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Review: The Miseducation of Cameron Post
The film's refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation.
Diego Semerene
Photo: FilmRise
The eponymous character of The Miseducation of Cameron Post, played by Chloë Grace Moretz, is a queer teen orphan sent to a gay conversion camp by her legal guardians. She obviously doesn't like the de-gaying center but doesn't seem to have a rebellious bone in her body. Cameron spends her time in therapy—both for gender confusion and art—and engages in gender-appropriate activities such as peeling potatoes with other girls. Were there any sense of subversion to the tale that follows, one could perhaps take this moment for a Jeanne Dielman reference. But director and co-writer Desiree Akhavan isn't interested in multi-dimensionality, only tame literalness.
The closest Akhavan's heroine gets to expressing discontent is changing a radio station from a religious program to 4 Non Blondes's "What's Up," which gets her in trouble with the camp's invigilators. The film, which takes place in 1993 and is based on a novel by Emily M. Danforth, feels like a Hallmark Channel version of But I'm a Cheerleader, which is to say it lacks the playfulness and sense of camp exaggeration of the Jamie Babbit film.
Akhavan, whose previous Appropriate Behavior featured a hilariously anti-heroic bisexual Brooklynite played by the filmmaker herself, doesn't care to highlight the absurdity of The Miseducation of Cameron Post's plot through comedy or nuance. Everything stays in the realm of binarity—desire versus sin, religion versus sex—while therapy is dismissed as an everything-has-to-do-with-the-mother Freudian scam. And yet, it's not dismissed extravagantly enough, despite how much some of the lines could have lent themselves to amusing delivery: "Would you let drug addicts throw parades for themselves?"
The refusal to produce a campy critique feels more like the product of lack of imagination than a purposeful repudiation, as the film makes some timid attempts at humor with karaoke scenes featuring songs about love ("Where do all the lonely hearts go?") and a lackluster Jane Fonda-esque exercise guru, whose VHS tapes Cameron utilizes as part of her de-gaying regime. Akhavan's resorting to the news of a character's suicide attempt as a narrative device also reads like the most lethargic of narrative ready-mades—one that results in a final scene featuring three teenagers in reticent '90s garb in the back of a pickup truck with a Clinton-Gore sticker on one of its windows.
In this moment, the camera tries out an artier temporality, lingering on the characters for much longer than the conventional Hollywood shot. It's a figment of a film that could have been—one built on juvenile anger and budding nonconformity rather than the well-behaved naïveté of televisual teens that Akhavan spends the rest of her film pursing.
Cast: Chloë Grace Moretz, Jennifer Ehle, Sasha Lane, Quinn Shephard, Marin Ireland, John Gallagher Jr., Owen Campbell, Forrest Goodluck, Kerry Butler, Emily Skeggs, Christopher Dylan White Director: Desiree Akhavan Screenwriter: Desiree Akhavan, Cecilia Frugiuele Distributor: FilmRise Running Time: 90 min Rating: NR Year: 2018 Buy: Video
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The film largely evades any perspectives that might question the institutions that put our soldiers in harm's way.
Speaking about the time when Air Force pararescue medic William "Pits" Pitsenbarger descended from a helicopter to aid wounded soldiers trapped in an ambush during the Battle of Xa Cam My, a former soldier, Kepper (John Savage), says, "I thought I saw an angel. There he was right in front of me, all clean and pressed." Pits's courageous actions during one of the Vietnam War's bloodiest battles, where he saved nearly 60 lives and perished after refusing to board the last chopper out of the area so he could continue helping out on the ground, are certainly deserving of the Medal of Honor that he was denied for over 30 years. But writer-director Todd Robinson's hagiographic The Last Full Measure is frustratingly limited in its scope, stubbornly fixating on the heroism of one man and the grateful yet tortured men he saved while largely evading any perspectives that might question the institutions that needlessly put those soldiers in harm's way in the first place.
Following Scott Huffman (Sebastian Stan), an up-and-coming Pentagon staffer assigned to investigate a Congressional Medal of Honor request for Pits three decades after his death, The Last Full Measure takes on the point of view of an indifferent outsider who doesn't understand the value of awarding a posthumous medal. Unsurprisingly, as Scott travels the country to meet with several of the soldiers whose lives Pits saved, he slowly comes to revere the man and the lasting impact of his actions. In the roles of these wounded survivors, Ed Harris, William Hurt, Samuel L. Jackson, and Peter Fonda each offer glimpses at the feelings of guilt and mental anguish that continue to haunt the men. Yet before we can get a hold of just what eats away at the former soldiers, and what living with their pain is really like, Robinson repeatedly whisks us via flashback to a dreadfully familiar-looking scene of combat, attempting to uplift the spirits with scene after scene of Pits (Jeremy Irvine) saving various men, all with the cool-headedness and unflappable bravery one expects from an action movie hero.
Throughout numerous walk-and-talk scenes set inside the Pentagon, The Last Full Measure manages to convey some of the countless bureaucratic hoops that must be jumped through to get a Medal of Honor request approved. But the murky subplot involving Scott's boss, Carlton Stanton (Bradley Whitford), and a supposed cover-up of Operation Abilene, the mission that led to the ambush in the village of Cam My, does nothing but pin the blame for all wrongdoing on a mid-level Pentagon director. And even in that, the film's only qualms are with a cover-up that prevented Pits from being properly recognized, with no thought whatsoever given to the disastrous wartime decisions that were also being hidden from the public.
In the end, Robinson's portrayal of a scheming Washington insider suppressing the actions of an infallible, almost angelic fallen soldier lends the film a naively simplistic morality. By fixating on the good that came out of a horrifying situation, and painting institutional corruption as a case of one bad apple, The Last Full Measure practically lets the state off the hook, all the while mindlessly promoting nationalistic ideals of unquestioned duty and honor.
Cast: Sebastian Stan, Christopher Plummer, Samuel L. Jackson, Bradley Whitford, Ed Harris, Diane Ladd, Jeremy Irvine, Michael Imperioli, Alison Sudal, Peter Fonda, William Hurt Director: Todd Robinson Screenwriter: Todd Robinson Distributor: Roadside Attractions Running Time: 115 min Rating: R Year: 2019
It's not difficult to rationalize picking the same film to win both sound editing and sound mixing.
Photo: 20th Century Fox
The movement to merge the two Oscar categories for sound into just one is finally picking up some steam after an academy subcommittee favored consolidation in December, but we regret to inform you that the exceptionally rational decision hasn't yet been ratified, and thus won't spare us one more year of double-feature kvetching. While the nominating members of the sound branch might know the exact difference between sound mixing and sound editing, and while compulsory Oscar blogging has forced us to know the exact difference as well, numerous academy members clearly don't.
Case in point: Last year they awarded Bohemian Rhapsody its expected award in sound mixing, where musicals always have an advantage, but also an upset win in sound editing. Unless voters metabolized Singer's violent blitzkrieg of a film and simply misremembered hearing explosions throughout, that's not the vote of an informed electorate.
From our perspective as prognosticators, though, it's not difficult to rationalize picking the same film to win both awards, especially in the absence of a musical. While there have been plenty of years we've carbon-copied our predicted winner in both categories only to see them split (even three ways, as in 2012, when Les Misérables took sound mixing, and Skyfall and Zero Dark Thirty tied for sound editing), getting one prediction right is better than getting none at all, especially in a year like this where, to judge from both slates, sound equals fury.
One thing's fairly certain: You can probably go ahead and count out Star Wars: The Rise of Skywalker. Not only has the new trilogy failed to add any more Oscar wins to the franchise, never once has a Star Wars film won an award for its sound effects, not even the first one (that year, a special award was given to Close Encounters of the Third Kind). Episodes seven and eight lost to, respectively, a chase movie and a war movie, and this year's top two contenders here are arguably the exact same pairing. While 1917 is still considered by many to be a frontrunner for best picture, we're pretty sure the onslaught of vintage motors roaring for the climactic quarter-hour of Ford v. Ferrari will get voters right in the dad spot.
Will Win: Ford v. Ferrari
Could Win: 1917
Should Win: Ford v. Ferrari
The film is but one deliberately imperfect piece of a vast slipstream.
Chuck Bowen
Photo: Anthology Film Archives
Jonas Mekas establishes the tone of 1961's Guns of the Trees with a director's statement, declaring that the "mad heart of the insane world" has prevented him from finishing the film. What follows, Mekas asserts, is "a sketchbook," a "madhouse sutra," "a cry." And such a description aptly articulates the film's melodramatic, self-pitying sense of yearning, which is driven by Mekas's career-spanning need to contexualize the divide of artifice that separates artist from audience. To Mekas, sketch-like scenes represent a refutation of staid, insidious craftsmanship that can smooth out rougher and more resonant contours.
In the case of the quasi-fictional Guns of the Trees, Mekas follows a handful of young people in New York City as they hang out and grapple with the state of modern existence, decrying America's involvement in Cuba, the development of the atom bomb, and various other atrocities that underscore the awfulness of the imperial machine. Occasionally, Allen Ginsberg reads his poetry over the soundtrack, his scalding free-associational verse conjuring an anger that the film's characters can't quite articulate, while providing Guns of the Trees with another element of the literary. A little of Ginsberg's poetry goes a long way. What is the "hunger of the cannibal abstract" and why can't man endure it for long?
Ginsberg's bebop phrasing complements Mekas's fragmentary images, which are alternately ludicrous and lovely. In keeping with the sketchbook concept, the film wears its unevenness and looseness as aesthetic badges of honor. A framing device in which two businessmen in white mime makeup wander a cabbage patch in near hysteria, in all likelihood embodying the ageless corruption of man, is self-consciously oblique and edgy, feeling like an earnest film student's pastiche of 1920s-era avant-garde tropes. Other scenes, however, poignantly detail life in the early '60s, such as when a woman sits her husband down in a chair in their loft and cuts his hair, or when a man tries to talk his drinking buddy down from an intoxicated rant. These scenes have the humor and behavioral specificity of John Cassasvetes's films, evoking the comforting rhythm of the little moments that come to define us.
Guns of the Trees belongs to an easily mocked beatnik era, when people discussed whether to conform or be free while listening to folk music and reading Ginsberg and smoking grass. At times, even Mekas seems to be on the verge of ribbing his subjects' sincerity. For all their thrashing about, these people seem prosperous and more interested in speaking of revolution than in truly sparking it. Ben (Ben Carruthers) sells life insurance, prompting the film's funniest line, when a potential client asks, "Don't you still believe in death?" A young woman named Barbara (Frances Stillman) is gripped by authentic depression though, and her suicide haunts Ben, Gregory (Adolphus Mekas), and Ben's wife, Argus (Argus Spear Julliard).
If the beatnik navel-gazing dates Guns of the Trees, Mekas's docudramatic eye memorably revels in poetic details throughout. His protagonists wander through fields, which suggest the rice fields of Vietnam, and junkyards that testify both to the beauty and the waste of mainstream society. The play of light off the twisted metal of the trashed cars suggests found sculpture, while indirectly conjuring the wreckage wrought by the wars the characters protest. Such images, which include profoundly intimate close-ups of the characters' faces, also anticipate the rapture offered by future Mekas "sketchbook" films such as Walden.
Mekas would go on to pare away the preachiness of Guns of the Trees from his subsequent work, as he increasingly honed a personal style that would make ecstasy out of the commonplace, utilizing multimedia and a restless syntax to suggest how memory intricately shapes life. Guns of the Trees is but one deliberately imperfect piece of a vast slipstream.
Cast: Adolfas Mekas, Frances Stillman, Ben Carruthers, Argus Spear Juillard, Frank Kuenstler, Louis Brigante Director: Jonas Mekas Screenwriter: Jonas Mekas Running Time: 86 min Rating: NR Year: 1961
Forky rules.
Ed Gonzalez
Photo: Walt Disney Studios
Completist-prone Oscar prognosticators were dealt a merciful hand last week when the Oscar nominations were announced and Frozen II didn't show up in this category. But the winning hand belongs to Toy Story 4, which likely lost the Golden Globe to Missing Link as a result of a vote split between the two Disney properties. Sentiment to reward the American-based production studio Laika is brewing, and the fitfully droll Missing Link will, like Kubo and the Two Strings before it, probably find favor at the BAFTAs, but Laika's latest and most expensive production to date dramatically bombed at the box office. And while no one will be weighing between the film and I Lost My Body, a singularly and actively morose and creepy film that won't appeal to the academy at large, this category's short history tells us that the Mouse House is only vulnerable to the biggest money makers. Also, Forky rules.
Will Win: Toy Story 4
Could Win: Missing Link
Should Win: I Lost My Body
Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
Photo: Columbia Pictures
We didn't predict Anthony Hopkins to get nominated here, thinking that the Golden Globes's enthusiasm for The Two Popes was a fluke. We were wrong, and he ended up becoming the elder statesman in an acting lineup that contains, on average, by far the oldest nominees. The person we predicted to get in instead, Marriage Story's Alan Alda, is a year older than Hopkins, so we certainly weren't betting the farm on any male ingénues.
On the other hand, it sure feels like spry 56-year-old Brad Pitt, who opened his acceptance speech at last night's SAG Awards with a joke about having a Tinder profile, had this award in the bag the moment his Marlboro Man-ish handyman hopped atop his buddy's roof to fix the antenna in Once Upon a Time… in Hollywood, whipping off his shirt to reveal a tawny, fully-abbed torso that scarcely seems to have aged in the nearly 30 years since he seduced the country in Thelma & Louise. He, as Leonardo DiCaprio's co-lead, has a lot more to do throughout than just doff tees, but the "I'm still here" virility of that moment embodies the entire film's love letter to old-guard masculinity in Tinseltown.
Not that anyone's reading too deeply into it, not when there's good old-fashioned awards numerology to fall back on. Within minutes of the nominations being announced, Oscar Twitter jumped on the fact that the best supporting actor slate this year is composed of acting winners from 1990 (Joe Pesci), 1991 (Anthony Hopkins), 1992 (Al Pacino), and 1993 and 1994 (Tom Hanks). Fewer pointed out that Pitt was also a nominee in 1995 for 12 Monkeys, losing out to the now-canceled Kevin Spacey. Which makes it seem all the more poetically like the stars are lining up when Pitt wins for a film whose finale proposes a rousing bit of alternate, corrective history in which the "good" guys obliterate the "bad" ones.
Will Win: Brad Pitt, Once Upon a Time… in Hollywood
Could Win: Joe Pesci, The Irishman
Should Win: Tom Hanks, A Beautiful Day in the Neighborhood
Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology.
Photo: PBS
Few Oscar categories are bigger snub magnets than this one. And while the failure of Apollo 11 to secure a nomination this year was indeed surprising, it was not as telling as the omission of The Biggest Little Farm, a handsomely, if conspicuously, sculpted "pop" documentary that's very much in the academy's wheelhouse. It was almost as if the committee responsible for selecting the nominees here was sending a message by embracing, at a time of increased global instability, five documentaries that looked only outward: not at mankind's possibilities, but at the ways in which we've become our own worst enemy.
When discussing the potential winner in this category, Eric and I were pulled in two different directions. "Doc will go American Factory and, by extension, the Obamas, right?" Eric asked. "Honeyland notched an Oscar record by being the first documentary to also be nominated for international feature. That has to mean something?" I asked. Which is to say that he and I, no strangers to this Oscar-predicting process, were sacrificing ourselves to rigamarole, forgetting that, at the end of the day, academy members vote with their hearts above all else.
Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology. American Factory specifically takes the closing of a Chinese-owned factory in Ohio as a jumping-off point for a study of the wiles of global capitalism, and it's every bit as smart as you might expect from a film produced by the Obamas. A more sobering reminder of how the global order of the world has been cataclysmically disrupted in the last four years is another Netflix documentary, The Edge of Democracy, about Brazil's own national(ist) sickness. It's a harrowing lament, but it offers the viewer no sense of escape.
Which isn't to say that the The Cave and especially For Sama, both filmed in Syria and in the midst of war there, are escapist. The two most viscerally powerful documentaries in the category confront us with the chaos of imperial domination. Both films center the female experience of war, but For Sama does so more shrewdly, positing itself not just as a chronicle of war, but an act of remembrance. In a film that doesn't lack for gut-wrenching images of the dead, one particularly stands out: of a child, after being pulled from his mother's womb via C section in the wake of a bombing, being brought back to life. Combined with the scenes depicting the citizens of war-torn Aleppo finding humor in the midst of conflict, the film attests not only to the perseverance of the Syrian people, but to the possibility that the country might still be brought back from the edge of oblivion.
Will Win: For Sama
Could Win: The Cave
Should Win: For Sama
There doesn't seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
Photo: Warner Bros.
We couldn't really say it any better than Odie Henderson, who recently scoffed: "Who wins the Costume Design Oscar for Joker? The Goodwill? Who wins the Makeup Oscar for Joker? A blind Mary Kay consultant?" While we think the Academy will stop short of awarding the motley threads of Todd Phillips's risible throwback machine in the costume category, the fact that they were nominated at all over, say, the imaginatively garish '70s finery that Ruth Carter created for Dolemite Is My Name indicates a level of affection for Joker that no one who doesn't use the word "snowflake" on a daily basis seems prepared for.
While, to us, Joaquin Phoenix's Joker looks like nothing so much as Marge after sitting still for a makeup gun, as Homer put it best, "Women will like what I tell them to like." From his lips to the Academy's ears (and face). And given this category's expansion didn't add more multicolored prosthetic creations along the lines of Maleficent: Mistress of Evil, but instead more invisible character augmentation along the lines of Judy and Bombshell, there doesn't seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
Will Win: Joker
Could Win: Judy
Should Win: Maleficent: Mistress of Evil
Parasite is a pervasive presence in the news cycle, and at just the right time.
Photo: Neon
Bong Joon-ho's Parasite is a pervasive presence in the news cycle, and at just the right time. As I write this latest prediction for Slant's rolling Oscar coverage, the top article on the front page of Rotten Tomatoes is a ranking, by Tomatometer, of the nine films nominated for best picture this year. Number one? Parasite. Immediately next to that article is a callout to readers to vote for their favorite film of 2019 that uses Song Kang-ho's face from Parasite's poster as the featured image. Regarding that poster, in simply placing black bars over the actors' faces, it succinctly, eerily, perfectly underlines the film's obsession with social strata. And you don't need to look far beyond the aggregate site to land on some article praising the perfectly lit and designed architectural purgatory that is the film's main setting.
Perfect. That's a funny word. There are no objectively measurable criteria for perfection, but given how many times I've heard Bong's film described as being "perfect" since it premiered at the Cannes Film Festival, where it won the Palme d'Or, you'd think that there were. Still, the impulse to use it to describe this particular film, so balanced and attuned to the ties that both bind and separate us, evident in everything from the dimensions of Bong's aesthetic, to his actors' faces, to their words, makes a certain kind of sense. Quick, can you name the other four films nominated in this category? How apt if you can't, as this is a film profoundly obsessed with the subterfuge that can be weaponized during class warfare. Or awards campaigns.
Will Win: Parasite
Could Win: Pain and Glory
Should Win: Parasite
John Williams is in no danger of winning, but a case could be made for any of the other four.
That one of the five films nominated for original score this year is not a best picture nominee nor had any shot at being one almost makes this category an outlier among this year's Oscar races, which seem otherwise fixated on frontrunners. John Williams already had the record-setting strength of 51 previous nominations leading into this week's announcement, so his nod for the third Star Wars installment, or sixth, or ninth, or…does The Mandalorian count? Anyway, suffice it to say that the only thing that could've been more knee-jerk than to select nominations solely from among this year's best picture probables would be to rubber stamp Williams uploading yet more variations on intellectual property.
Williams is in no danger of winning, but a case could be made for any of the other four. Alexandre Desplat already has two wins here, both in the last six years, but Little Women is finally picking up momentum at just the right time. His richly romantic cues, which are practically wall to wall throughout the film, come on like a crushed-velvet dust jacket, binding Greta Gerwig's shifting timeline together in a way that makes just about everyone who isn't Sasha Stone want to clutch the entire thing to their bosoms.
Arguably, another film that's still reaching its crest stage is 1917, and unlike Desplat, composer Thomas Newman is still waiting for his first win, and now holding the category's longest losing streak. It can't be said that Newman doesn't pull out all the stops, piecing together a work that feels inspired by both Hans Zimmer's pulsating Dunkirk score and Samuel Barber's "Adagio for Strings," most memorably used in Oliver Stone's Platoon. And yet, we're kind of with Bilge Ebiri, who after the nominations were announced, tweeted, "You didn't give it to DUNKIRK, you're not allowed to give it to 1917. Sorry, we're very strict on this matter."
Not to say that we expect 1917 to roll snake eyes on its 10 nominations. Only that any nominations for the film related to things that Dunkirk already did better two years ago are a tough sell, despite the draw of Newman's increasingly amplified Oscar backstory. That's presuming that the narrative doesn't wind up over-shadowed by the sidebar-friendly cousin's duel between Thomas and his cousin, Randy Newman, whose jaunty, Terms of Endearment-esque Marriage Story score appears to have as many detractors as it has fans.
Until the nominations were announced, we admit to assuming that Hildur Guðnadóttir's Golden Globe win for Todd Phillips's Joker was going to go down the same way as Justin Hurwitz's did a year ago: with an Oscar snub. We reasoned that Guðnadóttir, who also perked ears up and won an Emmy last year for her work on HBO's Chernobyl, was still too fresh a talent for the more cliquey AMPAS musicians' branch. But now that she's there, Globe in hand and attached to the film that, by the numbers, the academy loved best this year, she offers even conscience-wracked voters the chance to hand a feature-length 4chan fantasy a guilt-free win by also awarding one of the film's few female nominees.
Will Win: Hildur Guðnadóttir, Joker
Could Win: Thomas Newman, 1917
Should Win: Alexandre Desplat, Little Women
Tags: Academy Awards, Hildur Guðnadóttir, Joker, Thomas Newman, 1917, Alexandre Desplat, Little Women, Randy Newman, Marriage Story, John Williams, Star Wars: The Rise of Skywalker
Review: Dolittle, Like Its Animals, Is Flashy but Dead Behind the Eyes
Dolittle's inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
Stephen Gaghan's Dolittle begins with a just-shy-of-saccharine animated sequence that spins the tale of the eponymous character's (Robert Downey Jr.) adventures with his wife, who one day dies at sea during a solo voyage. It's something of a more condensed, less moving version of the prologue to Pixar's Up, underscoring our protagonist's upcoming fantastical journey on behalf of Queen Victoria (Jessie Buckley) with a tinge of melancholy.
As soon as the film shifts to live action, we immediately sense the loss felt by Dolittle in the overgrown vines and shrubbery that surround the famed doctor and veterinarian's estate, as well as in his unkempt appearance. But any hopes that the film might follow through on its promise to explore Dolittle's emotional turmoil are quickly dashed once he begins interacting with the animal friends who keep him company. Their banter is ceaseless and mostly ranges from corny and tiresome to downright baffling, as evidenced by a pun referencing Chris Tucker in Rush Hour that may leave you wondering who the target is for half of the film's jokes.
The tenderness of Dolittle's prologue does resurface sporadically across the film, most memorably in a late scene where the good doctor shares the pain of losing a spouse with a fierce dragon that's also enduring a similar grief. But just as the film seems primed to say something profound about the nature of loss, Dolittle shoves his hand into the dragon's backside—with her permission of course—in order to extract a bagpipe and an array of armor, leading the fiery beast to unleash a long, loud fart right into the doctor's face.
That moment is crass, juvenile, and, above all, cheap in its cynical undercutting of one of Dolittle's rare moments of vulnerability. But it serves as a ripe metaphor for the filmmakers' incessant need to respond to a show of earnestness with a dollop of inanity, as if believing that their young audience can't handle anything remotely sincere without a chaser of flatulence.
But worse than the film's failure to truly probe Dolittle's emotional landscape is how it surrounds him with a series of uncompelling character types. While the film seems to mostly unfold through the eyes of young Tommy Stubbins (Harry Collett), who becomes Dolittle's apprentice after witnessing the doctor communicate with animals, he serves little purpose aside from drawing the man out of his shell. And Dolittle's arch-enemy, Dr. Blair Müdfly (Michael Sheen, chomping on every bit of scenery within reach), has little motivation to justify his ceaseless quest to stop his rival from attaining an elixir that will save Queen Victoria's life.
Despite repeatedly paying lip service to notions of grief and opening oneself up to the world, Dolittle ultimately plays like little more than an extended showpiece for its special effects. But even the CGI on display here is patchy at best, with the countless animals that parade through the film's frames taking on a creepy quality as their photorealistic appearance often awkwardly clashes with their cartoonish behavior. The film's notoriously troubled production, which went so off the rails that Teenage Mutant Ninja Turtles director Jonathan Liebesman was brought on board for reshoots, is evident in its clumsy staging and lifeless interplay between humans and animals, but it's the film's inability to completely develop any of its characters that reduces it to all pomp and no circumstance. Like the CGI animals that inhabit much of the film, Dolittle is flashy and colorful on the outside but dead behind the eyes.
Cast: Robert Downey Jr., Antonio Banderas, Michael Sheen, Jim Broadbent, Jessie Buckley, Harry Collett, Emma Thompson, Rami Malek, John Cena, Kumail Nanjiani, Octavia Spencer, Tom Holland Director: Stephen Gaghan Screenwriter: Stephen Gaghan, Dan Gregor, Doug Mand Distributor: Universal Pictures Running Time: 106 min Rating: PG Year: 2020 Buy: Soundtrack
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redpajama_set_name: RedPajamaCommonCrawl


An easy-to-read scientific article about color through the eye of the insects pollinating our favorite flower. It forces you to consider an orchid's appeal through a different lens. Become one with a wasp, moth or fly and understand how color triggers them to eat, mate and lay eggs. Twilight Zone material!
Insects often see light spectrums that are invisible to the human eye, such as UV and Infrared light. Enhanced by their compound (faceted) eye structures, they interpret light differently from us, and it begs the question? how does orchid color make an insect tick?
This article abounds with examples of how color influences insect behaviors. Such as: white or cream colored orchids reflect light at dusk and in the evening thus attracting moths. It also discusses how the one third of nectar-lacking orchids deceive insects into the daily rituals that pollinize them. In brief, studies have found that orchids lacking nectar may be the keystone to "greater evolutionary fitness". The insect is drawn in to eat; once realizing its follies and disappointed, it leaves immediately, flying further away. It is then attracted to other orchids, thereby increasing the natural genetic diversity of the area.
Read this article (order or check out the library copy) to better understand the electromagnetic spectrum, how insects interpret color and to learn what Batesian, generalized and guild mimicry means. Super fascinating and makes for great dinner conversation!


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Allston organizations reap community benefits
Mayor Walsh speaks to community benefits recipients at West End House in Allston.
Seven nonprofits that serve the Allston community – in areas ranging from nature conservancy to education to the arts – were awarded a total of $100,000 in community benefits funds Monday evening at a March 6th ceremony at West End House.
"Boston's a special place because of West End House, because of the kind of organizations getting a check tonight," said Mayor Martin Walsh, who spoke at the event.
The community benefits funds presented Monday night were generated by the development of the Icon apartments at 75 Brainerd Road. As part of the project's 2013 approval process, the developer agreed to contribute the money, known as "community benefits," to organizations that improve the local neighborhood.
Brian Golden, director of the Boston Planning & Development Agency (BPDA), which awarded the checks, noted that the completed 75 Brainerd development is part of the largest 4-year building boom in the history of the City of Boston.
"That provides extraordinary benefits for everybody," he said.
The West End House, which bustled with kids who gave high-fives and posed for selfies with the Mayor, is just one example of an integral neighborhood institution that has benefited from the boom. The center will be using its community benefits funds to expand its Kids in Motion Cafe, which provides nearly 100,000 fresh meals to neighborhood young people annually. The expansion will include a new teaching kitchen to accommodate cooking classes for youth and families.
See the table below for a complete list of the night's community benefits recipients.
Allston-Brighton Community Development Corporation (CDC)	 $10,000	 Housing, economic, community, and education services for residents
Brazilian Worker Center	 $20,000	 Computer lab and computer literacy program
Chandler Pond Preservation Society $9,500	 Geese mitigation at Chandler Pond
Family Nurturing Center	 $10,000	 Parent-child playgroups and parenting education classes
Unbound Visual Arts, Inc.	 $2,555	 Scholarships for artist membership
West End House	 $22,945	 Kids in Motion Cafe
Winship School	 $25,000	 School furniture and library technology
Tagged on: Allston Boston Planning & Development Agency commercial development community benefits Mayor Martin Walsh West End House
Katie Liesener March 8, 2017 July 19, 2018 Uncategorized
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Court troubled by surveillance excesses at FBI, NSA
In a just-released court opinion, a federal court judge overseeing government surveillance programs said he was "extremely concerned" about a series of incidents in which the Federal Bureau of Investigation and National Security Agency deviated from court-approved limits on their snooping activities.
Foreign Intelligence Surveillance Court Judge Thomas Hogan sharply criticized the two agencies over the episodes, referred to by intelligence gatherers as "compliance incidents." He also raised concerns that the government had taken years to bring the NSA-related issues to the court's attention and he said that delay might have run afoul of the government's duty of candor to the court.
"The court was extremely concerned about NSA's failure to comply with its minimization procedures—and potentially" a provision in federal law, Hogan wrote. The NSA violations appeared to involve preserving surveillance data in its systems beyond the two or five years after which it was supposed to be deleted.
"Perhaps more disappointing than the NSA's failure to purge this information for more than four years, was the Government's failure to convey to the Court explicitly during that time that the NSA was continuing to retain this information," the judge wrote in the Nov. 6, 2015, opinion made public Tuesday.
In a statement, the Office of Director of National Intelligence said officials did not mean to be misleading. "The Government has informed the Court that there was no intent to leave the FISC with a misimpression or misunderstanding, and it has acknowledged that its prior representations could have been clearer," the statement posted on ODNI's Tumblr site said.
The NSA said in some cases it needed the data to prevent future incidents where data was accidentally collected without legal authority, like when a surveillance target enters the U.S. (At that point, officials are supposed to seek a more specific court order to continue the surveillance.) However, that wasn't the case with all of the old data NSA was hanging onto.
The FBI's troubles involved failing to use the required procedures when conducting surveillance of suspects overseas who are facing criminal charges in U.S. courts. In order to preserve attorney-client privilege, the FBI is supposed to have such surveillance reviewed by a "taint team" that can excise any legal communications, but that was not happening in all cases, the FBI reported.
Hogan said the FBI revealed some such incidents in 2014, but the number was redacted from the opinion made public Tuesday. "The government generally attributed those instances to individual failures or confusion, rather than a 'systematic issue,' " Hogan wrote. However, more incidents occurred from mid-2014 and through 2015, although again the precise number was not released. In some instances, FBI agents believed, incorrectly, that they didn't need to set up a review team if the indictment was under seal or outside the U.S.
"The Court was extremely concerned about these additional incidents of non-compliance," wrote Hogan, who also serves as a federal district court judge in Washington. He was appointed by President Ronald Reagan.
At a closed hearing last October, the FBI detailed some procedures set up to remedy the problem, including additional training and a system to remind agents when such reviews are needed. Hogan said he was "satisfied" that the FBI was "taking appropriate measures" to address the issue. However, he said he "strongly encourages" the government to find any other such mistakes and he said he wanted a briefing on those efforts earlier this year.
The FBI declined to comment, and spokespeople for the NSA did not immediately respond to a request for comment on the court ruling.
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Josh Gerstein is a senior reporter for POLITICO.


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Pierre Denis Boyer, né en 1766 à Caissac (aujourd'hui Cayssac), hameau de la commune de La Loubière (Aveyron), mort le  à Paris, est un théologien français.

Biographie
Pierre-Denis Boyer naquit à Caissac (diocèse de Rodez) au mois d'.
Il fit ses études au collège de Rodez. À cette époque il se lia à Denis Frayssinous qui fréquentait cet établissement. Il partit ensuite pour Laon où il reçut la tonsure le  et le sous-diaconat le .

Il fut ordonné prêtre le , et il prépara une licence en Sorbonne qu'il ne put soutenir.
Durant la période révolutionnaire, il se retira dans le Rouergue, dans la paroisse de Curières avec Denis Frayssinous.

Il s'unit à l'abbé Jacques-André Émery pour relever le séminaire de Saint-Sulpice, dont il devint le directeur après lui.

En 1911, le « César régnant » disperse la Compagnie de Saint-Sulpice qui ne sera reformée qu'à la Seconde Restauration. En 1812 et 1813, Boyer prêche dans les régions de Lyon et de Montpellier.

En 1817, il s'attaque aux doctrines développées par Mathieu-Mathurin Tabaraud et Pierre Jean Agier concernant le mariage.

Dans les années 1824-1826, il combattit les doctrines de Félicité Robert de Lamennais, craignant qu'elles favorisassent l'« athéisme politique renversant l'autorité et l'unité de l'Église, se rapprochant de la méthode protestante. »

Au début des années 1840, il batailla contre le mouvement initié par les deux frères Charles-Régis Allignol et Augustin-Vital Allignol, meneurs de revendications du bas-clergé dans l'Église catholique romaine.

Il était oncle de  Denis Auguste Affre ; lui-même pourfendeur des frères Allignol.

Ses publications
 Observations d'un canoniste sur l'appel comme d'abus porté au Conseil d'Etat par Monsieur Chasles contre Monseigneur de Latil, évêque de Chartres, imp. de Beaucé-Rusand, 1824
 Examen du pouvoir législatif de l'Église sur le mariage, suivi de Dissertation sur la réception du concile de Trente dans l'Église de France, Paris : Adrien Le Clère, 1817 .
  Examen de la Doctrine de M. de la Mennais, considérée sous le triple rapport de la philosophie, de la théologie et de la politique, avec une Dissertation sur Descartes, Paris: Adrien Le Clère, 1824, in-8,
 Défense de l'ordre social contre le carbonisme moderne, Paris, Adrien Le Clère, 1835
 Défense de l'enseignement des écoles catholiques, Paris: Adrien Le Clère, 1835
 Histoire de l'Hérésie constitutionnelle: qui soumet la Religion au Magistrat, Paris, Gaume Frères, 1840, .
 Défense de l'église de France contre les attaques de l'auteur de la Dissertation sur le prêt à intérêts, Paris: Gaume Frères, 1839
 Défense de l'Église catholique contre l'hérésie constitutionnelle, qui soumet la religion au magistrat, renouvelée dans ces derniers temps, Paris: Gaume Frères, 1840, 360 p.
 Coup d'œil sur l'écrit des frères Allignol touchant l'état actuel du clergé en France, appendice à la Défense de l'Église catholique contre l'hérésie constitutionnelle, Paris: Gaume Frères, 1840
 Apologie du Saint-Office dans ses décisions sur le prêt à intérêt : Lettre de l'auteur de la Défense de L'Église, 1841
 Discours pour les retraites ecclésiastiques, Paris : Adrien Le Clère, 1843

 Sous le pseudonyme de Comte Joseph de Lapanouse
 Le Duel jugé au tribunal de la raison et de l'honneur, 1802.
 Nouvelles observations sur le duel, faisant suite à l'ouvrage du même auteur intitulé : "Le Duel jugé au tribunal de la raison et de l'honneur", sous le pseudonyme de Comte Joseph de Lapanouse, Paris: Adrien Le Clère, 1836, 40 p.

 Sous le pseudonyme de M. l'abbé Barrande de Briges, suppléant en la Faculté de théologie de Paris
 De la Liberté des cultes selon la charte, avec quelques réflexions sur la doctrine de M. de Pradt, et sur les bienfaits du christianisme, Le Normant, 1819, 102 p.

 Anonymement
 Nouveaux Eclaircissemens à quelques objections qu'on oppose au concordat; suivis de Réflexions sur un écrit de M. Fiévée, Paris, Adrien Le Clère, 1817
 Antidote contre les aphorismes de M. de La Mennais, par un professeur de théologie, 1826.

Références

Voir aussi

Bibliographie
 Notice sur la Vie de M. l'abbé Boyer directeur au séminaire Saint-Sulpice, série de quatre épisodes, dans L'Ami de la religion, tome 114, n° 3617, samedi   , n° 3619 du   , n° 3621 du mardi   & n° 3624 du
 Jacques-Paul Migne, Encyclopédie théologique, tome 53, 1857, pp.636-643
 Hippolyte Barbier, ''Biographie du clergé contemporaine', vol.5, 1843, p.109-144

Liens externes

Théologien catholique français
Naissance en 1766
Naissance dans l'Aveyron
Décès en avril 1842
Décès à Paris

redpajama_set_name: RedPajamaWikipedia


The other morning I had some business to attend to in downtown Salt Lake City. Any time I head into the city I try to get everything that I need to do down there crammed into one day. I made the best of the trip. In my travels I managed to mix in some enjoyable stops that are worth mentioning.
^I brought some gear down to 2nd Tracks Sports. Ben Johnson is the shop owner, and an old friend of mine. Of course, just like all my friends, I am too busy to see him very much. Whenever I do it is always good for a couple laughs. As well as some killer deals on outdoor gear.
^The shop expanded in a big way last year, and it is still wall to wall gear at deep discounts. The 2nd Tracks Sports website says it best in describing what they are all about, "2nd Tracks Sports is the only outdoor gear consignment shop in Salt Lake City. We specialize in slightly used outdoor gear and new gear being sold below wholesale."
^Good folks too, of all kinds. Ben and his dogs are helping me get my gear dialed in. The pups are mostly chilling, but that is how they roll. This shop is a must visit in Salt Lake City. If your a resident needing to buy or sell some gear, then this is your place. I can testify to some brand new "in the plastic" gear that I have there selling at deep discounts. I mean deep. If you wait until a pow day this winter, then you could miss them. When the Wasatch delivers 8 inches or more of powder, the shop does not open until 1:00pm that day. That is how I like my shop to be. So get down there this fall, and make it easy on yourself. Get some.
^Another good time stop in my day's travels was the grand re-opening of the Causwell shop. Very cool looking set-up down there. It is a true showroom. The boys down there do great work. I met up with Weston D and Shaun Raskin outside the front of the store.
^Weston was quickly perving the new Surface sticks. He is excited for the winter. I am with him all the way. You can tell that the riders are all starting to feel the pull of winter.
^Owner, Mike Schneider, is helping this guy, Matt, with some Surface skis. Kind of a funny story. I grabbed some lunch at Einstein's Bagels before going to the shop, and I met Matt sitting outside eating my lunch. I told him about the shop, and that I was heading down there. I was talking to Mike in the shop when Matt walked in the front door. I laughed when I spotted him, and I introduced them to each other. Mike showed him some gear, and Matt ended up getting a smoking deal on some Live Free fat skis for this winter. Very nice ski. I think he will be stoked on the purchase.
Good shops, and good friends, old and new. Gotta love the interactions, and the stoke that exists in shops like these. The air is crispy and the mornings are chilling off. The attitude and stoke are ripe in the wind. You can feel it when you walk into these shops, and into any dank ski shop across the country for that matter. These kinds of places are magic to people like me every fall. The energy inside is electric, and I for one am loving the vibes in the build up to winter. Very exciting.


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Amazing Facts Of Starfish
Editorials News | Sep-10-2019
One of the most beautiful marine animals is starfish or sea stars, which is found in a variety of colors, shapes, and sizes. All starfish simulate to stars, and though the most common have only five arms, some of these animals can grow up to 40 arms. The amazing sea beauties, group of animals known as echinoderms. They can recreate lost limbs, and they can devour large loot using their unusual stomachs.
Sea Stars Are Not Fish
Despite the fact sea stars live underwater and are commonly called "starfish," they are not true fish. They do not have chops, scales, or vane like fish do.
Sea stars also move quite adversely from fish. While fish impel themselves with their tails, sea stars have tiny tube feet to help them move along.
Because they are not confidential as fish, scientists elect to call starfish as a "sea stars."
Sea Stars Are Echinoderms
Sea stars belong to the phylum Echinodermata. That means they are related to sand dollars, sea urchins, sea cucumbers, and sea lilies. Overall, this phylum contains over 6,000 species.
There Are Thousands of Sea Star Species
There are about 2,000 species of sea stars. Some live in the intertidal zone, while others live in the deep water of the ocean.
Not All Sea Stars Have Five Arms
While many people are most recognizable with the five-armed species of sea stars, not all sea stars have just five arms. Some species have many more arms likewise the sun star, which can have up to 40 arms.
Sea Stars Can Exhilarate Arms
Surprisingly sea stars can regenerate lost arms, which is useful if the sea star is get injured by a carnivore.
Sea stars house most of their vital organs in their arms. This means that some species can even regenerate an entirely new sea star from just one arm and a portion of the star's central disc.
It won't happen too quickly, though. It takes about a year for an arm to grow back.
By – Tripti Varun
Content - https://www.thoughtco.com/facts-about-sea-stars-2291865


19 athletes qualified to advance to Region 4 championships. See Top 12 list below for regional qualifiers.
Katelyn Mclean: 3000m, 6.16 seconds / 400m, 0.52 seconds / 1500m, 7.67 seconds / 800m, 6.14 seconds - a personal best in all 4 events!


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← Katherine Mansfield 1888-1923
Some things to see and do, January 2023
Posted on January 25, 2023 by karinwarnaar
Star Dome – dupion silk handpainted by Jane Growsky, image supplied by Masterworks Gallery.
January has whizzed past and many of us are back at the day job, but it's still summer and there's still time to catch a few of the summer seasonal shows. Starting overhead, in Auckland, it's the last week of the Masterworks Raumati/ Summer Salon (until 28 January) exhibition, featuring a range of media including textiles, among them Jane Groufsky's glorious handpainted cushions, and embroidery by May Trubohovich, Alice Alva and Alison Leauanae. For those of us outside Auckland, you can admire the work through the Salon's online catalogue.
There's quite a bit happening in the Wairarapa-Wellington area. Masterton's Aratoi gallery is hosting two textile exhibitions that end 12 February. Ngahere – The Bush of Aotearoa is an exhibition of more than 45 artworks presented by the Professional Weavers Network of NZ Inc. The weavers have explored aspects of native bush and bush experiences across a wide range of techniques and interpretations, including hand woven textured and gauze fabrics, tapestries, floor rugs and cushions. Alongside this, the gallery is showing Land Girl, Leah Craven's juxtaposition of the traditional wool industry with modern fibres and techniques, abstract forms and a non-representative colour palette. https://www.aratoi.org.nz/
Also nearing the end of its time at the Dowse is Wharenui Harikoa, closing 19 February, Lissy Robinson-Cole and Rudi Robinson's fluoro crochet installation has travelled from Auckland ahead of a Matariki launch this year, and a subsequent national tour to share the delights of the 'House of Joy'.
The big (monumental, in fact) news in Wellington is Te Papa Tongarewa's Mataaho Collective: Te Puni Aroaro, which opened in late 2022 and will run for most of 2023. Mataaho don't think small, and these six installations include their largest ever, created especially for this showing at Te Papa. The other works on display include Kiko Moana, here seen in Aotearoa for the first time. Get a feel for the scale of the new work at https://www.tepapa.govt.nz/visit/exhibitions/toi-art/mataaho-collective-te-puni-aroaro and read a bit more about the exhibition as a whole here https://mch.govt.nz/mi/node/10219
You can see a more modest Mataaho installation, Tīkawe, in the foyer of the Christchurch Art Gallery: https://christchurchartgallery.org.nz/exhibitions/mata-aho-collective. Tikawe is about looking up and to the light; through in the Brett Graham exhibition Tai Moana Tai Tangata there's a very different – but similarly monumental – textile work on display that will have you looking down into the darkness. Among the large scale sculptures and video works in the exhibition, Purutapu Pōuriuri (Black Shroud) carves an 18000 x 3000 mm velvet and damask pathway that represents the emblems of the British regiments that fought in the New Zealand Wars, with textures of mourning Victoriana. Tai Moana Tai Tangata closes in Christchurch on 19 February. You can read about this magnificent piece on Graham's website: http://www.brettgraham.co.nz/brett-graham-purutapu-pouriuri.html but see it if you get the chance.
Further south still, Alexandra's Central Stories Museum and Art Gallery is winding up its summer exhibition and programme. They take their wool seriously in Central, highlighting it with the annual WoolOn Creative Fashion Awards (entries now open for the 2023 event); now the local gallery has been displaying some highlights of past competitions. The Cromwell Craft Group is also holding classes for children and adults until 27 January. https://centralstories.com/woolon-creative-fashion-exhibition/.
Not a bad start to the year. Among things to look forward to, May's CTANZ symposium, 21st birthday version, will have an accompanying exhibition. We're getting very close to releasing more information and registrations, so keep an eye out for details. Happy new year from CTANZ and we look forward to seeing a bunch of new and familiar faces in Oamaru.
This entry was posted in Artists, Auckland, Awards, Christchurch, CTANZ people, Exhibitions, History, Maori, sculpture, Weaving, Wellington, wool and tagged Aratoi Wairarapa Museum of Art and History, Brett Graham, Christchurch Art Gallery Te Puna o Waiwhetū., Leah Craven, Masterworks Gallery, Mataaho Collective, Te Papa Tongarewa, WoolOn Creative Fashion Awards. Bookmark the permalink.


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Nathan Stinson Jr., Ph.D., M.D., M.P.H.
Dr. Nathan Stinson Jr. serves as Director of the Division of Scientific Programs at NIMHD, where he oversees the extramural scientific programs on minority health and health disparities.
He began his federal career in Arizona as a medical officer with the U.S. Public Health Service (USPHS) Commissioned Corps, where he practiced family medicine at the Indian Health Service's Chinle Comprehensive Health Care Facility on the Navajo reservation. Dr. Stinson later served as Deputy Director of the Division of Community and Migrant Health and as Director of the Division of Programs for Special Populations in the Bureau of Primary Health Care, Health Resources, and Services Administration within the Department of Health and Human Services (HHS). In 1999, he was appointed Deputy Assistant Secretary for Minority Health and Director of the Office of Minority Health at HHS. During that tenure, he served as a senior advisor to the Assistant Secretary for Health and the Secretary at HHS. Dr. Stinson also served as President of the Health Literacy Foundation in Munster, IN, and the director of the Center for Optimal Health and a professor of family and community medicine at Meharry Medical College in Nashville, TN.
Dr. Stinson holds a Ph.D. in environmental biology from the University of Colorado, an M.D. from the University of Colorado Health Sciences Center, and an M.P.H. in health care administration from the Uniformed Services University of the Health Sciences.
Dr. Stinson has received numerous honors including the Louis B. Stokes Leadership Award – National Medical Association, Silver and Gold Award for Excellence in Humanitarianism, Citizenship, and Professionalism – University of Colorado, NIH Director's Awards, U.S. Surgeon General's Exemplary Service Medal, Outstanding Service Medal, Commendation Medal, Achievement Medal, and Crises Response Service Award – USPHS.
Juarez, P., Schlundt, D. G., Goldzweig, I., & Stinson, N. (2006). A conceptual framework for reducing risky teen driving behaviors among minority youth. Injury Prevention, 12(Suppl 1), i49–i55.
Levine, R. S., Briggs, N. C., Schlundt, D. G., Stinson, N., Jr., Warren, R. C., & Goldzweig, I. A. (2006, February). Seatbelt law enforcement and motor vehicle crash fatalities among blacks and whites in Louisiana and Mississippi. Southern Medical Journal, 99(2), 143–148.
Briggs, N. C., Schlundt, D. G., Levine, R. S., Goldzweig, I. A., Stinson, N., Jr., & Warren, R. C. (2006, August). Seat belt law enforcement and racial disparities in seat belt use. American Journal of Preventive Medicine, 31(2), 135–141.
Dankwa-Mullan, I., Rhee, K. B., Stoff, D. M., Pohlhaus, J. R., Sy, F. S., Stinson, N., Jr., & Ruffin, J. (2010, April). Moving toward paradigm-shifting research in health disparities through translational, transformational, and transdisciplinary approaches. American Journal of Public Health, 100(S1), S19–S24.
Dankwa-Mullan, I., Rhee, K. B., Williams, K., Sanchez, I., Sy, F. S., Stinson, N., & Ruffin, J. (2010). The Science of Eliminating Health Disparities: Summary and Analysis of the NIH Summit Recommendations. American Journal of Public Health, 100(Suppl 1), S12–S18.


While their full band was busy raising kids and committed to various day jobs, Flora Reed and Philip Price of Winterpills decided it would be fun to quickly record some of their favorite cover songs while the tape rolled. What began as a small project morphed into an orchestrated, introspective transformation of a few well-known songs with each filtered through the alchemy of Flora and Philip's vocal and instrumental chemistry experiment.
Echolalia is a treasure trove filled with beloved songs picked because Price and Reed felt that they were meant to transform them.
"One Day (Sharon Van Etten)"


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Minimum of 10 + years experience in a processing operations environment.
Computer literacy in MS Office applications.
Must possess good communication skills - written and oral, with the ability to manage multiple projects simultaneously and to effectively interface with others.
Previous experience in training, teaching and coaching would be an advantage.


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You are at:Home»Records»Albums»"You would never dare to waste a crisis": A Review of Joshua Bassett's Crisis/Secret/Set Me Free
Image Credit: Luke Rogers
"You would never dare to waste a crisis": A Review of Joshua Bassett's Crisis/Secret/Set Me Free
By Rhianna Saglani	on	 December 16, 2021 Albums, Records
Necessarily Honest
Joshua Bassett tells his side of the 'drivers license' drama in these songs, and it's the brutal truth the world needed to hear.
Lyricism
Accompanying Videos
Trigger Warning: mentions of sexual assault, abuse and pedophillia.
2021 began with Olivia Rodrigo tearing up every single record, chart and expectation of the music industry, with her smash-hit debut drivers license supposedly about her rumoured ex Joshua Bassett. In Crisis/Secret/Set Me Free, Joshua Bassett finally explains his side of it all.
It was pretty impossible to avoid Olivia Rodrigo this year, and trust me – I tried. Wherever I went, someone would want to talk about her, play her music, and most of all: everyone was ready to give their tuppence on Rodrigo was singing about.
Credit: Luke Rogers
Even Saturday Night Live made comments on the not-so-secret subject of SOUR, made up of Joshua Bassett and Sabrina Carpenter, joking: "b*tch ex…is Joshua Bassett" and "Sabrina Carpenter is that b*st*rd…". This wasn't the least of it all; Bassett and Carpenter were hurled insults day in, day out for months throughout the course of 2021. No matter what, it was always a losing game – fans even dubbed Carpenter's single 'Skin' a direct attack on Rodrigo, when this was never the case.
So it is no doubt that Bassett had something to say, and he uses these three songs to do just that. The EP starts on the words "my label said to never waste a crisis". Throughout the opening song he processes his feelings about it all – explaining how difficult it is to speak his truth but realising he can't waste a crisis; as neither would Rodrigo, as she has proven by jumping on the drama to boost her career. The song is lyrically and melodically raw and highlights Bassett's feelings about the way this crisis has taken over his life. It feels like Bassett reaching out to Rodrigo who (as he has confirmed) hasn't spoken to him since her first song came out, in an attempt to explain that what she has done this year has hurt him more than their split.
'Secret' is an almost passive-aggressive message to Olivia (or whomever) that whatever secret she is holding is "safe with him". The song alludes to Bassett being cheated on in his relationship and how he promises not to say a word to anyone – despite a lot of people already knowing. He explains in the bridge that it may one day come out when the ex's "woe is me stops working" and it becomes harder for her to conceal her secret. It's a genius way to explain that, no matter what, he's not going to say anything; yet, what she has done is still both wrong and unforgivable. Production-wise, the song boasts a steady drum beat, and its minor key yet upbeat pace creates a much darker feel to the song, further adding to the tension of this "secret".
The EP ends on 'Set Me Free', the one song that Bassett openly says is not about the drama or a response to Olivia, while the meaning behind the first two were definitely an allusion to the drama, as he explained in his GQ interview soon after the song came out.
'Set Me Free' addresses the sexual abuse and assault Bassettwas subjected to as a child by "a much older man". While some lyrics do seem addressed to the drama, the song as a whole is a letter to anyone who's ever oppressed him, put him down or made him feel less than. He begs each and every person to "set him free" of the trauma and constant abuse he continues to face on the internet, as well as addressing his critical condition at the start of the year. Bassett was admitted to hospital in January due to a near-fatal septic shock and heart failure, and it is no doubt that the intense stress and anxiety the start of the year brought was a factor in his condition. The song has beautiful harmonies and boasts an uplifting production style, and is definitely the anthem for the oppressed and beaten down.
Overall, Joshua Bassett served the necessary truth, and his side of a multifaceted story and his side deserves to be listened to with an open mind and open ears.
Crisis/Secret/Set Me free is out now, via Warner Records. Watch the video for 'Crisis' below:
Rhianna Saglani
First Year history student - interested in music, film, tv and musicals


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Ted Cruz And The Never Ending Argument Of Citizenship
AbbyMcGinnis
Constitution, Marco Rubio, natural-born citizen, naturalization, presidential election, ted cruz
Why Is "Natural Born" Status So Important?
Get your AUTOGRAPHED copy In the Founders Tradin' Post Today!
Mandeville, LA – Exclusive Transcript – "Let's first establish that the clause natural-born citizen is inserted into the Constitution for a specific purpose. If you read the letter that John Jay, future Chief Justice of the Supreme Court, wrote to George Washington at the time the Federal Convention of 1787 was in full swing, Jay wrote to Washington and said it must be a prudent thing to do to insert into the Constitution a natural-born citizen clause so as to prevent foreign intrigue from getting into our government." Check out today's transcript for the rest….
Begin Mike Church Show Transcript
Mike: Let's go over this again in case you don't know. I've tried to explain it in a different manner today so that people that don't get this – I got another question mark on the Twitter feed: Mike, I don't understand. It's almost like the people are going: You're wrong! It's like Adam Sandler in The Waterboy. You're wrong, Colonel Sanders! All of you are a bunch of Adam Sandlers. [mocking] "But Momma said that Ted Cruz is eligible because he got a tooth and he brushes it with a teethbrush. Ted Cruz eligible." As Colonel Sanders says in the movie: Well, I'm sure your mother does say that, but that doesn't make it true.
Let's go over this again. I'm going to explain this. You say because Cruz is born of an American mother – we don't know whether or not she was an American citizen at the time. Even that claim is dubious. You say that because – again, I tried to tell this to our listener friend Lucas who's called this show a couple times. He and I have had a couple conversations about this. He sent me a follow-up email on it. Lucas, this is for you, and for those of you who are good, patriotic people and trying to think about this correctly. I understand what's going on here. I'm going to try to help everybody along here.
Let's first establish that the clause natural-born citizen is inserted into the Constitution for a specific purpose. If you read the letter that John Jay, future Chief Justice of the Supreme Court, wrote to George Washington at the time the Federal Convention of 1787 was in full swing, Jay wrote to Washington and said it must be a prudent thing to do to insert into the Constitution a natural-born citizen clause so as to prevent foreign intrigue from getting into our government. There's a reason why the clause is in there, to prevent foreign intrigue in the presidency, in the executive office. That's the reason.
Why were they worried about that? They just finished fighting a war with England, and then there was a war that would come up that we almost fought against the French. Of course, the English would come back and would cause another war in 1810, '11, '12, '13, and '14. This would continue on. We were surrounded. We had the French and the English to the north in Canada. We had the Mexicans and Spanish to the south. There was a concern that they did not want foreign intrigue getting into the highest orders and offices of the new government. The natural-born citizen clause is something that was prudent. It was prudently inserted for a prudent purpose.
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When we acknowledge that it's prudently inserted and we can define what is prudent to do, then that gives us a little bit of a better indication – then we're a little bit better educated from the start. In order to prevent this, they inserted the natural-born citizen clause. Okay, fine. Mike, can you tell me how that works? This is easy to explain. Let's make this a 2016 "conservative," neocon, war-lusting, war-hawking, warmongering argument. Let's pretend for a moment –
We must operate in very simple yet universally-defined terms. I'm going to try this again one more time, and then we're going to get to distributism. Let's define the terms as they must have been defined at the time of the ratification of the Constitution. Natural-born citizen I'm about to explain to you. Naturalized citizen – by the way, I don't deny, I don't say that Cruz, even though this is even dubious, that Cruz is a naturalized citizen. I think that's a dubious assertion. Prove it. Rubio, yes, he was naturalized by process because of his parents. Let's use some universal terms here. The universal terms that we're going to use are the following.
Universal terms are "citizen," "parent(s)," and "place of birth." All three have to be combined in the affirmative in order for the statement, kind of like a logical statement, a logical syllogism. This is a universal affirmative on all three parts of the syllogism. You make the argument. You have the mediating term, minor term, major term, and then you get the universal conclusion. All three conditions have to be met, not one or two, all three. Let's use the three terms and let's see how it applies using modern, not 1788 countries, modern countries.
Mrs. Cruz is an American citizen. You with me so far? She's Ms. McGillicuddy first. Then she meets Mr. Cruz, citizen of Iran. [mocking] "Mike, that's not fair." It most certainly is. We're going to use universal terms. We can insert any country we want. The framers of the Constitution did not specify any country that was to be eliminated or any country that was to be ignored. We must say all countries, all states. Mr. Cruz now has just gotten hitched with who is now Mrs. Cruz. Mr. Cruz has never denounced, never denied at this time his citizenship in Iran. He's an Iranian, citizen of the mullahs. With me so far?
Mr. Cruz takes Mrs. Cruz now from America and now moves right smack dab in the middle of Afghanistan. He's born in a city that features Al Qaeda and Taliban jihadists. Mr. Cruz is a citizen of Iran. He's married Mrs. Cruz, an American citizen. Young Tedly has now been born in some terrorist haven village in Afghanistan. Is he now still a natural-born citizen, Glenn Beck? Ted Cruz? Drunk with the quest and the lust for political power, is he still eligible? Are you still ready to micturate on the Constitution? Are you still ready to quote to me the 14th Amendment or the Naturalization Act of 1790? By the by, the term "natural-born citizen" was repealed from that act by virtue of the act of 1795. It's as if it never happened. We're stuck with natural-born citizen in the Constitution as it was understood at the time. This is not at issue here.
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There's still the natural-born citizen clause. Do you now see the virtue and the wisdom of the natural-born citizen for the office of presidency clause? You may say today, [mocking] "We live in a global economy now, Mike. We live in a global world now. Things are different now." Fine, get an amendment. Be a real constitutionalist, be a real man. Put your big-boy underwear or your big-girl panties on and get an amendment. If you can't get an amendment to alter the clause then it is as it was frickin' ratified. End of story. Stop calling yourself a constitutionalist or an originalist. You're not. You're a power-lusting unconstitutional promoter. You're no better than the libs that you love to make fun of and tell the entire planet that they are the gravest threat to humanity.
All three qualifications must be met. He must be of natural-born parent. That meant, in 1788, your father. Plain and simple, it came from your father. It did not come from your mother. No one can argue this historical point of view. Children who were born and before they became adults, if their father died, they were orphans. They lost the connection to their natural-born status. Women's rights had not yet reared their head. Get this through your noggins.
FOLKS, a message from Mike – The Project 76 features, Church Doctrine videos and everything else on this site are supported by YOU. We have over 70, of my personally designed, written, produced and directed products for sale in the Founders Tradin' Post, 24/7, here. You can also support our efforts with a Founders Pass membership granting total access to years of My work for just .17 cents per day. Thanks for 17 years of mike church.com! – Mike
Rafael Edward Cruz was not born on the soil and not born of American citizen, naturalized parents. He comes from Mr. Cruz not Mrs. Cruz. It doesn't matter what citizenship she was. As I just demonstrated to you, Mr. Cruz born an Iranian and little Tedly born in a terror village in Afghanistan, you know that if I was describing a dumbocrat candidate, you people would be lined up around the block here for tickets to get in here and watch me talk about this. Because it's allegedly one of yours, not so much.
The case of Marco Rubio is the exact same. There is no difference. The only difference is he has one of the qualifications. He was born on the soil. Like an anchor baby, he's not born of a naturalized American citizen. If Mr. Rubio, who at the time was a Cuban nationalist at the time of little Marco's birth, if Mr. Rubio had been a naturalized citizen, and then if young Marco was born in Florida, then yes, he would be a natural-born citizen. Because Mr. Rubio was not naturalized, little Marco cannot be a natural-born citizen. He's a naturalized citizen.
End Mike Church Show Transcript
ConstitutionMarco Rubionatural-born citizennaturalizationpresidential electionted cruz
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Event review: The Asylum Monologues at Theatre Utopia
By Rosie Edser - Tuesday 6th June, 2017
Croydon's asylum seekers, in their own words
The Calais 'jungle'.
Photo by BSCar23635, used under Creative Commons licence.
On the day after the Manchester bombing, it was good that the Croydon Amnesty Group decided not to cancel its showing of The Asylum Monologues at Theatre Utopia, Matthews Yard , because it was honest, simple story-telling: story-telling of the sort that recalls you to your sense of humanity, develops your empathy, calmly informs your mind and reduces the temptation to generalise and demonise.
Ice and Fire theatre group explores first-hand accounts of the UK's asylum system in the words of those who have experienced it. Everything about the performance was understated: the staging was minimalist, with three actors just sitting reading from black folders. No histrionics, no manipulation, nothing shouty… just true stories. Of course, the stories were crafted: each monologue paused just as you had got drawn into its world, and the narrative thread was left hanging until it was that story's turn again… but with just three monologues, it was easy to keep hold of those diverse threads.
Sayeed was a resourceful Syrian entrepreneur who bought his future wife fifty-three red roses when they had known each other fifty-three days. Not being particularly political, he had assumed that President Assad was good news back in 2011, but ended up spending ninety days incarcerated in a windowless room by a ruthless former business associate, telling the passing of time from the TV theme tunes he overheard. When sleeping in a church doorway in France, he started a pop-up kitchen and as well as cooking for his countrymen, regularly took food and understanding to the angry local French residents who were shouting racist insults. He connected with them meaningfully and actually: "we are still friends".
How can she prove her sexuality? Should she invite Home Office officials into her bed?
The female voice was a young Ugandan sportswoman, ranked badminton number four for the whole of Africa. Her sexuality had accidentally made her a target for mob violence, the mob summoned by the shocked screams of a neighbour who wandered in through the unlocked front door. She helped her partner out of the back window then fled, sprinting from the front door of the house ("my legs are strong", she said) then hiding in a bush before booking a ticket to wherever she had a valid visa, which happened to be Glasgow where she had just been competing. With no plan and no UK contacts, she found herself homeless for three months, sleeping in parks around Turnpike Lane and seeking out Ugandan churches where she could overhear conversations in her own language, which calmed her.
A galling frustration lay in being repeatedly refused sanctuary here on the basis that she couldn't provide 'civic proof' of her relationship and of "who I am". And what exactly would that look like in a country where homosexuality is illegal? Friends' testimonies and social media photos were not enough. Should she invite the Home Office officials into her bed? She has now been refused asylum here twice.
Not victims, not heroes, not figureheads – just engaging individuals
The third actor played Rob Lawrie, that British man who was in the news last January for trying to smuggle a four year old girl in his van from the Calais jungle to safety with her relatives in Leeds. Not wanting to work in a factory, his choices when he left the care system as a sixteen year old had been the army, the navy or the RAF, so he had flipped a coin. Galvanised into action by the photos of Alan Kurdi, the three year old Syrian boy pictured drowned on the beach, he hired a truck, posted on Facebook and received £25,000 in donations to take to Calais within twenty-four hours.
There he got some Sudanese men building shelters he'd sketched out a design for and became known as Mister Rob. There were many regrets; his bipolar disorder, his suicide attempt, his failed marriages and limited access to his children were a bleak backdrop, but he, like the others, was essentially likeable and the audience collectively heaved a sigh of relief when he escaped a lengthy prison term in France. These people weren't victims or heroes or figureheads; they were just engaging individuals.
To be more than a hand-wringing leftie, one must act somehow
Unexpectedly, there were many moments of humour, notably Sayeed impersonating an impatient British business man when he was kept waiting with his first class ticket on Eurostar. I wondered if the authentic present tense grammar slips in the monologue would seem patronising but they were actually very poignant. However, the real miracle wasn't the acting or the stories or the telling – powerful though they all were – but how the Ice and Fire team had managed to gather these testimonies and share them in a way that maintained dignity.
I talk with recently arrived asylum seekers every week and most have a great need for privacy. This, combined with limited language knowledge, mean that stories will often emerge piecemeal and gradually over many months in the context of an on-going trusting relationship. Yet we were privileged to hear three complete testimonies in an hour, all with full permission and blessing.
The problem is how to respond. If it's not just to be feel-good-about-your-politics hand-wringing leftie entertainment, there's a challenge to act somehow. Which is why it made sense for Peter Hall from Croydon Refugee Daycentre to host the post-performance Q and A session. The gist of which was, by the way, that if you want to help by donating locally, they always, always need prams and buggies!
Rosie Edser
Rosie is a member of the team at Croydon Refugee Daycentre. She's a teacher of both adult English learners and (in her day job) children. She relishes the fact that her own offspring have attended a school in Croydon with over forty first languages spoken. She lives in Waddon.
Croydon Amnesty Croydon Refugee Daycentre Matthews Yard refugees The Asylum Monologues
How you can help Croydon Refugee Day Centre
Event report: the Croydon interfaith gathering, Sunday 22nd May at the Ahmadiyya mosque, St James Road
Event review: CODA Croydon performs 'The Importance Of Being Earnest' in Wandle Park bandstand, 15th-18th July 2015
Through the doors of… Croydon University Hospital chaplaincy
Croydon goes to the London Peace Symposium, Baitul Futuh Mosque, 14th March 2015
Farewell, citizens of Croydon
Why Croydon needs a visitor centre, and how it could pay for itself
The Croydon Forum's back, so why not get involved in shaping our town's future?
A new voice for Croydon's trams?
Can't give any more: volunteer fatigue in Croydon (part 1)


Because it's stretchy, you can easily adjust the Boba by loosening the fabric. You can change your baby's hugging position to a nursing position even without removing the wrap from your body.
What are the best wrap baby carriers around or under $50?
The Boba is made of French Terry cotton, a type of fabric that is soft and cozy against your baby's skin. Its moisture-wicking properties draw sweat away from both your body and the baby's. This makes it comfortable to wear any day of the year.
Many parents love baby-wearing but are never enticed by the process of elaborately wrapping a long piece of fabric around their bodies.
However, the K'tan is only two loops of fabric stitched together. You slip it on over your head like how you would wear a t-shirt and put your arm through each loop. Your baby sits where the loops cross over. It's best for those who like to wear their babies but don't wanna fuss with fabric.
The K'tan has a band on the back that the wearer can adjust to evenly distribute the baby's weight on both shoulders. It is extremely simple to use, there is no need for the wearer to take the baby off to tighten the fabric.
The Boba Wrap is 5% spandex which adds an extra stretch to it. It is recommended to wrap a Boba as tightly as possible since it will sag and loosen a bit when you're carrying your baby, especially if your child weighs more than 15 pounds.
Unlike most wraps, the Baby K'Tan comes in sizes from XS-2XL. That means other caregivers won't be able to use your K'Tan unless they're the same size as you.


Out of the 250 ad films Vinil Mathew has made in his career as a director, several have been for cellular providers, including his own service provider. On one occasion, when his network was giving him some trouble, Mathew went to the store and tried to have it fixed. Frustrated by the delays, he weakened and said: "I am a director. I make advertising films, including for your company." The person attending to him replied, "Whatever you are, you are not Madhur Bhandarkar!"
What drew you to film-making?
I wanted to be an economist and then, when I was in the 10th standard, I saw Roja and read an interview with Mani Ratnam in which he said it was time educated people came into cinema and changed it. I was easily impressed then. During college I worked with Bharat Bala and Santosh Sivan and finally applied to the FTII (the Film and Television Institute of India), where I got into the direction course. My parents were very hurt as I had cleared the Delhi School of Economics entrance exam but opted for the FTII.
After being so successful in advertising, why the transition to a mainstream Bollywood movie?
Film-makers are storytellers and every film-maker wants to make a long-format film. You need legitimacy as a director, which you only get from a 2-hour-long feature-length film that does not come with the baggage of demands from a client or an agency. Ad film-making is like playing a T20 match while feature films are like a Test match. The latter needs a lot of persistence and patience.
Why 'Hasee Toh Phasee' as your debut film as director?
It's a quirky love story and a family film. Romance is a tough genre because there are only two possible outcomes: Either the couple falls in love or they don't. Therefore it's important that the audience enjoys the ride and I hope I have brought a freshness to the film.
How much of a say did you have in the casting of the lead actors?
Parineeti Chopra was always on top of my wishlist. We knew we needed her energy to pull this off, but it took a lot to convince her, especially as this is her first film outside of the Yash Raj (Films) banner. Karan Johar (co-producer) suggested Sidharth Malhotra. I had seen Student of the Year and my initial reaction was that he would not fit the character of an ordinary, middle-class boy. But once I met him I saw he had an earnestness that would work for the character. I think the fact that they are both so different is what makes for great on-screen chemistry.
Is this the genre you prefer?
I do like emotional, relationship stories, films that occupy the middle territory, which are in the commercial space but have an easy-going storytelling, a deftness of touch and gentle intelligence. Going forward I would like to explore any genre. However, I am waiting to see how this film is received so I can determine what risks I can take in the future.
Advertising directors remain invisible while feature directors are expected to participate in frantic publicity and promotional activities. Are you enjoying this new experience?
I am waiting for my turn! It has started in bits and pieces. I was at a press conference recently with Karan, Sidharth and Parineeti, and I noticed that no one was interested in the director. It's a new experience and I am loving it.
Hasee Toh Phasee releases in theatres on 7 February.


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Farmers only: Livingston and Cabrera rehabbing
By Rick House Jul 12, 2008, 9:54am EDT
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Valaika
Triple-A: Ramon Ramirez struck out 7 in 7 innings -- allowing 3 hits -- in Louisville's 1-0 win. B.J. Szymanski's sac fly in the 9th was the run.
Double-A: Chris Valaika and Justin Turner homered, but Chattanooga lost 10-3. Valaika has 15 HRs on the year, tied with Brandon Waring for tops in the Reds' system. Ben Jukich couldn't get through the 5th, and Sean Watson has 4 strikeouts and a walk in 1.2 innings. His insane splits continue: 36 IP, 52K, 29BB, 6.25 ERA in Sarasota and Chattanooga.
High A: Bobby Livingston's rehab continued in Sarasota's 3-1 win. Livingston struck out 7 in 6.2 innings, scattering 8 hits. Ramon Geronmino (0.69 ERA) got his 11th save. He hasn't allowed an earned run in more than a month.
Low A: Jolbert Cabrera was 3 for 4 in his rehab stint with a triple and 3 RBIs in Dayton's 8-2 win. Neftali Soto was 0 for 4.
Rookies: Alex Buchholz was 2 for 3 with a double, a walk and 2 runs in Billings' 4-3 win. Aguido Gonzalez struck out 4 to get the save and hasn't given up an earned run in 10 appearances this year. ... The G-Reds got spanked 8-2. ... Jose Marizan struck out 7 in 5 innings in the D-Reds' 2-0 loss.


Church of Jesus Christ of Latter Day Saints can be found at 4th St & Ohio St . The following is offered: Religious Organizations . In Chinook there are 10 other Religious Organizations. An overview can be found here.


Zeppelin and Floyd were two Burmese pythons that Paul used to have in his Hollywood apartment. He got them as babies and kept feeding them rats and mice, which kept them growing. He didn't realize that these snakes would continue to grow to fit their environment and learned he would have to feed them bigger meals, such as rabbits. He didn't want to be throwing rabbits to his snakes for dinner, so he sold the snakes back to the pet store.
Aaron Paul Sturtevant is an American actor born August 27, 1979. Best known for his leading role as Jesse Pinkman in AMC's Breaking Bad, co-starring Bryan Cranston, he has earned an estimated net worth of $16 million.
His acting career started in the mid-1990s, appearing in music videos and smaller film and TV roles. In the early and mid-2000s, he landed smaller roles in a variety of feature films. He first became recognized for a recurring role on HBO's Big Love. This lead to his breakout role in Breaking Bad from 2008 to 2013, which earned him a number of awards, including three Saturn Awards, three Primetime Emmy Awards and more.