems until, 40 years later, he became haunted by a repeated nightmare of an incident from the last days of the war. In that encounter, he had shot German soldiers who turned out to be teen-age boys in uniforms with imitation rifles; in the dream they appeared as his own grandson.


public areas around Stonebridge Pond, Faversham, Kent, for the benefit of people, flora and fauna.
Encouraging the goodwill, education and involvement of the wider community.
Fostering community spirit and encouraging civic pride and wider social benefits.
He has also kindly allowed the Friends of the Westbrook & Stonebridge Pond to sell cards of a beautiful painting he has done of Stonebridge Pond, with profits going to our group. Cards are for sale at £2.50 by contacting the group.


text:
Q: Passing object from PHP to Javascipt I am trying to pass an object from PHP that is created from data returned from database queries. I have followed various tutorials and checked related answers on here but cannot get the JSON to parse without an 'unexpected token' error.
Ideally I would like to preserve the data structure but ultimately I need to end up with a robust solution that can handle hundreds of 'model elements'.
I expect there is something very obvious I am missing but any help would be greatly appreciated.
My PHP file;
<?php
$servername = "localhost";
$username = "root";
$password = "";
$dbname = "desman";

// Create connection
$conn = new mysqli($servername, $username, $password, $dbname);
// Check connection
if ($conn->connect_error) {
  die("Connection failed: " . $conn->connect_error);
}

//Get model elements
$sqlElements = "SELECT id, MODEL_ELEMENT_TYPE FROM project_model_elements";
$resultElements = $conn->query($sqlElements);
$modelElements = array();

if ($resultElements->num_rows > 0) {
  while($row = $resultElements->fetch_assoc()) {
    //echo "id: " . $row["id"]. " - Type: " . $row["MODEL_ELEMENT_TYPE"]. "<br>";
    //Create new model element object
    $modelElement = new ModelElement;
    $modelElement->id = $row["id"];
    $modelElement->type = $row["MODEL_ELEMENT_TYPE"];

    //Load points from database
    $points = array();
    $sqlPoints = "SELECT ID,
                  PROJECT_MODEL_ELEMENTS_POINTS_ORDER,
                  PROJECT_MODEL_ELEMENTS_POINTS_X,
                  PROJECT_MODEL_ELEMENTS_POINTS_Y,
                  PROJECT_MODEL_ELEMENTS_POINTS_Z
                  FROM project_model_elements_points
                  WHERE PROJECT_MODEL_ELEMENTS_POINTS_ELEMENTID = ".$row["id"];
    $resultPoints = $conn->query($sqlPoints);
    //Check there are points
    if($resultPoints->num_rows > 0){
      while($pointRow = $resultPoints->fetch_assoc()){
        //Create point
        $elementPoint = new ElementPoint;
        $elementPoint->id = $pointRow["ID"];
        $elementPoint->order = $pointRow["PROJECT_MODEL_ELEMENTS_POINTS_ORDER"];
        $elementPoint->x = $pointRow["PROJECT_MODEL_ELEMENTS_POINTS_X"];
        $elementPoint->y = $pointRow["PROJECT_MODEL_ELEMENTS_POINTS_Y"];
        $elementPoint->z = $pointRow["PROJECT_MODEL_ELEMENTS_POINTS_Z"];
        //Add to points array
        array_push($points, ($elementPoint));
      }
    }
    //Set model elements points
    $modelElement->points = $points;
    array_push($modelElements, ($modelElement));
  }
} else {
  echo "0 results";
}
//Encode model element array
json_encode($modelElements);

$conn->close();

class ModelElement
{
    public $id;
    public $type;
    public $points;
}

class ElementPoint
{
  public $id;
  public $order;
  public $x;
  public $y;
  public $z;
}

From my Javascript;
function reqListener () {
  console.log(this.responseText);
}

var oReq = new XMLHttpRequest(); // New request object
oReq.onload = function() {

  const obj = JSON.parse(this.responseText);
  alert(this.responseText);

  //Loop json object
  //Create objects to be displayed by draw function

};

oReq.open("get", "Database.php", true);

oReq.send();


Cadillac Fairview (CF) and the Investment Management Corporation of Ontario (on behalf of its client Ontario Pension Board) announced today that TD Bank Group (TD) has signed a long-term lease agreement, which will see TD occupy 840,000 square feet across 33 floors at 160 Front Street West. As part of the transaction, which remains subject to customary closing procedures, TD will take part ownership in the building. For TD, the investment is a strategic decision that reflects the bank's strong balance sheet as well as the long-term outlook for corporate real estate in the downtown core.
Cadillac Fairview currently has $1.5B of major office projects under development, including the $479 million building at 16 Street in Toronto, which is a joint project with IMCO, the $200 million BMO Campus at CF Toronto Eaton Centre, and the $60 million revitalization of 2 Queen Street West in Toronto.
Cadillac Fairview is one of the largest owners, operators and developers of best-in-class office, retail and mixed-use properties in North America. The Cadillac Fairview portfolio is owned by the Ontario Teachers' Pension Plan, a diversified global investor which administers the pensions of more than 323,000 active and retired school teachers. The real estate portfolio also includes investments in retail, mixed-use and industrial real estate in Brazil, Colombia andMexico.
The Investment Management Corporation of Ontario (IMCO) manages a $61.6 billion portfolio that spans multiple asset classes and value-add strategies that are designed to meet the important financial objectives of public sector clients in Ontario. IMCO's mandate is to provide broader public-sector institutions with investment management services, including portfolio construction advice, better access to a diverse range of asset classes and sophisticated risk management capabilities. IMCO is an independent organization, operating at arm's length from government and guided by a highly experienced and professional Board of Directors. For more information, visit www.imcoinvest.comand follow us on Twitter @IMCOinvest.
The Toronto-Dominion Bank and its subsidiaries are collectively known as TD Bank Group ("TD" or the "Bank"). TD is the sixth largest bank in North America by branches and serves more than 25 million customers in three key businesses operating in a number of locations in financial centres around the globe: Canadian Retail, including TD Canada Trust, TD Auto Finance Canada, TD Wealth (Canada), TD Direct Investing, and TD Insurance; U.S. Retail, including TD Bank, America's Most Convenient Bank®, TD Auto Finance U.S., TD Wealth (U.S.), and an investment in TD Ameritrade; and Wholesale Banking, including TD Securities. TD also ranks among the world's leading online financial services firms, with more than 12 million active online and mobile customers. TD had CDN$1.3 trillion in assets on January 31, 2019. The Toronto-Dominion Bank trades under the symbol "TD" on the Toronto and New York Stock Exchanges.


The Black Icelandic Sheepskin is perfect for throwing over any chair or sofa. Color varies naturally from midnight black to rusty black.
Size: 44-50" x 30-38", the fur is 4"-8" long.
Eco-Friendly. The processing of these sheepskin conforms to strict EU directives concerning environmental preservation and protection — no chromium or bleaches were used in the tanning process. We recommend using a soft bristled brush to clean.


text:
Curious Kids US
Smart windows could combine solar panels and TVs too
May 11, 2018 6.52am EDT
Kerry Rippy, Colorado State University
Kerry Rippy
Ph.D. Candidate in Chemistry, Colorado State University
Kerry Rippy does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
Colorado State University provides funding as a member of The Conversation US.
Could this monitor and window be combined with a solar panel? patat/Shutterstock.com
Imagine standing in front of a wall of windows, surveying the view. You hear someone enter the room behind you. You turn. "Welcome," you say. "Here is the video I wanted to show you." At the press of a button, the view vanishes and the windows transform into a high-definition TV screen.
No, your friend isn't James Bond, and you aren't the next Q. Still, even as you watch the video, your window-TV is doing as much to help avert global catastrophe as any Bond-film gadget ever did. You see, it's also a solar panel, constantly harvesting renewable energy from the sun. The problem of climate change is not a typical movie supervillain, but it's a trickier problem than Goldfinger posed. Worse, humanity's efforts to solve it with existing technologies aren't working fast enough.
The heroes swooping in to the rescue could be a new technology called organic semiconductors, a new way to make materials that conduct electricity only under certain conditions. Most semiconductors in modern electronics are made of crystalline, rock-forming elements like silicon. Organic semiconductors, by contrast, are made primarily of carbon-based molecules. They take less energy to make than conventional semiconductors. A conventional photovoltaic cell, for instance, can take years to produce as much energy as was required to build it; an organic photovoltaic cell takes just months.
However, perhaps the most exciting thing about organic semiconductors is that it's possible to design molecules that are flexible, lightweight, colored or completely transparent. In the lab I work in, we design and test new small molecules that have specific, targeted properties – like making a simple transparent pane into a window, screen and solar panel.
Each of these research samples is a small organic solar panel made from different molecules, with varying degrees of transparency to visible light. Kerry Rippy
Capturing solar energy
Making a solar panel that's also a window involves a bit of creativity: It has to be something that both absorbs light, to make electricity, and lets light through, to let people see in and out.
Our material takes advantage of the fact that a window only needs to transmit human-visible light; in my lab, we can make molecules that absorb only UV and infrared light, wavelengths of light our eyes don't see. These are parts of the spectrum we don't really want to pass through a window anyway. UV light gives you a sunburn. And infrared light is hot: Filtering it out can save on the energy use and expense of air conditioning. It's true that our method doesn't capture absolutely all the energy in sunlight, but that's okay. The amount of solar energy that reaches Earth every hour is more than all humanity uses in a year.
Transparent organic solar panels don't absorb the part of the solar spectrum that includes visible light; they only absorb UV and infrared light. Kerry Rippy, CC BY-ND
Flipping the process around
Organic semiconductors are also useful for making monitors and displays. If you think about it, a screen is basically a solar panel run backwards. It generates light from an electric current. Both solar panels and display screens involve conversions between light and electricity. Just like we can design transparent organic semiconductors, we can design molecules that emit specific colors of light when an electric current is applied.
Put together one molecule that emits red, one molecule that emits blue, and one molecule that emits green, and you have an organic light-emitting diode. Those are the key to what are known in the TV and monitor marketplace as OLED screens.
Simplified diagrams of organic photovoltaic cells and organic light emitting diodes show how they operate very similarly, just in reverse. Kerry Rippy, CC BY-ND
To make a smart window, we would need to deposit two layers of organic semiconductors – one layer to generate electricity from sunlight and another to emit light – onto a pan of a transparent conducting material, like indium tin oxide. These technologies exist, but are not yet available for sale.
Putting the pieces together
Half of this device is already commercially available: Energy-efficient high-resolution OLEDs are a big hit in the marketplace for home and office TVs.
Companies selling organic solar panels, and even organic solar panel windows, are just getting going. Ongoing research efforts, like mine, are aimed at optimizing the properties of these materials, increasing their efficiency, and making them more durable.
As we make the components better, we'll also find ways to integrate organic-semiconductor solar cells and organic-semiconductor displays together. It may be a few years out yet, but there is certainly incentive to do so, with so many possible applications. An electric car with smart windows could collect enough solar energy to drive the car 10 to 15 miles a day, enough for a typical commute. Driving directions could appear on the windshield, too. Anywhere there's a window – whether in a skyscraper or a mobile home – there could be a smart window, saving space, saving energy and letting the occupants feel like James Bond.
Organic electronics
Organic semiconductors
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text:
Living in Luxor - Excursions: Trips from Luxor to Beni Hassan
Sights at Benī Hassan
Benī Hassan ("tribe of Hassan") is the name of two villages in Middle Egypt. They are located about 20 km to the south of Minyā on the east bank of the River Nile half-way between Luxor and Cairo: Beni Hassan ash-Shurūq ("the eastern tribe" - inhabited) and Benī Hassan al-Qadīm ("the old tribe" - nowadays uninhabited). Benī Hassan al-Qadīm is famous for its 39 rock-cut tombs built into the steep hillsides overlooking the river with a fine view, probably the most important tomb group encompasses the Middle Kingdom necropolis of local nomarchs and their officials. A location on the east bank is not traditional for tombs, but the terrain to the west was most difficult. Twelve tombs are decorated, the four most famous are currently open to visitors (tombs of Khnumhotep II <BH3>, Kheti <BH17>, Baqet III <BH15> und Amenemhet <BH2>).
Necropolis at Benī Hassan
Necropolis at Benī Hassan, the accessible rock-tombs are colour-coded.
The little dots on the lower line mark about 900 (closed) shaft tombs.
Some of the larger tombs are famous for the quality of their wall paintings. They have biographical inscriptions and are decorated with untypical paintings of wrestling scenes, military activities, and daily life affairs which scarcely make reference to the life of the tomb's owner. Many of these scenes were in poor condition. Luckily, several of them were carefully restored in the 80s. Unfortunately but understandably enough, photography is no longer allowed inside any of the tombs.
Wrestling scenes in the tomb of Amenemhet (BH2)
Khnumhotep II on fowling (BH3)
On the south side of an isolated river bed about 3 km east of Benī Hassan there is a rock temple called Istabl 'Antār (Greek: Speos Artemidos, "Cave of Artemis") which is dedicated to the lioness deity Pakhet. The 15 m wide temple was built by Queen Hatshepsut and enlarged by Thutmose III und Seti I. Pakhet ("she who scratches") is likely to be a more regional lioness deity worshipped specially in the area of Benī Hassan as "Goddess of the Mouth of the Wadi". Great numbers of mummified cats have been found buried nereby. Many are thought to have been brought great distances to be buried ceremonially during rituals.
Rock Temple Istabl 'Antār
Marginal note: A couple of kilometres south of Benī Hassan far from the street there is a 23 m deep fountain called Bir es-Sahāba ("fountain of the cloud "). It is said that once when thirsty Jesus wanted to bring water from the river Nile this fountain came out of nowhere - including a cloud to shelter him from the sun.
The sightseeing at Benī Hassan is easy to combine with a visit of the archaeological site of Zāwīyat el-Maiyitīn and Tihnā al-Gabal.
Sights around Minyā
The city of Minyā ist the capital of the same-named governorate and called "Bridge of Upper Egypt". About 230,000 inhabitants live in this university town. It was the capital of the Upper Egyptian cotton trade, but its factories now process sugar and produce soap and perfume. Minyā has a very pleasant town centre, numerous restaurants, a couple of hotels, and a beautiful corniche.
Between the villages of Sawāda und Benī Hassan there is the area Zāwīyat al-Maiyitīn with important remains of a city and predynastic necropolis, called Kōm el-Ahmar ("Red Hill"). Today, adjacent to the archaeological site, there is a vast old Muslim cemetery which is with 6 km in length one of the largest cemeteries in Egypt. In the hill behind the town site rock-cut tombs served as the burial places of local officials of the Old and New Kingdoms. Near the Red Hill there is a step pyramid (originally 15 m in height, now 5 m) dating to the Old Kingdom. Fragments of a temple can be seen on the northern side of the site which is dated to Amenhotep III (New Kingdom) and dedicated to Horus.
Zāwīyat al-Maiyitīn, fragments of the Temple of Horus, in the background domes of the cemetery
Tihnā al-Gabal is an archaeological site with a lion-shaped hill 12 km to the north-east of Minyā. It is best known for its Old Kingdom rock-cut tombs, the 'Fraser Tombs'. Four of the fifteen tombs contain statues and carved hieroglyphics and are open to the public (Ni-ankh-kay <2 tombs>, Khanuka und Kahap). The most important tomb is the second tomb of Ni-ankh-kay which has the shape of a Mastaba tomb. In the area there are also remains of a temple dedicated to God Amun.
Tihnā al-Gabal, the Lion Hill, with temple and tombs
Coming the long way from Luxor it makes sense to spend the night in Minyā - especially because there is no other possibility for a overnight stay around Benī Hassan. Minyā has a couple of hotels in different price categories available.
Our Service in Luxor
For your trip starting at Luxor we organise a car, which takes you to the mentioned sights, and manage the overnight stay at Minyā. Kindly let us know your wishes, we make you a favourable offer.
Geographical Position
Route from Luxor to Benī Hassan (A) and environs of Benī Hassan (A), © Google
Beni Hassan: Art and Daily Life in an Egyptian Province ~ Naguib Kanawati
To be publ. in February 2011
To the list of excursions ...


text:
Halloween Special Subject: Dracula (1931) and Bram Stoker's Dracula (1992)
Our first Halloween special looks at a monster for whom familiarity has bred unjustified contempt. Looking at Tod Browning's 1931 DRACULA and Francis Ford Coppola's misleadingly-titled BRAM STOKER'S DRACULA from 1992, we discuss the Cursed Count as a romantic and a sympathetic figure; the two films' departures from Bram...
The Hollywood Studios, Year-By-Year – Fox Film Corporation, 1930 – Up the River and Liliom
We declare the year 1930 CANCELLED prior to discussing John Ford's UP THE RIVER & Frank Borzage's LILIOM (little known today - but based on the same source as the musical CAROUSEL). We consider the different (maybe opposite) ways in which these Fox movies portray sympathy for the victims of class society without...
Acteurist Oeuvre-View – Season 1 – Jennifer Jones: Love Letters (1945) and Cluny Brown (1946)
In our second Jennifer Jones episode, we defend William Dieterle's LOVE LETTERS (1945), putting it in the context of 40s psychiatric melodramas and WWII amnesia movies, and consider the good and bad of what Ernst Lubitsch's CLUNY BROWN (1946) has to say about female sexuality and English complacency.
Time Codes:
0h...
The Hollywood Studios, Year-By-Year – Warner Brothers, 1930 – The Dawn Patrol & Playing Around
In our first 1930 Warner Bros. episode, we consider DAWN PATROL as an early example of cahier hero 'Auward 'Awks's philosophy of masculinity, and note the emergence of the Warners ethos in Mervyn Leroy's PLAYING AROUND, including consciousness of class, sympathy for criminals, vaudeville Yiddish characters, and a...
Autumn Special Subject: Nora Ephron - When Harry Met Sally (1989) & You've Got Mail (1998)/The Shop Around the Corner (1940)
"Autumn is the most bourgeois month," as Keats said. Elise and Dave prove this is so by exploring Nora Ephron's two autumnal Upper West Side romantic comedies, WHEN HARRY MET (1989) and YOU'VE GOT MAIL (1998), a remake of Ernst Lubitsch's THE SHOP AROUND THE CORNER. Elise passes judgment on the two latter movies on...


To complement Francesca's yummy spaghetti all'amatriciana, I suggest that you pick a medium-bodied red wine with good smoothness, acidity and tannins. My ideas are either a Rosso Piceno from Central Italy or a Lagrein from the North East of Italy. Let's take a closer look at both.
Rosso Piceno is one of the 15 (as at November 2012) DOC appellations of the Marche region in Italy. The regulations of this DOC require that the wine be made out of 35-70% Montepulciano grapes and 30-50% Sangiovese grapes, provided that the use of other black-berried grapes is permitted up to a maximum of 15%. The regulations also prescribe that it be produced in an area surrounding the towns of Ascoli Piceno, Pesaro-Urbino and Ancona, while the territory for the variant "Rosso Piceno Superiore DOC" is a much smaller area near Ascoli Piceno.
As to the main black-berried grapes that make Rosso Piceno, Montepulciano is a grape that is indigenous to Central Italy and that is extensively cultivated in several Central Italy regions, such as Marche, Abruzzo, Umbria and Lazio to name a few. Due to the ample supply of Montepulciano grapes, the quality levels of the wines that are made out of it unfortunately vary significantly, so buyer beware: you have to do your homework first and pick the best producers if you don't want to be disappointed.
As to Sangiovese, well, everybody knows Sangiovese, right? It is one of the most renowned Italian grape varieties which is used in the making of several signature Italian wines, from Brunello di Montalcino to Chianti and from Vino Nobile di Montepulciano to Morellino di Scansano. It is also indigenous to Central Italy and is one of the most widely cultivated grape varieties in Italy, especially in the regions of Toscana, Umbria and Emilia Romagna. Varietal wines made out of Sangiovese grapes tend to have fairly aggressive tannins when they are still "young" and are generally best enjoyed after a few years of aging, when time takes care of taming them. Even in this case, given the massive quantities of Sangiovese that are produced, quality levels of the wines made out of such grape variety tend to be inconsistent and knowledge of the various appellations that allow its use and of the specific wineries is important to avoid unsatisfactory experiences.
Moving on to the actual recommendations, in my view these are some of the best Rosso Piceno out there in terms of price/quality ratio: Velenosi, Rosso Piceno Superiore "Brecciarolo Gold" DOC (70% Montepulciano, 30% Sangiovese; with aromas of wild berries, vanilla, pepper, tobacco and nutmeg – as we are used to doing, kudos to the owners of this estate who invested resources and energy to achieve a commendable density of 5,000 vines/HA); De Angelis, Rosso Piceno Superiore DOC (70% Montepulciano, 30% Sangiovese; with scents of cherries, blackberries, plums, blueberries, soil); Bucci, Rosso Piceno "Tenuta Pongelli" DOC (50% Montepulciano, 50% Sangiovese; with aromas of rose, blackberries, raspberries, plums, tobacco and minerals); Le Caniette, Rosso Piceno "Rosso Bello" DOC (45% Montepulciano, 45% Sangiovese, 10% Cabernet Sauvignon; with scents of blueberries, redcurrant and minerals – even in this case, we would like to praise the owners for a very good density of 4,500 vines/HA); and Cantine di Castignano, Rosso Piceno Superiore "Destriero" DOC (70% Montepulciano, 30% Sangiovese; with aromas of dried flowers, cherries and minerals).
Now, a few words about Lagrein: this is a black-berried grape variety that is indigenous to the Trentino Alto Adige region of Northeastern Italy. Its use is permitted in several of the eight DOC appellations of the region, among which the appellation "Alto Adige DOC", whose territory encompasses an area surrounding the town of Bolzano and which requires that Lagrein-based wines be made 85% or more out of Lagrein grapes.
Among the best Lagrein's for their quality and price point are Manincor, Alto Adige Lagrein "Rubatsch" DOC (with scents of wild cherries, plums, licorice, slightly oaky); Erste + Neue, Alto Adige Lagrein "Puntay" Riserva DOC (with aromas of blueberries, cherries, coffee, slightly toasty); Cantina Bolzano, Alto Adige Lagrein "Perl" DOC (with scents of violets, wild berries, ink); Muri-Gries, Alto Adige Lagrein DOC (with aromas of violet, blackberries, blueberries, chocolate, ink); and Kellerei Kaltern Caldaro, Alto Adige Lagrein "Spigel" DOC (with scents of violets, blueberries, blackberries, wild cherries, cocoa). Note that all the above wines are made out of 100% Lagrein grapes.
As always, if you happen to try out any of these wines or would like to suggest a different pairing, feel free to share it with us by leaving a comment below!
This entry was posted in Wine, Wine Pairings and tagged Alto Adige, Italian, Lagrein, Marche, pairing, red, Rosso Piceno, Trentino, wine on November 11, 2012 by Stefano.


text:
Movie Review, Sociology
Wakanda Forever: Part 1
Wakanda Forever: Part 1 – What Our Generation Needs
Black Panther is the movie that our generation needs right now. It is a movie of historic proportions. I am not going to give away any spoilers in this review. But before I get into the film, let me share an experience:
A PERSONAL EXPERIENCE
In 2003 I visited Ghana, West Africa. Actually, it was my very first time on the continent and when my feet left the airplane steps and touched African soil, I suddenly had a feeling I couldn't explain… I was "home." How could I feel "home" in a place I had never physically visited before? I still don't know how to explain it. Perhaps there's something in the collective consciousness of a people who were stripped from their motherland. But, while sitting in the theater watching Black Panther, there were scenes which caused me to have a feeling very similar to that first visit to Ghana.
BLACK SUPERHEROES?
This isn't the first superhero movie that featured a black protagonist. Blank Man, Meteor Man, Blade and Hancock are four previous films which have tackled this genre. However, the first two came from a "campy" comedy perspective. The third came more from a horror vantage point. And the fourth was more of an "anti-hero" motif with huge character flaws.
Black Panther is the first superhero feature film to not only get the full "Hollywood treatment" but to tackle the genre head on while, also depicting Africans and African Americans as a people of great character, complexity and intellectual, physical, spiritual and technological capability. This film also presented a number of women who are strong and powerful in their position, intellect and physical strength.
IMPACT OF THE MOVIE
Black Panther is well written, crafted, acted and executed. It is visually stunning and packed with amazing visual effects and action which makes for great entertainment! It is no doubt, an excellent addition to the Marvel Cinematic Universe which is leading up to Avengers: Infinity War later this May. But beyond that sits a rare gem. This film displays what can happen when people of color are provided the freedom, opportunities and resources to tell stories which are true to them–not just the rehashed stereotypical stories of pain and loss and oppression.
While Black Panther does have characters who have experienced pain, loss and oppression (like Killmonger), the film balances that out by displaying a side of the African/African-American experience which has been lost down through the years. One of power, creativity, honor and loyalty. While we, as a people, may have been scarred by a series of tragic events – (transatlantic slave trade, slavery, segregation, Jim Crow, race riots, economic oppression, infiltration of drugs, educational inequality, etc…) – forced on us by those who wish to oppress us, we do have the power to not allow tragedy to define our existence. It may inform us, but together it does not have to define us.
IT IS THE QUESTIONS THAT DRIVE US
Black Panther raises many questions in my mind. Here are a few:
*What would have happened if European colonizers did not strip the African continent of many of its precious resources? How do we learn from the past in order to secure our future?
*What happens when we choose to keep deep secrets instead of confronting the truth?
*What happens when we choose to act from a place of pain and loss? What are the dangers of giving into despair? How can we overcome the pain and loss we experience in our lives?
*Which narrative will we choose to believe? The one written by oppressors or what history shows to be true?
*How can you protect what is yours while helping others to be free?
I am still processing my thoughts on the film. What moved me the most was the father/son relationship between T'Challa and his father and Killmonger and his father. And it raised the question in my mind: What happens when we are disconnected from our heritage (either by willful ignorance or outside interference)? And how do we regain connection with community?
This is Part 1 of my review. Much more to come! Go see the film. You will not be disappointed. Thank you Marvel Studios! #WakandaForever #BlackPanther #LongLiveTheKing
Click Here for Part 2 of my review.
-Allen Paul Weaver III-
Black PantherMovie ReviewRyan CoolglerT'ChallaWakanda Forever
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text:
By Hank Parmer
No one would have believed in the middle years of the twentieth century that this world was being watched keenly and closely by intelligences greater than man's -- and yet as randy as his own. Across the gulf of space, intellects vast and unsympathetic and hot-to-trot regarded humans with lustful eyes, and slowly and surely drew their plans against us.
Of course, since aliens (at least, those of the non-chest-busting variety) are always stuck-up brainiacs, they have to pretend it has nothing to do with primitive emotions like horniness: It's all just a matter of needing new breeding stock. But we all know what they're really after.
A few brave filmmakers tried to warn us of this impending peril. Interestingly, the majority of these pictures from the 50s and 60s involve the attempted kidnapping of Earth females by aliens putatively of the male gender. (See: The Mysterians, Mars Needs Women, Frankenstein Meets the Space Monster)
It's also a curious fact that the theme of fictional abductions for anal probing first appears during the Reagan era. Draw what conclusions you will from that. But it was up to those uber-butch Brits of the fifties to commit to celluloid what is beyond doubt the most terrifying vision of them all: the Devil Girl -- from Mars!
This grim forecast of things to come -- a Spartan Production, so you know it's got to be manly, or cheap, or maybe both -- opens with stock footage of a DC3 cruising above the clouds. Cue eerie music, and the airplane blows up! (Some aliens have to make such an entrance.)
Credits roll, above the empty cloudscape: Produced by The Danzigers -- I guess it took an entire Baltic seaport to make this crappy movie.
Establishing shot of a lonely inn -- the "Bonnie Charlie" -- on a stormy night in the Scottish highlands. Inside, eight-year-old Tommy, his aunt, Mrs. Jamison, and Doris (Adrienne Corri ... rowr) are listening to the BBC. The radio reports that a meteor fell in the vicinity, and famous professor Arnold Hennessey is heading there to investigate.
Cut to a car stopped on a dark and deserted highland road, where newspaperman Mike Carter rags on the famous professor for being able to chart the most distant stars, yet he can't read a map of Scotland. They realize they haven't the faintest idea where they are. The BBC's Convenient Plot Point service clues them into the news that convicted murderer Robert Justin is on the loose.
Cut to Robert, who hides behind a boulder as Mike's car passes him by. The fugitive sees the inn in the distance, and strikes off toward it. Next there's a short scene in the inn's kitchen, where we're introduced to the innkeeper, Mr. Jamison, who according to his missus is overly fond of the "Scottish national beverage". (I think that's a Haggis Shooter.) Doris exits to straighten up the bar; she hears someone knocking softly at the door.
It's Robert, of course. Turns out Doris is in love with the guy, who's in the slammer for having killed his cheating wife -- by accident, he claims. Doris took a job at the inn just to be close to him. He begs for a little food, and shelter for the night. She hesitates, but when Mrs. Jamison enters from the kitchen, she goes all in and tells her boss the stranger is a hiker who's gone astray on the moors. He introduces himself as "Albert Simpson", and asks for a room. Doris tells another obvious lie about Albert having just told her he'd lost his wallet in a stream; he offers to work for his food and board. Mrs. Jamison -- who's a gruff but kindly soul -- agrees, but warns him before she exits that she'll count the spoons.
Doris tries to make some awkward conversation with Robert/Albert. He tells her he couldn't stand being locked up anymore and had to break out to be with her. Doris asks how he liked prison, did he read a lot -- he did like reading so. Just when it looks as though he's about to commit a second murder, David, a short, balding, bespectacled man with a gimpy leg and a crippled arm, appears, carrying an armload of firewood.
Barely sotto voce, Doris confides the guy really creeps her out. David shuffles out of the room. Some people can be so cruel.
She then enumerates the rest of the inn's inhabitants, which includes a single guest, the mysterious Ellen Prestwick, who doesn't seem at all the type who would be staying at an isolated inn like this in the middle of the winter.
Cut to Ellen (Hazel Court -- I repeat: rowr) seated in front of her mirror, gazing pensively at her reflection. After a moment, she heads downstairs, and runs into Mr. Jamison. He compliments her on her beautifully tailored outfit, so she does a playful imitation of a fashion-show spiel for him. Okay.
They part company, laughing. Ellen enters the bar, where she meets "Albert". She thinks the fugitive reminds her of someone. He hastily finds something to do in the kitchen.
Mike and the Professor arrive at the "Bonnie Charlie". Mrs. Jamison takes pity on the pair and agrees to give them a room for the night. In the bar, Mike clumsily flirts with Ellen. Judging by her outfit, he believes she's that mid-20th-Century epitome of feminine grace and charm, a stewardess. Professor Hennessey introduces himself.
Standing by the window, Ellen thinks she sees a flash up in the sky.
Mrs. Jamison brings in a tureen brim-full of steaming "Scottish broth" -- made from real Scotsmen, no doubt -- and everyone sits down to their tucker. Mrs. Jamison calls for Albert to bring the bread in. Uh-oh: Mike immediately recognizes the fugitive. He's on the verge of revealing Albert's true identity when he's interrupted by a sudden, blinding flash of light outside, accompanied by an ear-splitting hum. Upstairs, in an obvious homage to the previous year's Invaders from Mars, Tommy wakes up and rushes to the bedroom window.
The adults run outside, and are astonished to see a flying saucer -- with a couple of extremely 1950s fins stuck on the back. It's coming in for a landing.
Mike, Mr. Jamison and Hennessey decide they'll investigate; naturally, the womenfolk are told to stay back. The saucer hovers, while there's a lingering shot of it extruding landing legs that look an awful lot like dildos specially designed for backpackers, on somewhat the same principle as those collapsible cups.
Once they're fully engorged -- I mean, deployed -- the saucer sets down. It's glowing white-hot, and is obviously aroused, so the men don't dare approach it. They regroup at the bar.
Mike tries unsuccessfully to phone the authorities, then remembers to spill the beans about Robert/Albert, who's wisely made himself scarce. Mike and the Prof decide they'll try to drive to the nearest village. Ellen steps outside for a breath of fresh air, while in the background the car's engine can be heard cranking away. It refuses to start.
She discovers Robert hiding in the bushes. They have a nice chat. She quickly decides he can't really be a murderer, because he's even more frightened than she is. (I think she's missing a couple of links in that chain of deductions, but whatever.) Ellen promises not to rat him out and returns inside.
Robert sneaks back into the inn to say goodbye to Doris, but she shows him the attic and persuades him to hide out there, until they can both run away.
She leaves Robert to settle into his posh digs. He looks out through the window at the saucer and sees a hatch open: Out strides -- the Devil Girl! She's wearing a very fetching ensemble: black leather full-sleeved mini-tunic, black leather gloves, black silk stockings and black leather boots, complemented by a glossy black leather helmet and matching full-length black leather cape.
Kinky ... Clearly, she's meticulously researched the predilections of the British male of that era.
The Devil Girl is portrayed by Patricia Laffan (all the way to the bank, I imagine). Classic film buffs may recognize her as having played slinky bad girl Empress Poppaea to Peter Ustinov's Nero, in the Technicolor biblical epic Quo Vadis.
While Robert stares in mute horror, hapless Davy the Geek stumbles onto the scene and runs smack into an invisible force field. The Devil Girl then disintegrates him, a disdainful sneer upon her haughty Martian lips. There's nothing left of the poor little guy but his specs. (Which just goes to prove space babes don't make passes at gimps who wear glasses.)
Meanwhile, Mike and the Prof give up trying to get the car to start, and return to the bar. They find Doris in a trance. Although it's quite possible she may have been rendered catatonic with boredom.
The Devil Girl chooses this moment to reveal herself to the Earthlings, swanning through the glazed double doors which have been inexplicably left wide open, in mid-winter, in the highlands.
This doorway couldn't have been better designed for making a dramatic entrance, as it's raised a couple of steps above the level of the the bar room floor, sort of like a truncated version of a Greek stage. The Devil Girl -- who has a real flair for this sort of thing -- will prove to be very fond of making surprise appearances through this portal.
Getting down to business, the Devil Girl introduces herself as "Nyah". (Given her incessant put-downs and taunts, I suspect her full Martian appellation is Nyah-Nyah-Nyah-Boo-Boo.) After giving the Prof the once-over, she dismisses him as "a poor physical specimen", then graciously releases Doris from her trance.
Mike is astounded to find the Devil Girl speaks English; she replies that she speaks all languages, which the Martians have as usual learned by listening to our blabbermouth Earth radio.
The Devil Girl declares she originally meant to land in London, but her spaceship was damaged entering Earth's atmosphere. She's just killing time while it repairs itself. (It's made of something called "organic metal", smelted from carefully selected, natural heirloom ores.)
When asked why she came to Earth, the Devil Girl explains that there was a devastating war between the sexes on Mars. The Prof says he's terribly disappointed to learn that other inhabited planets have wars. The Devil Girl dazzles them with a mess of pseudo-scientific gobbledegook about an ultimate weapon called the Perpetual Chain Reaction ray, which sends stuff into the 4th Dimension. (The Martians are also working on an even more fiendishly destructive ray that transports you to the 5th Dimension, which is exactly like the 4th Dimension, except you're subjected to never-ending, soul-numbingly upbeat orchestrations of "Up, Up and Away" and "Age of Aquarius". The horror ...)
Oh, and she's got a hulking robot pal, named Chani. Who, as always seems to be the case in this sort of affair, looks nothing at all like that cool robot in the poster.
Anyway, on Mars, the women ended up on top in the war of the sexes. Although this made for a nice change, it had the unexpected side-effect of turning their men into wimps, and now the birth rate's completely shot to hell. (For all their vaunted technological prowess, the formula for Viagra still eludes them.)
Ellen guesses the shocking truth: "So you've come to Earth for some new blood."
"In a way," replies the Devil Girl. Oh ... I get it. Good one, D.G.!
The Devil Girl informs them her flight is a test of the organic metal; the other Martians were Nelly Naysayers and predicted it was too unstable to survive the voyage. When she gets back, though, she promises they'll build a fleet of spaceships and return to conquer the Earth. Eyeing Mike speculatively, she says she intends to take some studly samples back with her.
Mike -- outraged at the prospect of servicing an endless succession of insatiable leather-clad Martian cuties -- demands to know how she plans to get away with it. Foolish Earthling: the Devil Girl has a paralysis ray, which she just demonstrated on Doris. Ellen is aghast at the Devil Girl's plan, but Hennessey is intrigued, what with all the neat-o science stuff the Martian chicks will likely give them in exchange for a thorough rogering.
Mike tries to slug the Devil Girl, but he's held back by the women and Mr. Jamison (who secretly wonders if the guy's gay, or been sick or something). She warns them that the place is surrounded by an invisible wall, and exits, vanishing mysteriously as soon as she steps outside.
The Jamisons repair to the kitchen to brew up that anodyne for every calamity: a nice cuppa. The Prof wanders outside, intent on checking out this invisible wall thing. Ellen returns to her room. Mike joins her there for a quick brandy and a heart-to-heart: Ellen's trying to get over an affair with a married man. Mike reveals he's a former war correspondent. Now that we've finally got everyone's tedious back story, they return to the bar.
The Prof staggers in, after running into the force field and bloodying his nose and forehead. (Notice that it never occurred to our brilliant scientist to employ something less vulnerable than his face to locate the thing.) Mr. Jamison digs out his pistol, but Mike persuades him to give it to him because "he's used to that kind of thing".
The Devil Girl makes another entrance.
Mike threatens her with the gun. When she calls his bluff, he shoots her -- oops: Nyah's invulnerable. "I can control power beyond your wildest dreams!" she gloats, and commands them all to follow her outside.
Meanwhile, Robert, who's still watching from the attic window, spies Tommy climbing out of his upstairs bedroom onto the roof. The kid wants to see the "aeroplane". Robert tries to talk the lovable tyke out of it, but Tommy insists. They climb down and hide next to an outbuilding, while the Devil Girl leads the others toward her spaceship.
The Devil Girl halts, produces a device which looks like a potato masher grenade with some kebab skewers stuck into it, and tells them to "Watch, and witness the power of another world!" She points the contraption at the saucer. The hatch slides open and a ramp extends from the ship. Truly, they must have uses for garage door openers of which we have scarcely dreamed! (h/t Joel and the 'Bots)
Chani the Robot -- who resembles nothing so much as a gigantic, ambulatory, old-style electric shaver -- lumbers down the ramp. And look at those pitifully inadequate claws they gave him for hands!
He terrifies the primitive Earthlings by zapping a tree, a derelict truck and for good measure, the outbuilding close to where Robert and Tommy are still hiding. They hit the dirt, while the others beat feet for the inn. Chani the robot returns to the spaceship for a well-earned lube job.
Still groveling in the dirt, Robert and Tommy look up, and see the Devil Girl standing over them. Robert is defiant, vowing that none of her tricks will work on him. She promptly hypnotizes him and sends him back to his attic. Tommy, however, is invited to see the inside of her ship.
"Come, I will show you wonders you have never seen before." Trusting Tommy goes with her.
Cut to the bar again, where the humans are holding a council of war. Mike thinks he's going crazy. He'd give anything now for a flight of heavy bombers, but the Prof points out that the Devil Girl can probably swat them out of the sky. If only he could see the inside of the saucer, insists the Prof, he might be able to do something.
Right on cue, the Devil Girl makes yet another dramatic entrance. She never seems to tire of that gag.
"I know you are plotting against me," she tells them, her voice dripping with contempt, "but it amuses me to watch your puny efforts." God, but she's hawt!
The Prof replies that a wise man will seek to know the truth, even if his means are limited.
In a surprise move, Nyah resorts to merciless taunting: "It would take you a thousand years to learn even a fragment of what we have achieved!"
Perhaps it wouldn't take so long, claims the Prof, if I had you for a teacher. (And if he's been a very bad boy, it's only fair that she should give him a good spanking!)
All he's seen so far, he says, is that the Devil Girl can kill, which is also a human accomplishment. But he only trusts the evidence of his senses. She thinks she has a powerful spaceship, he continues, but, the Prof warns her, we too have powerful weapons.
"You say you only trust the evidence of your senses," replies the Devil Girl. (Apparently she believes the spaceship, the robot, the invisible force shield, the paralysis ray and the disintegrator have so far escaped his primitive Earth eyeballs.) "Very well then, you shall see. Perhaps then you will realize your helplessness. Come!" she orders him imperiously.
Though the others try to dissuade him, the Prof follows her to her spaceship.
The Devil Girl takes him on a tour of her vessel. No, my naughty-minded readers, I'm not being euphemistic. I mean they just stand around and jaw at each other in an austere chamber which is so advanced (dare I say, "Spartan"? okay, how about "cheap"?) that there are no visible seats or controls or any other kind of furnishings. It might almost be some sort of highly advanced communal Port-a-Potty.
One could easily read some Freudian implications into the predominance of that circular motif. Or maybe the Devil Girl whiles away the hours on those long interplanetary voyages playing multiple simultaneous whack-a-mole.
Nyah advances the plot by helpfully showing the source of her power to the Professor. See, the Martians have discovered how to make a negative atomic implosion, which is a thousandfold more powerful than our primitive nuclear explosions. Furthermore, since it's always imploding, the force doesn't dissipate, which means it's a perpetual motion machine!
After this lucid exposition, I'm certainly convinced.
The Devil Girl and the Prof return to the inn. The sneaky Earthlings have used the time she chewed up pontificating to rig a booby-trap for the Devil Girl, by wiring the electricity to the door handles. Naturally, it's just as ineffective as shooting at her. It seems to have completely slipped these idiots' minds that she's wearing leather gloves.
"You must cease your stupid tricks," she admonishes them, "Or I will destroy the child!"
She then goes all out-of-focus -- which is the sort of cool trick you can do when you control the 4th Dimension -- and fades away. Now that she's got the dramatic entrance thing down pat, she really ought to work a bit more on those exits.
Mike's had enough: He resolutely marches out to the saucer and offers to exchange himself for the child. Bravely accepting his fate as a Martian boy-toy, he promises to go willingly. Even though every fiber of his incredibly butch self revolts at the prospect.
Tommy is allowed to return to the inn.
As the boy relates his adventure to the relieved adults, Doris slips away to check on Robert. He's back in the attic, sitting quietly in a chair, still under the Devil Girl's hypnotic influence. In a voice utterly devoid of emotion, he informs her they are all slaves of a great and powerful civilization, and must prepare for their new leather-fetish overlords (ladies?) -- stock up on lubricants and ball gags, decide on a safe word, etc.
He tells her to go, there is little time left. (Would that it were so, but there are actually more than twenty minutes remaining to this nonsense. Forget the Devil Girl, it's the filmmakers who can manipulate the 4th Dimension, slowing the normal passage of time to a molasses-in-January -- at the North Pole -- crawl.)
Downstairs, Mike is back. He wants to say goodbye to Ellen, who's upstairs now with Tommy. But before he can do that, Doris joins them, frantic over Robert's inexplicable zombification. She begs the men to help. Note that even though Mike previously clued everyone in to Robert's real identity, they all -- including Mike -- still insist on referring to him as "Albert".
Warning Doris to stay back, Mike goes upstairs, alone. Robert pops out of the attic to give him a big ol' bear hug. Mike's not having any of that, so a knock-down, drag-out fight ensues. They throw punches which clearly don't come within a foot of the intended target, wrestle, and eventually tumble down the stairs together.
Mike gets up, but Robert's down for the count. They drag him into the bar and tie him to a chair.
The Prof now reveals to the others the source of the Devil Girl's power: a glowing globule of energy in her spaceship which -- in what can only be considered a major design flaw -- sits right out there in the open, and has a tendency to explode if someone gives it a good whack.
"One life, in exchange for millions -- yes," muses Mike. Ellen demands to know what he means, but before Mike or the Prof can explain, Nyah makes another grand entrance -- savor it, for this will be the last -- and declares: "It is time, Earthman!"
Ellen bids him a tearful goodbye, and Mike meekly follows the Devil Girl to her ship. But when she produces her super-duper garage door opener, our tricksy (though not very bright) newspaperman attempts a desperate gamble and snatches it away from her. She paralyzes him. Well, so much for that idea.
"That will be the last trick, Earthman," she promises him ominously, and takes him back to the inn. Enough is enough, or maybe it's just that given so many glaring examples of Mike's stupidity, she figures these aren't the genes she's been looking for. The Devil Girl lets the others know that because of Mike's boneheaded stunt, she's changed her mind: She's going to kill them all when she leaves, in a few minutes' time.
The Prof tries to bargain with her, pointing out that she'll need a guide and intermediary when she gets to London. He volunteers to go with her, if she spares the others. The Devil Girl won't relent. She admits the go-between idea has something going for it, though. The Prof begs her to take him. The Devil Girl won't say who, but one of them will be allowed to live, though the others must die.
She leaves.
The Prof convinces the others that he's not really a turncoat, and reiterates that whoever gets on board has to try to destroy the ship. Then he occupies the time remaining to them by writing down everything he knows about the Devil Girl, in the unlikely event that someone will find it in the charred rubble of the inn. And send it to Penthouse magazine.
Ellen and Mike have another tedious romantic dialogue -- which, considering that Mike's little faux pas appears to have doomed them all, is awfully forgiving of her.
Everybody congregates in the bar again. Robert wakes up; Doris is relieved to find he's no longer under the Devil Girl's spell. The Prof needlessly reminds everyone how one of them can sacrifice themselves to thwart the Devil Girl's nefarious scheme. Robert listens attentively.
The Prof, Mr. Jamison and Mike each volunteer in turn. In an obvious attempt to spare Ellen's feelings by making her loath him as a coward, Mike pretends he just wants to save his own hide. He points out that there's really no obligation for him to blow the ship up. But Ellen doesn't believe him.
The men end up drawing cards to decide. Mr. Jamison gets the high card, but Mike still insists on going. The rest will hide in the cellar. Mike ushers the others out, saying he'll come back for Robert, while Doris remains with the fugitive. Time for another tender interlude, after Doris cuts Robert's bonds.
You know what's going to happen next, right?
He whispers "Goodbye, Doris" as she leaves the room. When the Devil Girl reappears, Robert tells her the others are hiding, but he'll go with her willingly. Mike and Doris return to the bar, just in time to see him enter the spaceship. The hatch closes behind him, and the saucer lifts off.
The spaceship dwindles slowly into the night sky ... the tension is unbearable. No, it's the movie that's insufferable. Suddenly, it blows up! (The saucer, not the movie.) Thus, in a tremendous, shattering climax, ends the Devil Girl's lubricious adventures among the puny, primitive Earthlings.
Everyone gets together -- where else? -- in the bar. The telephone rings; the Prof answers. They all -- except for buzz-kill Doris, of course -- have a good laugh when he tells them someone wants to know if there was something wrong with the line. While the Mrs. comforts Doris, Mr. Jamison hauls out the blender and the haggis and declares drinks are on the house.
Wow. After viewing this steamy tale of interplanetary perversion, I need a cigarette, and a good, long shower. Then I'm shooting off a hefty check to the Men's Rights Movement. Only they seem to truly comprehend the magnitude of this looming menace, of which we've just been given the starkest, most graphic warning conceivable. Someone must stop this madness, before it's too late!
We need legions of manly men, unflagging in their determination to stand proud and erect against the creeping emasculation which threatens to engulf our civilization. Men who aren't afraid to join with other men, sweaty, hairy, proudly gaseous fellows like themselves, to resist the siren call of Lady Gaga and body waxing, unisex salons and co-ed restrooms. (Not to mention equal pay, or changing a diaper, or helping with the housework.)
Meanwhile, as always, watch the skies. And if a lustful alien chick drops into your backyard, you'll know what to do. Repeatedly. You can bear it, if you just think of England.
Labels: Guest Column, Hank Parmer, Movies
It's nice to learn that the Mother Country - which has given us Gorgo, Quatermass in various forms, Doctor Who, and lots more - is, or was, just as capable of turning out silly crap as we are. And boring silly crap at that.
Not to mention one of lo-budget SF's least impressive mechanical men! Re your comment about the actual robots in these cheapo flics looking nothing like the poster robots, I guess that's one way to tell the sheep from the real alien goats. If you recall the classic poster for "Day the Earth Stood Still", it features an accurate depiction of the robot of robots, Gort. He's carrying a vague approximation of Patricia Neal (hair wrong, face wrong, ripped dress wrong) but at least such an encounter does actually take place... and if anything, movie-Gort is much scarier than poster-Gort.
I first saw DTESS in a bar-cafe near New Brunswick, NJ about 10 years after it was released. I was a college freshman spending a rainy Spring Saturday with my boyfriend. We stopped at this neighborhood eatery for a snack, and the movie was on the little TV over the bar. There were at least a dozen other patrons, and we all sat there riveted for the full 90-minutes-plus-commercials, our beers and sandwiches forgotten.
We need legions of manly men, unflagging in their determination to stand proud and erect against the creeping emasculation which threatens to engulf our civilization.
Dr. Mrs. Ole Perfesser is on the case!
Gee that flying saucer is too cool. My dad owned a Buick Electra like that, ca. 1959. Fully equipped.
My major complaint with these Devil Women from Outer Space is that they're always so damn hot.I recall (vaguely)My Stepmother is an Alien was another Hawt Babe. How is your average rotund, bespectacled, 60+ Earth female in battered jeans (purely hypothetical person here)supposed to compete for luscious Earthman flesh which has galaxy-wide appeal? Doomed, we are.
Hank (aka grouchomarxist) said...
Li'l Innocent:
Although Robby the Robot undoubtedly had him beat in the personality department, I still think Gort edges Robby out in the Coolest Robot of the 50s competition. Robot costumes don't usually fare well, but Gort remains very intimidating.
That's a great first-viewing story. I first saw TDTESS in the early 60s, on a TV not any bigger than the one in that bar, our old portable B & W. (i.e. "the kids' TV") I was a bit younger than you, but it made a tremendous impression on me, too. So much so that I even started fabricating replicas of Klaatu's saucer from aluminum pie plates.
I'm a big fan of British SF. But yeah, they could produce some utter crap, like The Crawling Eye and The Gamma People, to name just two. But this one has to be by far the silliest. What continues to amaze me is that they wasted so much talent on this pathetic tripe.
Suezboo:
Yes, it is terribly unfair. Of course, being a 60-year-old, bespectacled male who also dresses for comfort, I'm hardly likely to meet a space babe's demanding physical requirements, so it's all rather academic.
However, you've inspired me to start work on a film treatment, tentatively titled Cougars from Beyond Space.
Girl On Go-Gurt Action!
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MINSK, 15 April (BelTA) –The students of the International Relations Department at Belarusian State University Anna Zykova and Alisiya Ivanova made it into the top 100 at the Philip C. Jessup International Law Moot Court Competition in Washington, finishing 38th and 55th respectively among 500 contestants, BelTA learned from the BSU press service.
"The students argued both the applicant and respondent sides in the cases on state responsibility for environmental degradation, protection of endangered animal species, and defense of indigenous people's rights. The BSU team also ranked among the top ten teams in the written pleading competition," the press service noted. The university added that the BSU team was trained by the graduates of the department Tatiana Zinyakova and Yekaterina Shkarbuta.
This year, the Philip C. Jessup International Law Moot Court Competition in Washington was held in early April and brought together 143 teams from over 90 countries. The winner title went to Hungary. Belarus also fielded a team of Belarusian State Economic University.
The Philip C. Jessup International Law Moot Court Competition was founded in 1957. It is the world's most prestigious competition in public law, a sort of the Olympic Games for future lawyers which annually draws around 2,000 students from 550 universities.