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Dino Risi: 1916–2008
Dino Risi: (December 23 1916; died June 7 2008)
Dino Risi had a long and illustrious career in Italian cinema. Risi was one of the foremost proponents of the genre which came to be known as 'Comedy - Italian Style'. risi worked with many leading Italian movers and shakers in the film industry including: producers such as Carlo Ponti; scriptwriters such as Zavattini, and Ettore Scola; actors such as Sophia Loren, Vittorio de Sica, Marcello Mastroianni,Monica Vitti and Jean-Louis Trintignant.
Working with luminaries such as Alberto Lattuada initially, it was 1956 when Risi made his first film entirely under his own steam. Poor but Beautiful (1956) marked the shift in Italian cinema from neo-realism to comedy. Despite his prolific output there is little written on him according to the bibliographical section of Bondanella's history of Italian Cinema. This may be because so much work has been focused upon neorealism, however as Hipkins notes in her introduction to a course on Comedy - Italian Style:
Picking up on elements of the post-war movement's social critique and combining them with comic techniques, a series of directors managed to satirize the Italy of the economic miracle in a genuinely popular form of cinema. Despite its success, both artistically and at the box office, Comedy - Italian Style is little known abroad and all too rarely studied.
Luigi Comencini was the other main director of these type of films at the time, and they have continued to be made up until the present notes Bondanella (p 89). The genre was highly dependent upon an effective start system and Risi worked with many of these actors who were good at comedy although some may be surprised to see names such as Monica Vitti in these ranks.
Il Sorpasso (The Easy Life,1962) was very popular. It has a picaresque narrative structure using adventures on a drive from Rome to Viareggio to elpore the changing nature of Italian values during the years of the great 'economic miracle'. Vittorio Gassman is obsessed with his car and is a symbol of the over-inflated economy whiclst Jean-Louis Trintignant is a more introverted and intellectual type of personality. The crash which kills the Trintignant character symbolises the dangers just under the surface of the exuberant economy.
The following year Risi produced another popular comedy I Mostri ( The Monsters, 1963), composed of 20 sketches Risi parodies a range of Italian sterotypes who symbolise the type of people who are running Italain society for their own gratification. (One might ask what has changed with Berlusconi's return to power in 2008)
In 1977 I nuovi mostri (The New Monsters) is another episodic work by Risi, Monicelli and Scola in a similar but more bitter vein than the earlier one as Italy has become increasingly violent. A man in the street sees a stabbing but ignores it becuase he is concerned with the quality of cheese on his Pizza for example. Often comedy can provide a powerful politicsal commentary upon society and Risi made films in this tradition. Hopefully more of them will become available now in the UK.
Return to Italian directors hub page
Filmography (for full Credits go to the RAI site)
Vacation With a Gangster (Vacanze col gangster) (Italy, 1951)
Director: Dino Risi, script: Dino Risi
Viale della speranza (Italy, 1952)
Paradiso per quattro ore – Segment of "Amore in città" (Paradiso per quattro ore – Episodio di "Amore in città") (Italy, 1953)
Director: Dino Risi, script: Cesare Zavattini
Il segno di Venere (Italy, 1954)
Director: Dino Risi, script: Dino Risi, Ennio Flajano, Valeri, Cesare Zavattini, featuring: Vittorio De Sica, Sophia Loren, Alberto Sordi, Peppino De Filippo
The Sign of Venus (Pane, amore e…) (Italy, 1955) Director: Dino Risi, script: Dino Risi
Poor but Beautiful (Poveri ma belli) (Italy, 1956)
Poor Girl, Pretty Girl (Belle ma povere) (Italy, 1957)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa
Oh! Sabella (La nonna Sabella) (Italy, 1957)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa, Ettore Giannini
Poor Millionaires (Poveri Milionari) (Italy, 1958)
Venice, the Moon and you (Venezia, la luna e tu) (Italy, 1958)
Director: Dino Risi, script: Etttore Scola, Alessandro Continenza, Ruggero Maccari
Il vedovo (Italy, 1959)
Director: Dino Risi, script: Dino Risi, Fabio Carpi, Rodolfo Sonego
Love in Rome (n amore a Roma) (Italy, 1960)
Director : Dino Risi, script: Ennio Flajano, Ercole Patti
Behind closed Doors (A porte chiuse) (Italy, 1961)
Director: Dino Risi, script: Marcello Coscia, Dino De Palma, Sandro Continenza
A difficult life (Una vita difficile) (Italy, 1961)
Director: Dino Risi, script: Rodolfo Sonego, featuring: Franco Fabrizi, Claudio Gora, Alberto Sordi, Lea Massari
March on Rome (La marcia su Roma) (Italy, 1962)
Director: Dino Risi, script: Age, Furio Scarpelli, Ruggero Maccari, Ettore Scola, featuring: Vittorio Gassman, Ugo Tognazzi, Giampiero Albertini, Nando Angelini
The Easy Life (Il sorpasso) (Italy, 1962)
Director: Dino Risi, script: Dino Risi, Ettore Scola, Ruggero Maccari, featuring: Vittorio Gassman, Catherine Spaak, Jean Louis Trintignant, Nando Angelini
The Thursday (Il giovedì) (Italy, 1963)
Director: Dino Risi, script: Dino Risi, Castellano, Pipolo
15 from Rome (I mostri) (Italy, 1963)
Director: Dino Risi, script: Age, Furio Scarpelli, Ruggero Maccari, Ettore Scola
The Success (Il successo) (Italy, 1963)
Director: Dino Risi, Mauro Morassi, script: Ruggero Maccari, Ettore Scola
La telefonata – Segment of "Four Kind of Love" ( La telefonata – Episodio de "Le bambole") (France/Italy, 1964)
Director: Dino Risi, script: Rodolfo Sonego
The Gaucho (Il Gaucho) (Italy, 1964)
Director: Dino Risi, script: Dino Risi, Tullio Pinelli, Ruggero Maccari, Ettore Scola
Una giornata decisiva – Segment of "The complexes" (Una giornata decisiva – Episodio de "I complessi") (France/Italy, 1965)
Director: Dino Risi, script: Marcello Fondato, Ettore Scola, Ruggero Maccari
Weekend, Italian, Style (L'ombrellone) (France/Italy, 1965)
Director: Dino Risi, script: Dino Risi, Ennio De Concini
Il marito di Attilia – Segment of "I nostri mariti" (France/Italy, 1966)
Director: Dino Risi, script: Age, Furio Scarpelli, Stefano Strucchi
Treasure of San Gennaro (Operazione San Gennaro) (Italy, 1966)
Director: Dino Risi, script: Nino Manfredi, Ennio De Concini
Kill Me with Kisses (Straziami, ma di baci saziami) (Italy, 1966)
Director: Dino Risi, script: Age, Furio Scarpelli
The Prophet (Il profeta) (Italy, 1967)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, Ettore Scola
The Tiger and the Pussycat (Il tigre) (Italy, 1967)
Normal Young Man (Il giovane normale) (Italy, 1969)
Director: Dino Risi, script: Dino Risi, Maurizio Costanzo, Ruggero Maccari
Vedo Nudo (Italy, 1969)
Director: Dino Risi, script: Iaia Fiastri, Ruggero Maccari
The Priest's Wife (La moglie del prete) (Italy, 1970)
Director: Dino Risi, script: Ruggero Maccari, Bernardino Zapponi, featuring: Sophia Loren, Marcello Mastroianni, Venantino Venantini, Gino Cavalieri
In The Name of The Italian People (In nome del popolo Italiano) (Italy, 1971)
Noi donne siamo fatte così (Italy, 1971)
Director: Dino Risi, script: Age, Furio Scarpelli, Rodolfo Sonego, Ettore Scola, featuring: Monica Vitti, Clara Colosimo, Filippo De Gara, Pupo De Luca
Dirty Weekend (Mordi e fuggi) (Italy, 1972)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, Bernardino Zapponi
How Funny Can Be Sex? (Sessomatto) (Italy, 1973)
Director: Dino Risi, script: Ruggero Maccari, featuring
Scent of a Woman (Profumo di donna) (Italy, 1974)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, featuring: Vittorio Gassman, Alessandro Momo, Agostina Belli, Moira Orfei
Lost Soul (Anima persa) (France/Italy, 1976)
Director: Dino Risi, scenegigatura: Dino Risi, Bernardino Zapponi
The Bishop's Bedroom (La stanza del vescovo) (Italy, 1976)
Director: Dino Risi, script: Dino Risi, Leo Benvenuti, Piero Chiara, Piero De Bernardi
The Career of a Chambermaid (Telefoni Bianchi) (Italy, 1976)
The New Monsters (I nuovi mostri) (Italy, 1977)
Director: Dino Risi, Ettore Scola, Mario Monicelli, Claudio Risi, script: Age, Furio Scarpelli, Ettore Scola, Bernardino Zapponi, Ruggero Maccari, featuring: Vittorio Gassman, Ornella Muti, Alberto Sordi, Ugo Tognazzi
First Love (Primo amore) (Italy, 1978)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, featuring: Ornella Muti, Ugo Tognazzi, Riccardo Billi, Caterina Boratto
Dear Father (Caro papà) (Canada/France/Italy, 1979)
Director: Dino Risi, script: Dino Risi, Marco Risi, Bernardino Zapponi
Roma – Segment of "I seduttori della domenica" (Roma – Episodio de "I seduttori della domenica") (France/Great Britain/USA/Italy, 1980)
Director: Dino Risi, script: Age, Furio Scarpelli, featuring: Ugo Tognazzi, Lino Ventura, Sylva Koscina, Rossana Podestà
I'm Photogenic (Sono fotogenico) (Italy, 1980)
Director: Dino Risi, script: Dino Risi, Marco Risi, Bernardino Zapponi, featuring: Edwige Fenech, Renato Pozzetto, Ugo Tognazzi, Vittorio Gassman
Ghost of Love (Fantasma d'amore) (France/Italy, 1981)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi, featuring: Marcello Mastroianni, Romy Schneider, Victoria Zinny, Michael Kroecher
Sesso e volentieri (Italy, 1982)
Director: Dino Risi, script: Dino Risi, Enrico Vanzina, Bernardino Zapponi, Laura Antonelli, Giuliana Calandra, Johnny Dorelli, Gloria Guida
Good King Dagobert (Dagobert) (France/Italy, 1984)
Director: Dino Risi, script: Dino Risi, Age, Gerard Brach
Madman at War (Scemo di Guerra) (France/Italy, 1985)
Director: Dino Risi, script: Dino Risi, Age, Furio Scarpelli, featuring: Beppe Grillo, Fabio Testi, Bernard Blier, Claudio Bisio
Il Commissario Lo Gatto (Italy, 1986)
Director: Dino Risi, script: Dino Risi, Enrico Vanzina, Carlo Vanzina
Teresa (Italy, 1987)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi, Graziano Diana
I'll Be Going Now (Tolgo il disturbo) (Italy, 1989)
Director: Dino Risi, script: Dino Risi, Beranrdino zapponi, Enrico Oldoini
Poor But Beautiful (Giovani e belli) (Italy, 1996)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi
Webliography
RAI Biography of Dino Risi
Guardian Obituary of Dino Risi
BBC News of Dino Risi's Death
Independent Obituary of Dino Risi
Reuters Report of death of Dino Risi
International Herald Tribune on Dino Risi's Death
New York Times on Dino Risi's Death
Independent Obit of Producer Carlo Ponti
Guardian Obit of Producer Goffredo Lombardo
Monica Bellucci had only been modelling for a few years when Italian director Dino Risi saw her photo in a magazine and hired her for her first film Vita Coi Figli
Where to Study Italian Style Comedy
"Comedy - Italian Style Exeter Uni "
Cambridge Uni (only a couple here)
Some of these are in Italian only
Extract from Il Sorpasso: Dino Risi (1962)
The Opening Credits from Il Sorpasso. The car driven by Vittorio Gassman is a fine looking Lancia Aurelia B24
: 02 Feb 2008 02:10 | Tags: Carlo Ponti Dino Risi Ettore Scola Italian Directors Jean Louis Trintignant Lancia Aurelia Marcello Mastroianni Monica Bellucci Monica Vitti Sophia Loren Ugo Tognazzi Zavattini | Comments (0) | Close comments | Report a problem
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Antonioni
Michelangelo Antonioni (1912-2007)
Michelangelo Antonioni Behind the Camera
Michelangelo Antonioni is probably best known for his films made in the 1960s which explored themes of isolation, alienation and the seeming lack of genuine interpersonal communications between people in the backdrop of the contemporary world. L'Avventura, The Red Desert, Blow Up and Zabriskie Point made in Italy, the UK and The USA respectively all contained these underlying features. With 16 feature films to his credit Antonioni made a respectable number of films over his career although he wasn't by any means the most prolific of the Italian directors.
Michelangelo Antonioni was born into a bourgeois family in Ferrara in 1912. At Bologna University he took a degree in economics. After leaving university he became a film critic fo the Corriere Padano based in Ferrara. He then moved to Rome to become a film critic with the journal Cinema in 1939 . He published an article in 1939 Concerning a film on the River Po. The outcome of this article was the making of his first film a documentary Gente de Po, (People of the Po) (1943). He reviewed the Venice film festival in 1940 revealing a strong degree of scepticism about the rampant commercialism and general superficiality of the mainstream cinema. Antonioni also studied at the Centro Sperimentale. He wrote the script for Rosselini's Un pilota ritorna in 1941. He went to Paris to assist with Marcel Carne's Les visiteurs du soir during 1942. Returning to Italy he reviewed Visconti's Ossessione (1943) in which he praised the portrayal of both the landscape and everyday life.
It was in 1943 that he begun to make his own films. His first film was a documentary which was supported by the Instituto Luce about the people living on the delta of the Po river, Gente del Po (1943). The film focused upon the everyday life of the people making a living there. With the film confiscated by the Fascists Antonioni has been overlooked as a part of the original neorealist film making tendency.
Extract from Gente de Po 1943: Dir. Michelangelo Antonioni
Later he worked with de Santis on the film Tragic Pursuit (1947) as a co-scriptwriter. Antonioni's next film was another short documentary style film Netteza Urbana (1948). This was about the activities of the sanitation workers in Rome making visible what is largely unseen as the work is done before most people are going to work. It was a neorealist perspective on the contemporary city and its unseen mechanisms.
Both films demonstrated a sensitivity to the hardships faced in daily life by ordinary Italians which would remain central throughout Antonioni's career. (Shiel 2006, p 97)
Antonioni's Politics
Shiel (2006) suggests that Antonioni wasn't one to wear his heart on his sleeve when it came to politics and that on the whole he preferred a more subtle approach than the more committed idealogues. Although not didactic Shiel points out that Antonioni's sensitivity to the plight of the poor got him into trouble with the censors in I vinti (1953). By representing the problems of the modern family especially the issue of juvenile deliquency Antonioni fell foul of the dictat which tried to ensure that only a positive view of Italy was represented. On the whole by then Antonioni had started a more abstract approach to his film making.
Extending the Concept of Neorealism
Millicent Marcus (1986) argues that the 1950s represented a crisis for neorealism and was also a time when there was a "proliferation of neorealisms' (Marcus p186). There was discussion of 'Romantic neorealism' from Visconti, 'Phenomenological neorealism' from Fellini and 'interior neorealism' from Antonioni. Marcus comments:
Neorealism is somehow reinvented in retrospect each time it is called upon to justify a new stylistic departure...The return to various aspects of neorealismto legitimize all important subsequent cinematic developments in Italy, even when those developments seem to contradict each other or to negate the neorealist example, is a testimony to the power of this precent and its elasticity. (Marcus 1986 pp 188-187)
Marcus continues by citing Antionioni's own stated perceptions of what he was trying to achieve:
I began as one of the first exponents of neorealism and now by cocnetrating on the internals of character and psychology I do not think I have deserted the movement, but rather have pointed a path towards extending its boundaries. Unlike earlier neorealist filmmakers, I'm not trying to show reality, I am attempting to recreate realism. (Antonioni cited Marcus 1986 p 189)
This appears to fly in the face of the original neorealist concept of representing the external world as it 'really' in terms of being a natural or social entity. Marcus suggests that what Antonioni is trying to achieve is a 'transvaluation' of realist concepts of truth by changing from representation of the external world by:
coming to mean fidelity to the nature of the medium or to the artist's subjectivity itself... (Marcus 1986 p190)
By the time of Red Desert Antonioni seems to have moved a considerable distance from the early notions based on ducumentarism in the cinema of Rossellini and de Sica in particular, nevertheless, argues Marcus he still maintains that strong ethical commitment which was a fundamental feature of 'classic' neorealism:
...yet the ethical commitment is still very much alive in him. Zavattini's notion of a "cinema of inquiry" in search of the truth about contemporary Italy has simply beeen transferred from the level of theme to that of visual style, but the impulse to to reexamine and revise the relationship between the observer and the phenomenal world is still as much a concern for Antonioni as for his neorealist predecessors. (Marcus 1986 p 206)
Cronaca di un amore
Cronaca di Amore
Cronaca di amore was Antonioni's first full feature film made in 1950. At this time the worst of the post-war austerity was behind. As the contextual circumstances changed so there was a need to represent other aspects of Italian society which included the rise of the new middle classes who were people benefiiting from the Marshall plan in Europe. Antonioni decided to focus on the emptyness of life for a bored middle-class wife (Paola) of a successful industrialist. Reviving an old romantic liaison with someone who had a drifting lifestyle with no regular income provided excitement and a focus of attention in her life. In many ways the plot was similar to 'A Postman Rings Twice' and Ossessione, itself derivative of A Postman Rings Twice. Other factors in Paola's previous life are gradually unfolded. Eventually they decide the Guido would murder Poala's husband Enrico. But when Guido is waiting to ambush the husband we hear a crash. Enrico has coincidently died in this crash, but in a twist to the tale the murder which might have consummated the relationship. This recognition of failure comes firstly from Guido who comments first "we can't go on", Paola responds "Why not" and Guido enigmatic questioning response "Don't you feel it". It is the enigmatic approach, the seeming inability to communicate in a direct manner which is at the root of Antonioni's vision.
Shiel (2006, p 101) usefully notes the compositional dominance in Antonioni's camerawork of the primacy of long and medium shots. These are shots which combined with a moving camera which "emphasise the alienation of the human subject by his or her physical environment." This 'detached mode' of using the camera also works very effectively in interior shots in which the use of long takes emphasise:
...the forms, surfaces and texturesof the physical habitatand its effects upon his characters'. internal psychology.
These are formalist devices which many people, more familiar with Antonioni's 1960s films such as L'avventura and Red Desert and even Blow Up, will recognise. It is interesting to note that Robbe-Grillet was very interested in the work of Antonioni and has been interviewed about his work which features in an old BBC documentary on Antonioni which hopefully will be made available again somewhere.
Monica Vitti in L'avventura
This provides some links between the French avante-garde of the Nouveau Roman (New writing)of those later to be known as of the Left-Bank such Marguerite Duras. Arguably Antonioni is perhaps the earliest exponent of cinematic ecriture or writing, a term used by Astruc who argued for the camera-stylo. Antonioni's use of things and his contruction of cinematic space isolate the bouregois subjects who inhabit his films in the 1950s and 1960s. His use of colour later in the Red Desert (1964) emphasises this tendency even more. In a recently published book Reading the French New Wave by Dorota Ostrowska she argues that it was the French writers and then directors of the Left Bank who reinvented the aims of 1920's modernism. Ostrowka examines the arguments of Andre Gide and also Jean Epstein. She points out that Gide:
...wanted to replace the artifice of plot with an arrangement of the events issuing from themselves and the reality of which they are a part and not from the order imposed by the narrator. (Ostrowka 2008 p 26)
Epstein she notes had similar intentions which seem to have much in common with Antonioni's approach to both his developments in form as well as in terms of the lack of strongly coherent narrative:
There are no stories. There never have been any stories. There are only situations, without the head or the tail, without the beginning, middle and end... with no limits imposed by the past or the future. These stories are present. (Epstein cited Ostrowka 2008 p 26)
Shiel notes Antonioni's filming of the city of Milan which is not only wet and industrial but is:
...predominantly characterised by an unnerving emptiness and anonymity and a lackof social energy and human warmth especially in the depopulated marginal spaces where Guido and Paola
secretly meet. (Shiel 2006 p 100)
It is an aesthetic of the city which is bleak and represents the growth of individualism accompanied by individualism and a move away from the scenes of social solidarity expressed in the classics of neorealism. It is a society in which spiritual poverty is replacing the material poverty represented by neorealism. In the clip below it is certainly bleak and wet and watch for the framing of Paola and Guido at the park gates where the bars come between them an echo of the mise en scene of classic film noirs:
Shiel points out that Antonioni saw neorealism as evolving and that the representation by cinematic means of interiority wasn't a rejection of external reality. In the extract above the obvious wealth of Paola who appears in a luxurious fur coat and with expensive diamonds serves to heighten the contradiction between crass materialism and its concommittant lack of human spirit. A left wing reading could have seen these symbols of wealth and status as a direct loss of rather than goals to be aimed for. The coldness of the relationship becomes a facet of the diamonds themselves signifying cold hard interiority.
Rossellini's Voyage to Italy (1953) follows Antonioni's lead as Shiel points out, however, the reconciliation through the warmth of the Neopolitan religious festival at the end reasserts a warmth of spiritual solidarity with people. In the film wealth doesn't make the characters happy and even a trip to Capri (repeated by Godard in Le Mepris 10 years later) fails to provide any spiritual relief. Rossellini's film does allow for hope, whilst Cronaca di un amore is more modernist in the ways outlined above and with its bleak ending signifies increasing alienation under capitalism. The fact that fate through a car crash removes the sense agency which had driven the film seems to signify that 'fate' here symbolic of a wider social structure. Again this is a theme returned to by Godard in Le Mepris. Indeed cars seem to signify a materialism that leads nowhere but crashes.
Antonioni's Films of the 1960s
Restivo suggests that Antonioni's films of the 1960s: (L'Avventura, 1960;La Notte, 1961; L'Eclisse, (The Eclipse), 1962; Il Deserto Rosso, (Red Desert), 1964; Blow Up, 1966; Zabriskie Point, 1968); can be seen in the context of two large intellectual currents:
...one, an interrogation of the phenomenological model of perception (within both psychoanalysis and philosophy generally; but also in relation to an invention -the cinema- that itself affected the dimension of this question in this century); and two, the rethinking of a specifically national cinematic tradition in light of pressing historical circumstances. (Restivo 2002, p107/08)
Zabriskie Point at the end where the arch-capitalist's house in the desert is blown up to the sounds of Pink Floyd
Antonioni Post the 1960s
After this period Antonioni went to China having been invited to make a documentary and filmed China Kuo Cina (1972) which was aired on TV. However the Chinese denounced it strongly arguing it grossly distorted what was happening in China. This was followed by The Passenger (1975) which was in the vein of Blow Up. Here antonioni follows the work of a TV journalist and manages to create a hybrid combining aspects of documentarism with a suspense-thriller.
In 1982 Antonioni returned to work in Italy after many years of working abroad making Identification of a Woman (1982). Although the style was the same as those of the early sixties Bondanella notes a shift in perspective where the woman is being observed rather than the man, as in L'avventura.
Antonioni's last film was made in collaboration with Wim Wenders who greatly admired Antonioni's work. antonioni had suffered a serious stroke during the early 1980s and wasn't expecting or expected to work again. This was Beyond the Clouds a portmanteau adapted from his short fiction. Wenders 'agreed to back-stop the production, to direct some linking sequences and to assist Antonioni on the shoot'.
I vinti (The Vanquished), 1952
Cronaca di un amore, (Chronicle of a Love Affair), 1950: (Colour , 100 minutes)
La Signora Senza Camelie (The Lady without Camellias), 1953: (B & W 100 minutes)
Le amiche (The Girl Friends), 1955
Il grido (The Outcry), 1957
L'Avventura, 1960 : (B & W 145 minutes)
La Notte, 1961: (B & W , 121 mins)
L'Eclisse, (The Eclipse) , 1962: (B & W 125 minutes) [Sorry not yet open for viewing]
Il Deserto Rosso, (Red Desert), 1964: ( Colour 116 minutes)
Blow Up, 1966: (Colour
Zabriskie Point, 1968: (Colour, 110 minutes)
China, 1972
Professione: reporter (The Passenger), 1975)
Il mistero di Oberwald (The Mystery of Oberwald, 1981)
Identification of a Woman, 1982: (Colour 131)
Beyond the Clouds, 1995: (Colour, 109 minutes)
People of the Po, 1943
Sanitation Department, 1948
Senses of Cinema Entry on Antonioni
Senses of Cinema on L'Avventura
Senses of Cinema on Zabriskie Point
This is a useful discussion about sound and the construction of film based on an analysis of Il Grido from Yale
Guardian Obituary
BBC Obituary
BBC News story on Antonioni's death
Penelope Houston on Antonioni in the Guardian
David Thompson on Antonioni a short reflection: The Desparate and the Beautiful
Poem for Antonioni by Wim Wenders: friend collaborator and director
Interview with Antonioni July 1969 from Euroscreenwriters
Interview between Antonioni and Cahiers du Cinema 1960 from Euroscreenwriter
Bondanella, Peter. 2002 3rd Ed. Italian Cinema: From Neorealism to the Present. New York / London: Continuum.
Marcus, Millicent. 1986. Italian Film in the Light of Neorealism. Princeton: Princeton University Press. There is a complete chapter on Antonioni's Red Desert here dicussing the links to and shifts away from neorealism.
Ostrowska, Dorota. 2008. Reading the French New Wave. London Wallflower Press
Restivo, A. 2002. The Cinema of Economic Miracles: Visuality and Modernisation in the Italian Art Film. Durham and London: Duke University Press
Shiel, Mark. 2006. Italian Neo Realism: Rebuilding the Cinematic City. London: Wallflower Press
Wenders, Wim. 2000. My Time With Antonioni. London: Faber & Faber
Availability of Films
Despite the outpouring of obituaries for Antonioni in 2007 very few of his films were available on DVD, certainly in the UK, despite many of them being considered as canonical not only in terms of Italian national cinema but as markers of modernist / art cinema in general. One must repeatedly make the point that this would be like having works of Shakespeare or Goethe out of print - quite unthinkable!!! This points again to the need for a European independent institution which has far more control rather than leaving things to the vagaries of the market-place. as soon as Antonioni died it was predictable that some films would start to become available again. The key point here is that crucial aspects of Eurpean cultural heritage that are cinematically based do not carry the same cultural weight as books and fine art.
Below are his available films which are strictly Italian ones.
La Notte was released by Eureka in March 2008
: 21 Jan 2008 23:26 | Tags: Antonioni Blow Up Cronaca Di Amore Gente De Po Italian Directors Lavventura Monica Vitti Red Desert Zabriskie Point | Comments (0) | Close comments | Report a problem
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S.C.E.N.E. Fest is a difficult thing to boil down. The abundance of bands is a little overwhelming and — like Disneyland — you can't see it all in one day. It's a completely subjective experience but you would be hard pressed to not have a good time if you planned your day right. St. Catharines — the type of small town where everything closes on Sundays and the vegetarian option includes fish — is overrun by kids in studded belts and dyed-black hair for one day a year, all hoping to cram as much music in as humanly possible. The festival sported over 140 bands on 16 stages in 13 different venues around the city this year, all conveniently within walking distance of each other. Among the bigger names this time around were Moneen, Bedouin Soundclash, the Constantines and illScarlett, but the event also featured many lesser-known and up-and-coming bands. It's difficult to point to any single stand-out performance, because no matter who you see you're undoubtedly missing another great band four blocks away. I Hate Sally and Fucked Up played back-to-back at the Mansion House's outside stage to a large, rowdy crowd — but you missed Up Up Down Down Left Right Left Right B A Start playing across town; if you caught the Constantines at the Market Square you were missing Hostage Life at the Whisper Lounge; and while walking to the Great Canadian to check out the Carps because the line up to Attack In Black stretched into the street, you could hear the reggae sounds of Bedouin Soundclash echoing around the city. No matter where you were or who you were seeing there was always another band worth checking out somewhere else. S.C.E.N.E.'s ultimate accomplishment is that it managed to bring together incredibly disparate elements and make them work together, and as a result it seemed to foster an environment that — for at least one day — created an actual sense of community.


Are you looking for a way to caption a birthday post? We have our Top 50 birthday Instagram Captions ready for you.
One of the favorite days of the year is a birthday! It's a day that is usually spent with family and friends, enjoying the special day. Tons of pictures get captured and shared with each other as well as on social media along with Instagram.
You can browse through our handpicked birthday Instagram captions below. You can also use these to send a text or other wishes to a special friend or family.
It's my birthday week! Yipee!
I want to thank everyone for the special day, come and join me as I celebrate it.
Just wanted to say a massive thank you for all the lovely birthday wishes.
Keep Calm because a princess was born on this day.
Today was the only day when I cried & my mother smiled on it.
Thank you, God, for blessing me with another wonderful year.
Keep Calm 'cause I'm the birthday girl.
So, this is what 40 (fill your age here) looks like.. You have been warned.
I was born with a Gift, the Gift of awesomeness I'm not just a year older I'm also a year better and prettier.
Keep Calm & Sing Happy Birthday to Me.
Turned my birthday into a lifestyle.
I'm thankful to my creator for all what he has done in my life.
Thanks to everyone who took the time to wish me a Happy Birthday!
A simple celebration, a gathering of friends, a joy that never ends.
Wishing myself a very happy birthday!
The thing is I love birthday celebrations.
Kings are born in (birthday month)!!
Today is the birthday of one of the world's greatest Men.
Let's celebrate the best boyfriend in the world!
It's your birthday prince charming.
We hope you found the perfect birthday Instagram caption but if you have something else in mind, add it below, and we will make sure to add it to the list.


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text:
Q: Error `contains` undefined in Google Maps JS API function gB(a,b,c){b[rb](function(b){var e="Om"==c?b[gl]():b.get("latLngPosition");e&&!b.pegmanMarker&&a[Vb](e)?rp(c,"-v",b):sp(c,"-v",b)})};

It tells me there's an error here.

*

*Firefox calls it "a is undefined".

*Chrome calls it "Uncaught TypeError: Cannot call method 'contains' of undefined"

*Safari calls it "TypeError: 'undefined' is not an object (evaluating 'a[gb]')"

This is related to markers. After walking through breakpoints:

*

*The "b" variable is some marker data with title, map, position, etc attributes.

*The "gl" variable is "getPosition".

*The "e" variable ends up evaluating out to a position object (lat/lng).

*The "a" variable is being passed in as undefined, which explains the error.

*The "Vb" variable is "contains", which explains the Chrome error.

Since this is a Google script, I'm wondering if I have something funky going on in my codebase or how to resolve this. Anyone else run into this? What is "a" supposed to be?

This is being called from this in main.js.
ig[E].forEach = function(a) {
    var b = this.va, c;
    for (c in b)
        a[Gc](this, b[c])
};

In this code, "a" references the snippet block shown above. So
a[Gc](this, b[c]) essentially evaluates to gB.call(this, markerObject);

A: This was because I had been using "3.exp" which is the experimental API. I guess there was an error happening in it and I didn't realize. Switched to production, 3.13, and it fixed the bug. Cheers to geocodezip for asking about the API version.
Defect report

redpajama_set_name: RedPajamaStackExchange


District Attorney Scott Thomas is warning all residents of Carteret, Craven, and Pamlico Counties to be wary of a variety of crimes that are typically committed following a major catastrophe, such as Hurricane Florence, and to report any and all such crimes as soon as possible.
One of the most common crimes committed following a storm is fraud committed by so-called contractors who offer a range of services, from tree cutting and removal, to home repairs, to paving and masonry work. Often, these persons are unlicensed, and while they have a good sales pitch, they are only looking to steal. Once they get a "downpayment," they quickly cash the check, and flee that neighborhood, moving on to the next possible victim. No reputable contractor should require payment up front to purchase materials for any construction project. Homeowners should always check the background of a contractor before entering into any agreement, written or otherwise, to work on their home. Warning signs of a possible scam include: pressure to pay up front; pressure to pay in cash rather than by check or credit card; a lack of a North Carolina phone number, office, or work location; an obvious lack of tools, equipment, or manpower to undertake the job; a lack of references in this area; and a lack of a license issued by the North Carolina Licensing Board for General Contractors (www.nclbgc.org). When in doubt, do not pay. There are plenty of honest, hard-working contractors in our three counties to hire and trust. Often, a simple check of the North Carolina Department of Public Safety's site will uncover prior criminal records: https://webapps.doc.state.nc.us/opi/offendersearch.do?method=view.
These kinds of cases usually result in felony criminal charges of Obtaining Property by False Pretense, and, depending on the circumstances, Exploitation of the Elderly or Disabled. Even attempting to get money by misrepresentation is a felony, and can result in prison sentences. Depending on the amount involved, the criminal can face mandatory prison sentences. The District Attorney's Office will also explore every possible aggravating factor in order to increase those prison sentences.
Charities in our area perform amazing and under-appreciated work following natural disasters such as hurricanes; however, sometimes unscrupulous people will pose as representatives for charities, and seek donations of cash or property (clothing, furniture, even vehicles) while intending to simply steal these items. Before making any charitable donations, take the time to confirm that the charity is a reputable one, and that your donation is going directly to the charity. Sites such as www.charitywatch.org, and www.give.org have done background work on charities and provide reliable information whether to trust them with your donations. Again, if you suspect fraud involving someone soliciting contributions, report it immediately to your local law enforcement agency.
North Carolina's price gouging law is usually triggered when the state suffers or is threatened by a natural disaster such as a hurricane, tornado, winter storm, or flooding. Price gouging—or charging too much in times of crisis—is against North Carolina law when a disaster, an emergency or an abnormal market disruption for critical goods and services is declared or proclaimed by the Governor or a municipality. The price gouging law is currently in effect for the state of North Carolina after a State of Emergency was declared on Sept. 7, 2018 related to Hurricane Florence. Under the law, the Attorney General's Office can put a stop to price gouging and seek refunds for consumers who paid too much. The courts may also impose civil penalties against price gougers of up to $5,000 for each violation.
If you suspect an instance of price gouging, report it immediately using the Attorney General's online form available here.
Occasionally, there also appear some claims of insurance fraud following a storm such as Hurricane Florence. If you suspect any kind of insurance fraud, you may report it to the North Carolina Department of Insurance by email at reportfraud@ncdoi.gov, or by calling 888-680-7684.


text:
Jhené Aiko strips off in a bathtub in honour of Tupac's birthday
Posted by Robert Brown
Jhene Aiko Photo Gallery Post Gallery Tupac Shaku Video Gallery
Today would have been Tupac Shakur's 44th birthday and to honour his legacy, Jhené Aiko has recreated some of his most iconic images. In an interview with MTV, the singer talks about watching the 2003 documentary Tupac: Resurrection, and how her favourite song of his, 'Keep Ya Head Up' had a profound emotional effect on her.
"I remember when I was pregnant with my daughter and that song came on. I just cried like never before. His words meant so much to me. I just felt like I needed to hear that. I didn't know what was going to happen next. I wasn't in the best position to have a child. I was growing hopeless. At that moment I was leaving a free-clinic-type-of-family-planning-type of place to do my prenatal stuff. I was on the county, I had my E.B.T. card, I had my food stamps. I was in the system and I felt like, "Where was my life going at this point?" It was hard for me to be optimistic. But that song came on and that's what changed the whole mood of my pregnancy."
The urge to create the images as a kind of birthday present began when she did a video shoot on the beach where his ashes were coincidentally spread on the same day as his birthday and since then, her tributes have privately varied in scale. See the recreations above and listen to her covering her favourite 'Pac song.
[Via.]
More Jhené Aiko
Jhené Aiko features on GQ, proves she's the perfect girl
Childish Gambino tweets a track at Jhené Aiko, fuels romance rumours
Watch: Big Sean – 'Beware' (Feat. Jhené Aiko)

redpajama_set_name: RedPajamaCommonCrawl


As we fix our eyes on Jesus, we see His determined eyes fixed on us. Pastor Billy unpacks Luke 13 where we see a snarky Jesus who will stop at nothing to save the people He loves so dearly.
Let's Be Clear-Let's be clear on relationships!
During His life, Jesus extended many powerful invitations. "Come and follow me." Those who joined Jesus witnessed His powerful work of restoration and redemption. He was on a mission to share His forgiveness and love! Today, Jesus is still on mission. His invitation remains, "Will you join me?" This sermon series, "Joining Jesus", explores what life might look like as we respond to this powerful invitation to join Jesus on His mission.
For many years, the stories of God's servants have been stained into the windows that surround us in the sanctuary. As we take a closer look, we see these stories are stained with the brokenness of the people they represent.


text:
Q: ASMX Web Service (ASP.net 2.0) - Serializable Dictionary not serialized All,
I have an instance of ProjectBudget class returned from a web method.
Ex:
[WebMethod()]
    public ProjectBudget LoadBudget(int id)
    {
       ProjectBudget  budget = BudgetManager.LoadBudget(id);
        return budget;
    }

The ProjectBudget class contains the following defintion:
 public class ProjectBudget
{
    public int Id = -1;
    public long VersionNumber = -1;
    public string QuoteNumber = "";
    public string CurrencyCode = "";
    public ProjectInfo Project;
    public ClientInfo Client;

    public readonly List<InventoryItem> Inventory = new List<InventoryItem>();
    public readonly List<Staff> Staff = new List<Staff>();
    public readonly List<CodeType> Departments = new List<CodeType>();
    public readonly SerializableDictionary<string, string> Tasks = new SerializableDictionary<string, string>();

    public ProjectBudget()
    {
    }

}
All public fields you see are serialized just fine with the exception of Tasks field, which is completely ignored by XML serializer. Since we all know by now that Dictionaries cannot be handled by XML serializer, I use a serializable dictionary (which is just a dictionary that implements IXmlSerializable) here but XML serializer decides to ignore it completely, i.e. the XML output does not contain any tasks and the generated proxy class doesn't have this field.
I need to figure out how to tell the XML serializer not to omit this field.
Btw, what is interesting is that a web method that returns SerializableDictionary works fine!

A: A very similar question as yours appears to have been asked already: Link.
Use DataContractSerializer or try explicitly implementing your getter (and setter), as per this link.


text:
Alexandra Jaffe
Published: August 8, 2020, 1:20 am Updated: August 8, 2020, 12:03 pm
Tags: Donald Trump, Election, Government, Bernie Sanders, Joe Biden, politics
Biden risks alienating young Black voters after race remarks
FILE - In this July 28, 2020, file photo, Democratic presidential candidate former Vice President Joe Biden speaks at a campaign event at the William "Hicks" Anderson Community Center in Wilmington, Del. Bidens latest gaffes concerning Black Americans risk exacerbating his challenges with young Black voters who have been more skeptical of him than their older counterparts. (AP Photo/Andrew Harnik, File) (Copyright 2020 The Associated Press. All rights reserved)
WASHINGTON – Joe Biden's controversial remarks about race this week risk alienating young Black voters who despise President Donald Trump but are not inspired by his Democratic rival.
When pressed by Errol Barnett of CBS News on whether he'd taken a cognitive test, Biden responded that the question was akin to asking the Black reporter if he would take a drug test to see if "you're taking cocaine or not? ... Are you a junkie?"
In a later interview with National Public Radio's Lulu Garcia-Navarro, Biden seemed to draw distinctions between Black and Hispanic populations in the U.S. "Unlike the African American community, with notable exceptions, the Latino community is an incredibly diverse community with incredibly different attitudes about different things," he told the Latina reporter.
He later walked back the comment.
Black voters as a whole delivered the Democratic nomination to Biden, powering his commanding win in the South Carolina primary, which rescued his floundering campaign. But that success was heavily dependent on older Black voters. In a general election where Democrats say no vote can be taken for granted, young Black activists and elected officials say this week's missteps could make it harder to get their vote.
"Trump is terrible, and he's a racist, and we have to get racists out of the White House. But then Biden keeps saying racist things," said Mariah Parker, a 28-year-old county commissioner in Athens, Georgia. "It doesn't make me feel much better that we actually will have an improvement for the Black community with one president over the other."
Most Black voters view Trump as someone who exacerbates racial tensions and are unlikely to support his campaign in large numbers. But those who sit out the presidential election could sway the outcome in closely contested states.
AP VoteCast data illustrates the generational divide Biden is confronting.
Across 17 states where AP VoteCast surveyed Democratic voters during the primary, Vermont Sen. Bernie Sanders won 60% of voters under 30 overall, to Biden's 19%. And while Biden was strongly supported by African American voters overall, Black voters under age 30 were slightly more likely to support Sanders than Biden, 44% to 38%.
A Washington Post-Ipsos poll conducted in June suggested that while Biden had majority support among Black voters aged 18-39, there was skepticism about Biden himself. Among Black Americans under age 40 that were polled, 32% said they didn't feel he was sympathetic to the problems of Black people. And 24% of respondents under 40 said they felt Biden is "biased" against Black people, in contrast to much lower percentages for middle-aged and senior respondents.
Part of the challenge for Biden, said activist Kristin Fulwylie Thomas, is the perception among young Black voters that he's too moderate to deliver on issues that are important to them. The 31-year-old managing director of Equal Ground, an Orlando-based group working to boost turnout among Black voters across Florida, said she hears this concern from voters across the state.
"What I'm seeing and what I'm hearing among young black voters is that Biden was not their first choice, so folks are not excited to vote for him this November," she said.
Every gaffe makes it harder for Biden to generate that excitement.
Michigan State Rep. Jewell Jones, 25, said that he's seen a number of Biden's comments on Black voters, along with his past support for the 1994 crime bill that contributed to mass incarceration of Black Americans, pop up on social media and raise questions among his peers.
"Young people are really holding people accountable these days," he said. "Anything that comes up that they think is questionable, they'll challenge."
Jones said the issue with young Black voters is "not necessarily skepticism about whether or not he's able to do the job."
"Young people today want to know, are politicians' hearts in the right place?" he said.
The Biden campaign says they're working hard to reach out to young Black voters, and point to events hosted by their young voter outreach coalition, League 46, as well as outreach geared specifically towards historically Black colleges and universities and Black sororities.
Pennsylvania State Rep. Malcolm Kenyatta, who is 30, pointed to Biden's clarification as a key difference between the former vice president and Trump.
"It's such a contrast to actually have a leader, and hopefully a president, that's going to hold himself to a high standard," he said.
Kenyatta, who has endorsed Biden, said he's spoken to the former vice president about issues affecting young people and that "his ability to listen and understand that, and then put forward policy that addresses those concerns is going to be pivotal to us."
Indeed, Biden has put out proposals focused on Black economic mobility, which include pledges to steer federal money and tax credits to small business and economic development programs for minority-owned firms and disadvantaged neighborhoods.
On criminal justice reform, he's called for a federal ban on police choke holds, national standards for police use of force, and a new federal police oversight commission. He's also embraced proposals to forgive some student loan debt and offer some free college.
But on a number of key issues being pushed by some young Black activists — like defunding or dismantling police forces, Medicare for All, and legalizing marijuana — Biden has thus far declined to embrace the most progressive policies.
Some of the enthusiasm gap has to do with a generational split on voting within the Black community that has little to do with Biden, said Leah Daughtry, a Black operative who has twice served as CEO of the Democratic National Convention.
"For my generation and older, voting was this thing that was this great privilege because we didn't always have it," she said, noting that at 55, she was part of the first generation of Black women to get the right to vote. For younger Black Americans, "they don't have the lived experience of not being able to."
Daughtry said that she was willing to give Biden "a pass" on his comments after listening to the full interview, but young voters might not be so forgiving.
"For young people — when they see the one quote it would appear to confirm to them, or solidify questions in their mind about the vice president's intent and goals," she said. "And the best we can hope for is they will do further research. At worst you have some who will say it adds to their reasons for disillusionment."


25/2 David STREET, Turner ACT 2612 was last sold in 2018 and 8 other 3 bedroom unit in Turner have recently been sold.
In this building, the most recent rental of another unit with 3 beds, 2 baths, 2 parking spaces was unit 4, which leased for $800 5 months ago.
8 sales this year for 3 bedroom Units in Turner, market performance data requires a minimum of 10 sales.


Raylene Uribe singled to center field.
Kiahna Silva homered to center field, RBI.
Marisa Monasseri hit by pitch; Melissa Rini advanced to second.
Kelle Lalier pinch ran for Marisa Monasseri.
Marisa Monasseri to dp for Kelle Lalier.
Christina Misiur singled up the middle, RBI; Melissa Rini scored.
Jessie Johnston reached on a fielder's choice; Christina Misiur advanced to second; Marisa Monasseri out at third ss to 3b.
Katelyn Johnson singled to center field; Jessie Johnston advanced to second; Christina Misiur advanced to third.
Paige Sandoval homered to left center, 4 RBI; Katelyn Johnson scored; Jessie Johnston scored; Christina Misiur scored.
Kiersten Coho to p for Maddie Feddersen.
Daniela Solis doubled to right field.
Daniela Solis advanced to third on a wild pitch.
Kiahna Silva doubled to left field, RBI; Daniela Solis scored.
Kiahna Silva advanced to third on a passed ball.
Kelle Lalier to cf for Marisa Monasseri.
Christina Misiur singled to right field; Maya Rodriguez advanced to second.
Jessie Johnston singled up the middle; Christina Misiur advanced to second; Maya Rodriguez advanced to third.
Kiersten Coho struck out swinging, reached first on a passed ball.
Sarisha Daugherty doubled down the rf line; Kiersten Coho advanced to third.
Melissa Rini doubled to left center.
Jerae Keli'Ikoa singled to right field.
Mariah Wysocki doubled through the left side; Jerae Keli'Ikoa advanced to third.
Abbigail Cleckner to rf for Katelyn Johnson.
Raylene Uribe hit by pitch.
Paige Sandoval singled up the middle.
Kiahna Silva homered to left field, 2 RBI; Paige Sandoval scored.


text:
Q: WebView Object for scripting / Window.External I am trying to port my winforms app from WebBrowser to WebViewCompatible (using v5.1.1 or the prerelease v6 if need be) but i cant figure out how to make calls to window.external reference a custom POCO object.
In WebBrowser i just had to set BrowserControl.ObjectForScripting but i cant find any similar support in WebViewCompatible (i see a window.external.notify and its counterpart ScriptNotify event in WebView but even that would require a lot of hack work to if its even feasible )


In our previous post, we do mention Apple might update their iPad lineup with a new iPad Air 3. There is a new iPad Air 3 leaked drawing hints four speakers which also found in current iPad Pro. Its camera also seems to have flash although current iPad does not come with this feature. iPad Air 3 is expected to arrive this year after Apple had introduced iPad Pro. The new iPad Air is expected to feature some minor hardware upgrade.


West then spends some time trying to determine the original author of the hexameter fragment, whom Hippolytus calls ὁ ποιητής. It is comical to think that a bishop would have obliviously quoted this passage. Perhaps it had already been quoted out of context in connection with the mysteries, and he merely took it from that source. It is not any less funny to me in that case. Modern scholars, according to West, have understood the quote in the bishop's context too. He provides classical parallels for his thesis, and raises some concerns about its context in the bishop's work (such as the questionable association of the "grove of Aphrodite" with the afterlife).


text:
Lustig Andrei
Reply	Fri 29 Aug, 2014 01:32 pm
http://time.com/3222257/a-tale-of-two-9-year-olds-the-one-on-the-playground-and-the-one-with-an-uzi/
Time wrote:
You should be absolutely terrified that a 9-year-old's constitutional right to fire an Uzi trumps your right to decide at what age your kids can play at the park unsupervised.
Parents who allow their 9-year-old to play unsupervised at a playground can be arrested, but handing a nine-year-old an Uzi is perfectly acceptable.
Unfortunately, that's not hyperbole. It's just the sad state of affairs in which we find ourselves, after a 9-year-old New Jersey girl accidentally shot and killed her instructor at a firing range in Arizona. The girl's parents paid for her to fire a fully automatic machine gun, but she lost control of the weapon and shot her instructor, Charles Vacca, killing the military veteran.
The chilling ordeal was caught on tape, courtesy of the girl's parents, but Arizona police officials have said no charges will be filed or arrests made. The Mohave County Sheriff's Office concluded the incident was an "industrial accident," and have contacted the Occupational Safety and Health Administration to investigate, according to published reports.
Let's compare that to a story from earlier this summer, regarding a different 9-year-old, one in South Carolina.
Debra Harrell is a working mother who faces a common problem for parents when school lets out for the summer: finding affordable child care. The McDonald's employee couldn't afford to have someone watch her 9-year-old daughter, so the girl was playing on her laptop in the restaurant during her mother's shifts. However, when that laptop was stolen from their home, Harrell armed her daughter with a cell phone in case of an emergency and let her go unsupervised to an area playground. Another parent noticed the girl there alone and contacted the police, at which point Harrell was arrested and charged with child neglect. If convicted, she faces up to 10 years behind bars.
Is anyone else absolutely scared to death of the horrendous message we're sending to parents?
Type: Discussion • Score: 12 • Views: 3,564 • Replies: 59
[+9] - blatham - 08/31/2014He's off my screen now so I'll just leave it like that and proceed with my traditional style of teasing Australians and sharing totally made up recipes.
[+8] - blatham - 08/31/2014I was working hard to give you the benefit of the doubt on the presumption you were merely trolling. I thought it not possible anyone might confuse "fact" and "opinion" in the...
[+8] - ehBeth - 08/31/2014reported (and waiting for subsequent posts of mine around the board to be thumbed-down)
[+6] - blatham - 08/30/2014My twin brother's grandson is about to turn 6. This weekend, we're taking him to HamburgerHill Kid's War Park to throw live grenades. He is stoked!
[+5] - ossobuco - 08/29/2014Nothing but swear words at this time.
[+5] - izzythepush - 08/31/2014[quote="blatham"] "28,000 � the number of children and teens shot and killed in the US between 2002 and 2012. According to ABC News, that means that 13 kids died at home...
[+5] - izzythepush - 08/31/2014See, he truly is repulsive. Here's a fact for you. On the Amada Knox thread he said all Italian babies should be killed and turned into dog food. On a thread about Northern Ireland, (something...
[+5] - ossobuco - 08/31/2014I've had a thumb down day. Izzyfriend has connected our down thumbs to this source. I first had contretemps with him about bombs, at least ten years ago. I'm probably unusually strongly...
[+4] - boomerang - 08/29/2014[quote] Suppose that child had turned that Uzi on herself instead of her instructor?[/quote] They would have held the instructor liable for her death and fined him somewhere around $700,000,...
[+4] - hawkeye10 - 08/31/2014Apparently the trigger fingers are not only with the gang bangers: [quote]Since 9/11, about 5,000 Americans have been killed by U.S. police officers, which is almost equivalent to the number of...
Nothing but swear words at this time.
Gun nuts are too fixated on owning weapons to worry about collateral damage.
FOUND SOUL
@Lustig Andrei,
If something happened to that girl, her Mother would live with it for the rest of her life and realise that perhaps she made an error of judgment.
But, simply because she let a 9 year old go to a park, she faces 10 years jail? That is just ridiculous. I hope people rally behind her and get the laws changed, perhaps that's what will occur as the end result.
But, worse so a 9 year old may grow up on her own, without a Mother or, she has to visit her Mother in jail what sort of message does that send out. Now a child can't have a child-hood anymore.
To me, there is something inherently wrong with a culture which criminalizes a parental judgement on when it's safe to leave a child on their own, yet condones arming that child with a lethal device, i.e. a firearm. Suppose that child had turned that Uzi on herself instead of her instructor?
It boggles the mind.
Suppose that child had turned that Uzi on herself instead of her instructor?
They would have held the instructor liable for her death and fined him somewhere around $700,000, like they did in this case:
The teenager who worked at a gun show where 8-year-old Christopher Bizilj accidentally killed himself while shooting an Uzi testified today he twice suggested the boy's father pick a less powerful weapon for the boy to shoot.
But Christopher's father, Dr. Charles Bizilj, insisted that his son be allowed to fire the automatic weapon, Michael Spano told the court. Spano was 15 at the time of the 2008 Massachusetts gun expo and was put in charge of allowing people to fire the 9 mm Micro Uzi, a submachine gun that fires 20 rounds a second.
Former Pelham, Mass., police chief Edward Fleury is on trial for the boy's death because he organized the gun expo. He is charged with involuntary manslaughter. He has pleaded not guilty.
The most dramatic moment of the trial came Thursday when the court watched video recorded by Charles Bizilj of the boy handling the gun. The father, who was on the stand at the time, closed his eyes as the video showed the boy struggling to handle the gun's recoil. The barrel reared up and shot the boy in the head. The court room gasped and the boy's mother left the courtroom in tears.
Enaj
@boomerang,
The police officer had nothing to do with the boys death.....his father had everything to do with it if the teenager had discouraged that specific gun and the father turned down the advice and allowed his son to shoot that gun. The wrong person is in trial. It should be the father in this case, his responsibilities as the father is to do for his son what is best and safest for him. It is he who failed his son......shame on him! Double shame on him for putting the blame on others.
Boggle, yes, I agree.
I think we have been in a gun-ocracy based on relatively recent supreme court decisions, and that the court directed us dead wrong.
Why am I unsurprised to learn that you hate our freedom?
The 9/11 attackers hated our freedom too.
I have good reasons for my views, and the 911 attackers are just some bunch of watsits.
They wouldn't hate us so much if we didn't have such fat feet.
That is rather too late now.
Reply	Sat 30 Aug, 2014 01:06 am
Oralboy demonstrates his freedom by obediently parroting his Fox News Overlord's words and phrases.
The mother doesn't need a 10 year jail sentence she needs support.
Anyone stupid enough to give a 9 year old a loaded Uzi deserves to be shot in the head.
Oral likes to scream out that anyone who disagrees with him hates freedom. Its good when you can make your entire position come down to some simple minded brain-dead slogan that is easy to spout .
My twin brother's grandson is about to turn 6. This weekend, we're taking him to HamburgerHill Kid's War Park to throw live grenades. He is stoked!
@farmerman,
farmerman wrote:
Oral likes to scream out that anyone who disagrees with him hates freedom.
Untrue. Accusations of freedom hating come into play only when someone advocates abolishing civil rights.
I do indeed disagree with abolishing civil rights. However, from time to time I also disagree with people on matters other than civil rights.
Its good when you can make your entire position come down to some simple minded brain-dead slogan that is easy to spout.
That depends.
If a slogan is 100% true, then yes. It is good.
If not 100% true though, then no. That's not so good.
Luckily it is 100% true that gun control advocates hate our freedom, and hate it just as much as the 9/11 attackers did.
It really puts gun control in the proper perspective.
Horse puckies!
a simple minded slogan easily leads the weakest minds. Oral fits the species definition . He is easily sucked up by simple minded blabber
Now, there's a dilly of a formulation. It's really so obvious that it almost doesn't need expression.
Half or more than half of Americans just hate America's freedoms (and therefore are exactly the same as the people who brought about 9/11). http://www.pewresearch.org/data-trend/domestic-issues/gun-control/
Lustig Andrei wrote:
The opposition to America's freedom and civil rights is unfortunately quite real.
The gun control movement hates our freedom with a passion rivaling that of ISIL.
It's horrible to even contemplate.
Thankfully we have the NRA to save us.


My first day on the ice was February 13, 2012. I don't know why it took me till the ripe ol' age of 32 to consider taking up figure skating, a sport I'd always loved to watch, but which I'd never considered could be something I could do. Then as I was surfing the internet, I stumbled across adult figure skater sites and blogs, and it clicked for me: Anybody can do anything, at any time.
So I took myself to the rink and started skating. And found that while it was hard, it wasn't impossible. And that every time I got figured out how to do something (say, like not falling, or managing to move forward), I felt a little thrill and wanted to learn more. Soon I'd signed up for lessons, and was hooked on the sport.
They say figure skaters are obsessed with tracking their progress, and I'm no different in that respect. I'm taking up this blog mostly as a journal for myself to mark my progress, but if it proves to be useful or interesting to anybody else, I'm happy to be of service!
Day 1 on the ice.
I'm curious as to how old this entry is. I'm 30, just started classes myself after a few years, yet less than 100 hours, of self-taught bad habits. I'd like to speak off post about your experiences. Contact information should be below, though I'm opting for emailed updates.
Hi there! Im Terra from Singapore.
Chanced upon your website while i was searching for ice skaters who happens to be blogging about their Ice Skating Learning Journey.


text:
Im Rahmen der kommunalen Neugliederung in Ruhrgebiet wurde die ab dem 1. Januar 1921 kreisfreie Stadt Gladbeck mit Wirkung vom 1. Januar 1975 mit der ebenfalls ab dem 1. Januar 1921 kreisfreien Stadt Bottrop und der Gemeinde Kirchhellen, die zum Kreis Recklinghausen gehörte, zur neuen Stadt Bottrop vereinigt. Umgangssprachlich wurde die Fusionsgemeinde "Glabotki" genannt.

Die Geschichte Glabotkis 1975/1976
Die Stadt Gladbeck klagte gegen den Zusammenschluss und erreichte eine Korrektur der Gebietsreform. Mit Wirkung vom 6. Dezember 1975 schieden Gladbeck und Kirchhellen aus der Stadt Bottrop aus und wurden wieder selbständig. Das sogenannte Nikolausurteil vom 6. Dezember 1975, welches der Verfassungsgerichtshof für das Land Nordrhein-Westfalen – Az. 13/74 – gefällt hatte, besagte, dass Bürgernähe und höhere Verwaltungseffizienz durch die Neuordnung nicht gegeben waren. Dies war die Begründung für die Neuordnung gewesen.

Mit Wirkung vom 1. Juli 1976 wurde Gladbeck schließlich als kreisangehörige Stadt dem Kreis Recklinghausen angeschlossen.

Kirchhellen fand sich mit der Situation ab und wurde am 1. Juli 1976 wieder ein Stadtteil Bottrops. Die Aufteilung und Eingemeindung nach Gelsenkirchen (Norden der Gemeinde zusammen mit Gladbeck) und Essen oder Oberhausen (Süden der Gemeinde zusammen mit Bottrop) wurden vermieden.

Hintergründe

Gebietsreform
Die Gebietsreform in Nordrhein-Westfalen von 1975 hatte aus den am 1. April 1967 bestehenden 2297 kreisangehörigen Gemeinden zunächst 369 gemacht, aus 57 Kreisen 31, und die Zahl der kreisfreien Städte wurde von 37 auf 23 reduziert. Mit der Reform wollte man verwaltungstechnisch erfolgreicher sein, um bessere wirtschaftliche Impulse geben zu können. Nach dem Korrekturgesetz von 1976 wurden Gladbeck, Meerbusch, Monheim und Wesseling als selbstständige Gemeinden wiederhergestellt, damit stieg die Zahl der kreisangehörigen Gemeinden auf 373 an.

Die Stadt "Glabotki" hätte 1975 200.700 Einwohner gehabt, was den Vorgaben des Gesetzgebers entsprochen hätte, im Ballungsraum Ruhrgebiet nur noch kreisfreie Städte mit mindestens 200.000 Einwohnern zuzulassen. Nach dem Ausgliedern von Gladbeck hatte die neue Stadt Bottrop mit Kirchhellen nur 116.043 Einwohner.

Kommunalpolitik
Zunächst war Johann Wuwer Beauftragter für die Aufgaben des Rates der neugebildeten Stadt. Bei der Kommunalwahl im Jahr 1975 wurde die SPD wieder stärkste Kraft, und Theo Knorr setzte sich im internen Machtkampf gegen Amtsinhaber Ernst Wilczok für die Kandidatur zum Oberbürgermeister mit 116 zu 106 Stimmen durch. Er wurde im neugewählten Rat mit 32 zu 27 Stimmen gewählt.

Ähnliche Fälle
 Lahn, eine kurzlebige (1977–1979) Großstadt in Hessen

Literatur
 Erna-Johanna Fiebig, Rainer Weichelt: Glabotki is nich! Zur Geschichte der kommunalen Neugliederung im Ruhrgebiet am Beispiel des Raums Gladbeck/Bottrop/Kirchhellen. Klartext-Verlag, Essen 1989. ISBN 3-88474-341-4.

Einzelnachweise

Weblinks
 Internetseite der Stadt Bottrop
 Internetseite der Stadt Gladbeck

Geographie (Bottrop)
Geschichte (Gladbeck)
Politik (Nordrhein-Westfalen)
Geschichte (Ruhrgebiet)
Geschichte Westfalens

redpajama_set_name: RedPajamaWikipedia


© C.GaillardQuel bébé mange quoi ?
Cuteness overload that's also designed to interest tots in the natural world.
Discover the newborn versions of 63 different species, from penguins and baby dolphins to panther cubs barely bigger than a kitten, through a series of illustrations, videos and games that are both delightful and informative. For kids, the exhibition presents an exciting introduction to the animal kingdom, explaining how the babies are born and how they grow in the wild, without glossing over some of the dangers of the natural world. Specially designed for children between the ages of two and seven, the exhibition features interactive games that let kids learn how to build nests like a mother bird or carry eggs on their back like toads do in the wild. The result is an experience that is educational and fun at the same time.


The days are getting darker and colder and Christmas is just around the corner. In Finland and Sweden SEAmBOTH teams are working frenetically to compile and analys data from this year's field surveys in the northern Bothnian Bay.
From the snorkel surveys in shallow areas in Sweden we have been going through vast amounts of photos and videos. Some of them we've compiled into a video. It brings back memories of the extremly warm and sunny summer we had, and reminds us how important the shallow areas are for inhabitants in the sea.
The vegetation offers protection, a place to find food in, and nursery for many species of fish and invertebrates, e.g the tiny mysids (a kind of shrimp) seen in the video.


text:
Q: HTML / jQuery : I want to load banners from another file I'm new to jQuery but a friend recommended to use it for this.
I want to load banners dynamiclly from another location into an advertisement box. I have made it cycle though the banners with this.
$(document).ready(function() {
    $('.banner').cycle({
        fx: 'fade' // choose your transition type, ex: fade, scrollUp, shuffle, etc...
    });
});

That works fine, but the links still have to be within the html file, I want to be able to edit a single file and it will update the banners on all them templates.
Any help?

A: Something like this.
$(document).ready(function() {
    $('.banner').load('banner.html').cycle({
        fx: 'fade' // choose your transition type, ex: fade, scrollUp, shuffle, etc...
    });
});

Take a look at http://api.jquery.com/load/


Here are 2008 events related to topics of interest - peace, sustainability, and education. These are events that I either organize, co-organize, participate, or am involved with in some capacity, either as an individual or representing Peace Philosophy Centre. Details of these events are subject to change. The newest event is at the top of the list. Please email info@peacephilosophy.com for more information.
We will invite series of mini-presentations (5-10 minutes each) of local and global peace initiatives. Presentations, demonstrations, music and art performances are most welcome. Please bring a dish to share. Children are welcome.
Email info@peacephilosophy.com for more information.
* Vancouver Save Article 9 is hosting a workshop on November 9th. Satoko will be one of the panelists.
Satoko will present her experience of working with progressive Japanese people and organizations in supporting victims of Japanese atrocities in Asia, with a group of teachers and BC ALPHA volunteers.
* Satoko will be presenting a paper at a special interest session "Citizens Creating Spaces for Peace," and also speaking at the presentation of Hiroshima/Nagasaki Peace Tour by Ritsumeikan University and American University.
* Satoko is presenting on Article 9 of Japanese Constitution in the afternoon session of September 21st.
Email info@peacephilosophy.com for the special invitation for UBC students to join this tour.
* Peace Philosophy Centre is a supporting organization for the Global Article 9 Conference to Abolish War.
* "A-Boms and Humaniry" panels will be displayed at the theatre, with cooperation by Vancouver Save Article 9.
Free Admission. Donation to cover the cost of rental and photocopying will be accepted.
The 6th International Conference of Museums for Peace was held at Kyoto and Hiroshima from October 6th to 11th, 2008, with the involvement of more than 3,000 people. Here is a group photo with most of the international delegates.
The regions represented in this photo included Viet Nam, Italy, China, the United States, Spain, Guatemala, Pakistan, India, Korea, Cambodia, Canada, Rwanda, Belgium, Netherlands, Switzerland, U.K., and Japan.
A detailed report is on the way. Today I just wanted to share with you this photo of the peaceful and friendly international community.


Thus, I think that what Europeans perceive as the "death" of America may have less to do with the "ossification" of the political system and more to do with the cultural values that now support all of our institutions, whether they involve politics, business, technology, or education. Indeed, it may very well be that the current state of our economic health (which certainly bodes ill for any signs of "reinvention" in the institutions of business, technology, and education, let alone politics) is probably a reflection of that general infantile lack of responsibility.
The people who created this country built a moral structure around money. The Puritan legacy inhibited luxury and self-indulgence. Benjamin Franklin spread a practical gospel that emphasized hard work, temperance and frugality. Millions of parents, preachers, newspaper editors and teachers expounded the message. The result was quite remarkable.
The United States has been an affluent nation since its founding. But the country was, by and large, not corrupted by wealth. For centuries, it remained industrious, ambitious and frugal.
Over the past 30 years, much of that has been shredded. The social norms and institutions that encouraged frugality and spending what you earn have been undermined. The institutions that encourage debt and living for the moment have been strengthened. The country's moral guardians are forever looking for decadence out of Hollywood and reality TV. But the most rampant decadence today is financial decadence, the trampling of decent norms about how to use and harness money.
So what is to be done? For there to be a rebirth of American frugality, industriousness and ambition, Brooks is suggesting, Americans need to return to the Puritan ethic. We need to take strict control of ourselves, of our financial appetites and desires, once again. The new new thing in America has to be what Brooks calls the "bourgeois virtue" of Puritanism. Money must again become a symbol of moral goodness rather than simply a thing of utility.


text:
Twitter Cascade Dataset
This dataset comprises a set of information cascades generated by Singapore Twitter users. Here a cascade is defined as a set of tweets about the same topic.
This dataset was collected via the Twitter REST and streaming APIs in the following way. Starting from popular seed users (i.e., users having many followers), we crawled their follow, retweet, and user mention links. We then added those followers/followees, retweet sources, and mentioned users who state Singapore in their profile location. With this, we have a total of 184,794 Twitter user accounts. Then tweets are crawled from these users from 1 April to 31 August 2012. In all, we got 32,479,134 tweets.
To identify cascades, we extracted all the URL links and hashtags from the above tweets. And these URL links and hashtags are considered as the identities of cascades. In other words, all the tweets which contain the same URL link (or the same hashtag) represent a cascade. Mathematically, a cascade is represented as a set of user-timestamp pairs. Figure 1 provides an example, i.e. cascade C = {< u1, t1 >, < u2, t2 >, < u1, t3 >, < u3, t4 >, < u4, t5 >}.
Figure 1. An example of cascade C.
For evaluation, the dataset was split into two parts: four months data for training and the last one month data for testing. Table 1 summarizes the basic (count) statistics of the dataset. Each line in each file represents a cascade. The first term in each line is a hashtag or URL, the second term is a list of user-timestamp pairs. Due to privacy concerns, all user identities are anonymized.
Table 1. Statistics of the dataset
Kindly cite the following paper if you use the dataset:
MODELLING CASCADES OVER TIME IN MICROBLOGS
IEEE International Congress on Big Data (BigData Congress'15), California, USA, October 2015
Wei XIE, Feida ZHU, Siyuan LIU and Ke WANG
Disclaimer: The bot labels in this dataset were obtained from the observation period of 1 January - 30 April 2014. Given the rapidly changing nature of bot behavior, however, these labels may no longer be relevant today. As such, when analyzing the labels, you are advised to use the corresponding tweet posts/contents from the observation period mentioned above.
Last updated on 09 Dec 2019 .


text:
Vice Chancellor for Operations
Company: Columbia Association, Inc.
South University Atlanta, 6600 Peachtree Dunwoody Road, Atlanta, Georgia, United States of America --- South University Orlando, FL, 4901 Vineland Road, Orlando, Florida, United States of America --- South University Tampa, FL, 4401 N. Himes Avenue, Tampa, Florida, United States of America --- South University West Palm Beach, FL, 9801 Belvedere Road, West Palm Beach, Florida, United States of America Req #1873 Monday, January 9, 2023 What's next for you is the first priority for us! With over 45 programs from associate to doctoral degrees, South University is a private institution dedicated to providing educational opportunities that spark the intellectual, social and professional development of a diverse student population. Our 120-year story-past, present and future-is a history formed by the many individuals who have developed the education and spirit of community that have become our pledge to the students, faculty, staff, alumni and supporters of South University. Online and at our 8 locations and 2 learning sites, we take pride in our welcoming environment; one-on-one support and personalized attention that helps students define goals and identify the means to pursue them. Our small classes feature hands-on experiences that not only shape students' skills and excellence in their chosen fields but also shape their characters through encouraging community involvement, volunteerism and the pursuit of life-long learning. Visit www.southuniversity.edu today to learn more about what makes us stand apart as a place to Belong, Believe and Become, a place where you can make a difference in the lives of students eager to learn and grow. South University, the right direction for a brighter future. *Medical *Vision FSA/HSA Long/Short Term Disability Life Insurance Employee Assistance Program 401K Match Generous Paid Time Off 12 Paid Holidays SUMMARY: The Vice Chancellor for Operations (VCO) is responsible for the profitability of all South campuses. In collaboration with functional leaders at the Vice Chancellor, Assistant Vice Chancellor and each campus Executive Committee levels, the incumbent will be the key contributor to the direction of each campus resulting in exceeding budgeted year-over-year student enrollment growth and operating profit. This individual must possess an entrepreneurial approach to campus management and collaborate with all University stakeholders to influence and support each campus Executive Committee team to high performance and create a reputation of excellence among the organizations served by the institution's campuses. The Vice Chancellor of Operations utilizes extensive campus business experience and financial acumen to increase the year-over-year performance and profitability of each campus.
KEY JOB ELEMENTS:
Possess the business acumen and campus leadership operational experience necessary to lead each campus to increasing year-over-year profitability.
Provides daily campus operational oversight to ensure each campus is profitable and defined expectations for improvement are achieved and sustained.
Serves as an effective team member of the University Executive Leadership Team.
Conducts virtual weekly EC meetings with each campus and includes needed resources to maximize support achieving high levels of EC teamwork and results.
Coordinates and collaborates daily with VCs and AVCs.
Works closely with the University Chancellor on campus improvement initiatives and strategic plans and execution.
Recommends cap-ex and operational budgets for campuses.
Coordinates the local campus marketing budget with Finance and Marketing to ensure growing campus awareness and increasing student enrollment in each campus market to fill student clinical program cohorts each start.
Reviews data and metrics daily to determine results and communicate needed actions with all stakeholders.
Manage directly the Orlando and High Point campuses with an entrepreneurial focus achieving high growth of these two smaller campuses.
Manages maintenance and construction through the Director for Facilities.
Ensures all campuses have state-of-the-art security and emergency plans with all personnel appropriately trained.
Leads real estate planning with external audiences to right size campus space utilization.
Replaces, as appropriate, all campus Champion roles.
Other duties as assigned. JOB REQUIREMENTS:
Terminal degree from a regionally accredited institution.
Minimum 10 years in an academic operations leadership position.
Ability and willingness to manage and lead South campuses to high performance in a matrix reporting structure with other Vice Chancellors
Demonstrated successes in operational management.
Relies on leadership, not title, to influence change.
Intrinsically motivated with high emotional intelligence.
Enthusiastic and relentless even when working under pressing timelines.
Ability to quickly resolve inquiries and complaints from employees, students, regulatory agencies, or members of the academic or business community.
Ability to effectively and persuasively present information in a clear manner to faculty and academic and campus leaders, university leaders, and public groups.
Proven problem solving and critical thinking skills.
Strategic thinker with an action orientation.
High level of financial acumen.
Ability to work with urgency and properly set priorities for self and others. Experience with computerized administrative systems. Proficient with the use of standard office applications on personal computers. ABILITY TO TRAVEL: Road warrior. Estimated at 80% of most work weeks. The individual must be able to travel out of the local area as required to support the assigned campuses and participate in face-to-face meetings.
ENVIRONMENT: The work environment characteristics described here are representative of those an employee encounters while performing the essential functions of this job. Reasonable accommodations may be made to enable qualified individuals with disabilities to perform the essential functions. The term "qualified individual with a disability" means an individual with a disability who, with or without reasonable accommodation, can perform the essential functions of the position. While performing the duties of this job, the employee is regularly required to communicate professionally in person, over the telephone, through email, video conference, and other electronic means, move about the office or campus, handle various types of media and equipment, and visually or otherwise identify, observe and assess.
South University is an Equal Opportunity Employer and embraces diversity as a critical step in ensuring employee, student and graduate success. We are committed to building and developing a diverse environment where a variety of ideas, cultures and perspectives can thrive.
South University Atlanta, 6600 Peachtree Dunwoody Road, Atlanta, Georgia, United States of America
South University Orlando, FL, 4901 Vineland Road, Orlando, Florida, United States of America
South University Tampa, FL, 4401 N. Himes Avenue, Tampa, Florida, United States of America
South University West Palm Beach, FL, 9801 Belvedere Road, West Palm Beach, Florida, United States of America
Keywords: Columbia Association, Inc., Orlando , Vice Chancellor for Operations, Other , Orlando, Florida
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A meridian is an imaginary line from the North Pole to the South Pole. Meridians are drawn on maps to help you describe the position of a place.
The horizon is the line in the far distance where the sky seems to meet the land or the sea .
The North Pole is the place on the surface of the earth which is farthest towards the north.
Celestial is used to describe things relating to heaven or to the sky.


text:
KWEM
The landscape of American music was on the brink of change when KWEM began its first broadcast on February 23, 1947. The KXLR-Razorback Network brought its new station and a unique listening experience to West Memphis (Crittenden County), featuring local musicians who played live on the air. The success of live broadcasts on KFFA in nearby Helena (Phillips County) inspired KWEM to incorporate a "pay-to-play" revenue model, in which the opportunity to perform live on its daytime broadcasts was available to anyone able to secure a sponsor or pay a $15 fee. For emerging artists, appearances on KWEM provided exposure within the vibrant West Memphis music scene and ignited the rise to greatness for numerous musical legends, including Ike Turner, B. B. King, Johnny Cash, and Elvis Presley. After the station's demise in 1960, it was revived in an online format a half century later.
The self-styled "Voice of the Tri-States" began as a daytime station, broadcasting on 990 AM from the western half of a building that later became a Regions Bank, at 231 East Broadway Boulevard. Seven years later, KWEM opened a second studio inside a Quonset hut located in midtown Memphis, Tennessee. KWEM made no distinction regarding race or musical genre—black and white artists alike had equal access to an audience through the "pay-to-play" model. The staying power of a particular style or artist was determined by public demand. Impressive daytime performances featured on KWEM often translated into nighttime event bookings in one of several live venues throughout the Arkansas Delta region, or across the river in Memphis, and even gave rise to opportunities beyond the local music scene.
Singer/songwriter and blues harmonica player "Sonny Boy" Williamson II achieved local fame through his performances on KFFA before making the journey to West Memphis, where he headlined his own KWEM show from 1948 to 1950. Williamson's show featured several colleagues from the regional blues circuit, including Howlin' Wolf and the legendary B. B. King, whose brief stints on KWEM led to a show of his own on WDIA in Memphis. Blues performers who made appearances on KWEM during this era included Ike Turner, Junior Parker, James Cotton, Willie Mitchell, Elmore James, Hubert Sumlin, Bobby "Blue" Bland, Rosco Gordon, Willie Nix, and one-man-band Joe Hill Louis (a.k.a. "The Be-Bop Boy"). The lineup of talented artists featured on KWEM grabbed the attention of Sam Phillips, founder of Sun Records in Memphis, who was so moved upon hearing Howlin' Wolf for the first time that he remarked: "This is for me! This is where the soul of man never dies." Howlin' Wolf headlined his own daily show on KWEM from 1949 to 1952, which laid the groundwork for a successful recording career, beginning with Phillips at Sun Records.
The first radio appearance for eighteen-year-old Elvis Presley came in 1953, when he performed on KWEM with rockabilly act Johnny Burnette & the Rock and Roll Trio. Guitarist Scotty Moore and bassist Bill Black (both KWEM regulars) went on to collaborate with Presley in recording sessions at Sun Records, which led to the 1954 release of Presley's first successful single, "That's All Right (Mama)." The upbeat rockabilly sound lit up local airwaves, the first of many hits that transformed Presley into a musical legend. Moore and Black were also part of Presley's backing band for the next several years.
KWEM also featured, in 1954, the first radio appearance of Johnny Cash, who performed gospel and country with Luther Perkins and Marshall Grant on their own weekly show. Cash and his backing duo—billed as "Johnny Cash and the Tennessee Two"—began their rise to stardom at Sun Records with a string of successful singles: "Hey, Porter," "Cry! Cry! Cry!" and "Folsom Prison Blues," all released in 1955.
Live performances on KWEM came to an end in 1955, and operations ceased in 1960. The station was eventually sold, moved to Memphis, and renamed KWAM, where it began broadcasting in a talk radio format. But the blend of blues, rhythm, country, and rockabilly woven together on its airwaves helped ignite the evolution of rock and roll, and firmly established the preeminence of the "Memphis sound" into the character of mid-twentieth-century music.
KWEM was resurrected via an online format in 2009 by Memphis resident Dale Franklin, who became interested in preserving the legacy of the station during his research for a documentary film. Mid-South Community College (now Arkansas State University Mid-South) purchased the station in 2013 and incorporated its online broadcasts into a replica studio exhibit on its campus. The twenty-four-hour streaming format features music from original KWEM alumni, as well as material from classic and contemporary blues, rock, and rockabilly artists.
Blinder, Alan. "Emerging from the Shadows Cast across a River." New York Times, June 1, 2014, p. 10A. Online at http://www.nytimes.com/2014/06/02/us/kwem-return-has-west-memphis-reliving-its-role-in-radio-history.html?_r=0 (accessed November 6, 2020).
KWEM Radio. http://www.kwemradio.com/ (accessed November 6, 2020).
Poindexter, Ray. Arkansas Airwaves. North Little Rock, AR: 1974.
Suriani, Mike. "KWEM Radio in West Memphis Back on the Air after 54-Year Silence." WREG News Channel 3, June 3, 2014. http://wreg.com/2014/06/03/kwem-radio-in-west-memphis-back-on-the-air-after-54-year-silence/ (accessed November 6, 2020).
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