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Josh Brolin Cast As Cable in Deadpool 2
MoviesNews 12th April 2017 Scott Allden 0
Today it has been confirmed that Josh Brolin has landed the role of another iconic Marvel character. He is set to portray the mutant...
Today it has been confirmed that Josh Brolin has landed the role of another iconic Marvel character. He is set to portray the mutant Cable, in the upcoming Deadpool sequel, produced by 20th Century Fox.
After the lengthy rumblings and rumours of potential actors that were considered (including Stephen Lang and Brad Pitt), Fox have finally found their man to star opposite Ryan Reynolds (Wade Wilson/Deadpool), when filming gets underway this June.
Many will find this a surprise, as Michael Shannon was considered the frontrunner to be cast as Cable. Not to mention that Brolin already has a huge part in Disney's Marvel Cinematic Universe, as franchise big bad Thanos. However, it's not the first time that performers have jumped ship from time to time.
The original Deadpool movie, released in 2016, made over $780 million at the box office from a modest $58 million budget – becoming the highest grossing R-Rated movie in history. So it's no shock that the studio wanted to get the ball rolling for a follow up.
Cable, aka Nathaniel Summers (son of Scott Summers and Jean Grey clone – Madelyne Pryor) first appeared as an infant in 'Uncanny X-Men' #201 in 1986. But didn't appear in his adult form until 1990 in 'The New Mutants' #87. As a child, Nathaniel was transported to the future, before returning to the past as the gun-toting, cybernetically enhanced telepath he is known as to most comic fans.
Due for release in 2018, Deadpool 2 will also feature returning stars Brianna Hildebrand and Monica Baccarin. Joined by newcomer Zazie Beetz as Domino. David Leitch (John Wick 2, Atomic Blonde) steps into the directing chair, vacated by Tim Miller.
Source: Variety
20th Century Fox37 Brad Pitt18 Cable5 Comics5 David Leitch2 Deadpool15 Deadpool 211 Disney148 Josh Brolin16 Marvel92 Ryan Reynolds28 X-Men28
Scott Allden Writer/Contributor @ Filmoria.co.uk
Scott, or Allden (Depending on which level of association you stand) is an avid film fan, comic reader, writer and video producer. Regularly and deftly expressing his disdain of modern film. But the way to his heart is through shared love of Coen Brothers movies, highly tensed thrillers and Star Wars.
Home » Movies » News » Josh Brolin Cast As Cable in Deadpool 2


Devin Powell is a mid-career science writer & editor in New York, NY. His work appeared in The Best Science Writing 2012 anthology and has been featured in newspapers such as The New York Times and The Washington Post; magazines ranging from Discover to Scientific American to Science News; the scientific journals Nature, Science, and PNAS; and the websites of WIRED, Smithsonian, ABC, NBC, FOX and NPR. He has also created online videos for The Discovery Channel, as well as animations and infographics for Columbia University's Zuckerman Institute.


During an interview with CNN's Erin Burnett, Bill Browder, who managed one of the biggest foreign investment firms in Russia said that President Donald Trump had a " Neville Chamberlain moment" during his summit with Vladimir Putin on Monday.
On Monday, President Trump embarrassed the United States by siding with Putin.
"We've taken the first steps towards a brighter future. This was a very constructive day. A good competitor, he is, and I think the word competitor is a compliment. I have great confidence in my intelligence people, but I will tell you that President Putin was extremely strong and powerful in his denial today," President Trump said during a joint press conference.
Burnett asked how Russia received that message. "How does that go over with Putin?" she asked.
"Well, that was sort of classic appeasement of Putin. I would describe that as Donald Trump's Neville Chamberlain moment. Neville Chamberlain being the person who tried to appease Hitler, and Putin looks at that as just unabashed weakness. He will take advantage of that. He will take advantage of Trump. He will take advantage of the United States if he sees that type of weakness, which he experienced today," Browder said.


Finally after a flood of ZX Spectrum games we move on to the NES as we've come across a post on the nesdev forums that a new game had been released called MiedoW (Cheril's Nightmares); which was developed by na_th_an, Davidian and Anjuel using the Mojon Twins engine. Unlike previous games mentioned via The Mojon Twins, MiedoW is a top-down, flick screen adventure where you control Cheril who can shoot, dodge, jump over lava and solve puzzles!
The story begins with Cheril as she walks into a shrine, falls asleep and dreams of a strange voice that commands her to find her daughters. You must use all your skills to traverse strange areas, battle creatures and hopefully solve enough puzzles to find them and complete your quest.


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Arts & Culture, Special Features August 8, 2013
Spotlight Writer: Aamer Hussein
So that brings us to our next question, which is that do writers, particularly writers from Pakistan, have some sort of social responsibility to write about Pakistan?
You know, responsibility is at the core of one's being. We express responsibility in very different ways. I don't think the responsibility is to be a journalist, because we have good journalists, we have good women journalists, we have good men journalists. I don't feel a writer has to be a journalist. I would rather be reading a book by Hafiz or Shah Abdul Latif Bhitai than reading political analysis. I don't think that it's my duty as a writer to read every book about Pakistan; to know about current events, yes. It informs your work in a kind of oblique way.
I think the publishers who buy books are looking for that angle, how it connects with Pakistan. And perhaps Mohsin Hamid's new book […] was a reaction to that.
Do you feel like the writing that's coming out now is more "political analysis" than just good fiction?
You know I feel that I haven't read enough Pakistani fiction. I have to be very clear about that, one has limited time and as you grow older you tend to want to look back and read books you've missed out on. I haven't read much of Mohammed Hanif, I haven't read Shehryar Fazli's book, I haven't read Uzma Aslam Khan and I was telling someone earlier, three or four of them, (I probably won't name them today) are friends of mine, so obviously I read their books, I know what goes into them, I know they're not trying to manipulate their audience. But they do feel very passionately about their country.
Do you think that due to the increased focus on Pakistan following 9/11, young writers feel the need to write about certain socio-political topics?
I don't think they deliberately start to write about it but I think the publishers who probably buy books are looking for that angle, how it connects with Pakistan, how it connects with the Taliban, how it connects with the violence in the country and so on. And perhaps Mohsin Hamid's new book, in which he refused to name the country, was a reaction to that.
As someone who is involved in online literary journals, what do you think about the role they play in furthering literature, specifically online?
I think they play a great role; to have literary journals is constructive, and would especially be so if they could do more to bring together literary cultures that have become divorced from each other. I think of Urdu and the regional languages and of English. One seems to have this regional, parochial, provincial label attached to it and the other one seems to be cosmopolitan or international. Actually a lot of Urdu writing is every bit as international as the writing in English.
That actually leads to another question we discussed, in your opinion does travelling and exposure play a role in good writing or is it essential for good writing?
Would you be shocked if I said, not necessarily? Because I think some people have written wonderfully just living absolutely [to] the core of their own place and they've written about huge issues.
So you would say sensitivity and imagination are more important factors?
Yes, sensitivity and perception. I mean human nature changes according to political context only in its behavior and its manifestations, but [otherwise] it's just pretty much the same.
Any advice or words of wisdom for young writers, aside from reading?
This is what I would say, just read as much as you can. Because I think critics and journalists need to be aware of all the contexts of a book but they also need to be aware of the context from which the writer is emerging. Each individual writer has his/her own trajectory and I think if you read their books carefully you'll understand that, rather than pinning a label on the book, which the book is not going to be able to live up to.
And what about advice for new writers and new novelists?
You know it always sounds like such a cliché but one of them is just write close to your own experience, start from there. Not about yourself but start from what you know. Start from what you love, start from what you believe in.
Sana Hussain is Features Editor and Maryam Piracha is Editor-in-Chief of the magazine.
Photo Credit: IBN Live.
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Nobody Killed Her
Why holding up the women in our lives can help build a nation, in place of tearing it down. TwitterTumblrFacebookPinterestPrintemail
"This house is an African house./ This your body is an African woman's body…" By Kadija Sesay. TwitterTumblrFacebookPinterestPrintemail
"Sapling legs bend smoothly, power foot in place,/ her back, parallel to solid ground,/ makes her torso a table of support…" By Kadija Sesay....
"The footfalls fading from the streets/ The trees departing from the avenues/ The sweat evaporating from the skin…" By Jumoke Verissimo. TwitterTumblrFacebookPinterestPrintemail
"Lagos is a chronicle of liquid geographies/ Swimming on every tongue…" By Jumoke Verissimo. TwitterTumblrFacebookPinterestPrintemail
"The psychology of prejudice demands that we are each our own moral police". Maria Amir on the roots of bigotry and intolerance. TwitterTumblrFacebookPinterestPrintemail
"The person on the floor was unmistakeably dead. It looked like a woman; she couldn't be sure yet…" By Hawa Jande Golakai. TwitterTumblrFacebookPinterestPrintemail
Remembering Neverland
Islamabad in the 90s.
Alone As I Am / Jaise Main Tanha Hun
From our ninth issue, a beautiful poem by Azra Abbas translated from the Urdu by Muhammad Umar Memon

redpajama_set_name: RedPajamaCommonCrawl


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Fedora Linux 18 beta finally released
The latest version of Fedora has just moved to beta and it includes the GNOME 2.x fork MATE desktop as well as the GNOME 3.x desktop.
By Steven J. Vaughan-Nichols for Linux and Open Source | November 27, 2012 -- 20:05 GMT (12:05 PST) | Topic: Linux
MATE makes the beta Fedora Linux desktop much easier to use... once you have it installed.
Fedora 18, Red Hat's community Linux distribution, may have an odd name, "Spherical Cow," but with the GNOME 2.x fork, MATE, it may also be the most user-friendly version in years.
Fedora, a cutting-edge Linux distribution, has long been known for championing the unpopular GNOME 3.x Linux desktop interface. While GNOME is showing signs of returning to a friendlier interface , other old-style GNOME 2.x like interfaces such as Cinnamon and MATE have grown in popularity. Now Fedora's developers, seeing which way the wind is blowing, is also supporting MATE.
According to the official Fedora MATE page, all of MATE's packages have been approved and pushed to Fedora 18. The Fedora MATE project owner, Dan Mashal, stated, "MATE is a traditional Gnome 2 like desktop user interface. Many users have expressed interest in this feature since Fedora 15 in which Fedora was switched from Gnome 2 to Gnome 3."
Mashal believes MATE is ideal "For the advanced user that doesn't want a cutting edge desktop and just wants to keep it simple this is perfect for them. The popularity of MATE Desktop is very high. It is one of the 2 choices of DE's [Desktop environments] for Linux Mint, which is one of the most popular Linux distros out right now."
MATE, however, is not installed by default. Fedora's MATE site says all you'll need to add it by running the following command as the root user from a terminal:
yum install @mate-desktop
and that may be true someday. For today, I'm finding installing MATE properly to be really painful and I don't have any easy way for you do it yourself. Hopefully, the Fedora team will get this fixed sooner than later.
As always, this new Fedora release represents the upstream for Red Hat Enterprise Linux (RHEL), Red Hat's enterprise operating platform. It's the community research and development lab, where code changes and innovations often form the basis for other Red Hat open-source projects. This means Fedora always includes the newest open-source software. In turn, this means that Fedora isn't the most stable distribution. That makes Fedora ideal for developers pushing Linux's envelope but it may not be for someone who wants the most reliable platform.
So, Red Hat encourages hard-core Linux users "to download the beta release of Fedora 18, take it for a test drive and help identify items that need attention before Fedora 18 is delivered for general availability. With the beta release, the software is relatively stable, but real-world use and reports from users helps identify any lingering bugs so they can be addressed before it is more widely distributed."
The Fedora beta took its own sweet time in arriving. It should have shown up on September 18 but it was delayed no fewer than six times since then. This was because of major rewrite of Fedora's Anaconda software installation and update program. According to Robyn Bergeron, Red Hat's Fedora Project Leader, this "was a one-time aberration." The final release of Fedora 18 should now arrive on Jan. 8, 2013.
Beside the major Anaconda update and the inclusion of MATE, Fedora 18 will also include the following features:
For users everywhere:
Fedora 18 offers a brand-new version of the Gnome desktop, version 3.6, straight from the upstream development process. Updates have also been made to the KDE, XFCE and Sugar desktop environments.
Fedora's new installer user interface enhances the anaconda installer with improvements in ease of use and installation.
For developers:
This release includes several language updates, including the move to Perl 5.16, updating the Python 3 stack from 3.2 to 3.3, Rails 3.2 and updated D and Haskell programming environments.
For system administrators:
Fedora 18 includes the final release of Samba 4 , and can be used on an Active Directory domain out of the box. An integrated, new native management software allows you to access data and server information easily.
OpenStack in Fedora 18 has been updated to Folsom , the most recent release by the OpenStack community. This Infrastructure-as-a-Service (IaaS) platform enables the creation and management of cloud infrastructure.
Eucalyptus 3.1, another IaaS platform, is available in Fedora for the first time, and includes the major components of Eucalyptus.
Storage System Management CLI tools simplify the user interface by providing unified abstraction and interface for multiple storage technologies, including lvm, btrfs and md raid.
Gnome 2 (aka MATE), Welcome back to Fedora
Fedora 17 & GNOME 3.4: Return to a useful Linux desktop (Review)
Shuttleworth on Ubuntu Linux, Fedora, and the UEFI problem
Linus Torvalds on Windows 8, UEFI, and Fedora
Red Hat plans to do for OpenStack what it did for Linux
Cloud Open Source Enterprise Software Developer
More from Steven J. Vaughan-Nichols
Ready or not, here comes the new Twitter
Where do IBM and Red Hat go from here?
Debian 10 'Buster' Linux arrives
Microsoft admitted to private Linux developer security list
Raspberry Pi 4 Model B and Raspbian Buster: How to set up your board
With all the necessary hardware in hand, I'm ready to try out the new Raspberry Pi 4 Model B, and the latest version of the Raspbian operating system. Here are my experiences so far. ...
Raspberry Pi 4: Hardware first impressions
The Raspberry Pi 4 is available now - much earlier than expected. Here are my first impressions of the hardware, and the extras you're going to need.
The deal is done. Here's where the open-source powers see their path moving forward.
Over two years in the making, the latest version of Debian Linux arrives.
Linux developers recognize Microsoft's contributions to Linux and security -- by letting the company's Linux developers in its closed linux-distro security list. ...
Canonical GitHub account hacked, Ubuntu source code safe
Ubuntu source code appears to be safe; however Canonical is investigating.
Microsoft once called Linux 'a cancer,' and that was a big mistake
Microsoft's hostility to Linux has softened dramatically in recent years, but the scars from the war against Linux are still visible today.
Microsoft asks to join private Linux security developer list
Microsoft's migration from Linux enemy to Linux friend continues in security circles.


Submitted by sayayin on Sun, 2011-10-30 12:53.
I have an invisible gallery.
Can I show it to someone just by sending its link, without configurating rights ?
Submitted by sayayin on Fri, 2011-11-04 18:11.
yes it's possible to share link's hidden album without login/password : this album with a status visible is in another album with a status not visible.


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Home Music Khalid Net Worth: Salary & Earnings for 2019-2020
Khalid Net Worth: Salary & Earnings for 2019-2020
Khalid is a r&b singer from El Paso, Texas, USA. American R&B singer who has become a sensation with tracks like "Location," "Let's Go," and "Coaster." His early songs featured production work from artists like Syk Sense, Tunji Ige, and Smash David.
Continue to next page below to see how much is Khalid really worth, including net worth, estimated earnings, and salary for 2020 and 2021.
Khalid was born in El Paso, Texas, USA on Wednesday, February 11, 1998. Khalid is currently 22 years old. He was born in 1990s, in the middle of Millennials Generation, and in the Year of the Tiger. His birth flower is Violet and birthstone is Amethyst.
He grew up in El Paso, Texas. He cites artists like Frank Ocean and Father John Misty as influences.
Name: Khalid Donnel Robinson
Known As: R&B Singer
Birth Date: February 11, 1998
Birthplace: El Paso, Texas, USA
Khalid is a member of famous people who are known for being a R&B Singer, celebrities who are 22 years old, was born in February, in the year 1998. His zodiac sign is Aquarius.
Go to next page for details on Khalid's net worth and earnings.


On 7 February 2016, members of the Al-Qassam Brigades executed Mahmoud Rushdi Ishtewi, 34, in Gaza. Mahmoud, a prominent member of the Brigades, was summoned for interrogations and then detained on 21 January 2015 by the Al-Qassam military wing. Mahmoud's family learned of his whereabouts only a few days after his detention. They were informed that Mahmoud was accused of financial, ethical and security offenses. The family requested that Mahmoud be represented by a lawyer and for fair trial procedures to be upheld. However, authorities in Gaza ignored such requests and repeatedly stated that he would be released soon.
During his detention, Mahmoud's family learned that he was continuously subjected to torture during interrogations. At one point, Mahmoud was able to send his family a letter which described his continuous torture by the Al-Qassam leaders and said that he was pressured to confess to accusations that he did not commit. After receiving the letter, members of Mahmoud's family met with Ismail Haniyeh who promised to quickly resolve the issue. Instead, the family was allowed to meet with Mahmoud in undisclosed locations, and only after they continued to exerted pressure on authorities. Mahmoud told them that he was being tortured and beaten, placed in stress positions, and deprived of sleep by Al-Qassam.
On 2 July 2015, 300 members of Mahmoud's family organised a peaceful sit-in in front of Haniyeh's house in Gaza, demanding his release. A large group of security forces dispersed the protest, and attacked and beat the family members. Fifteen individuals were also arrested.
Al-Haq is deeply troubled by Mahmoud's execution which may amount to an arbitrary deprivation of life and may be considered an extra-judicial killing. In July 2014, the International Covenant on Civil and Political Rights (ICCPR) came into force in Palestine which upholds the right to life, liberty, security of person, and fair trial. According to Articles 11 and 14 of the Palestinian Basic Law, arrests can only be carried out by a judicial order in accordance with the provisions of the law, and a person is considered innocent until proven guilty in a court of law that guarantees the accused the right to defense. According to the family, Mahmoud was not represented by a lawyer in any judicial proceeding. Article 109 of the Basic Law dictates that a death sentence may only be implemented once endorsed by the President of the Palestinian National Authority.
Furthermore, under international human rights law, all persons deprived of their liberty must be treated with dignity, and be free from physical and psychological abuse. The International Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment forbids such treatment in all circumstances. Article 13 of the Palestinian Basic Law also reiterates that detainees must be treated properly and that no one should be subjected to torture.
In light of this, Al-Haq calls on Palestinian authorities in Gaza to respect and abide by their obligations under international and national laws. Al-Haq also calls on the authorities to investigate the torture, ill-treatment and execution of Mahmoud and hold perpetrators accountable.
 According to Human Rights Watch, the family met with Mahmoud seven times throughout the year.


The RA FTP agent would not start. Running the startup command java -Xmx256M -jar /home/uc4/executor/ra/bin/ucxjcitx.jar threw the error: java.lang.NumberFormatException: For input string: "&01"
We were able to go into the agent's /bin/cacha/FTPAGENT directory and in there was a file or folder called HR_RAFiles which the agent was trying to use for startup which caused the error above.
We removed everything from the cache directory and the agent was able to startup again.


For a label that has raised the bar to such dizzying heights, it would be more than reasonable to presume that the exquisite and lambent folk over at Type are about due for a dud release. If so, Midaircondo is most certainly not it... times by 100. A Swedish trio (Lisa Nordström, Lisen Rylander and Malin Dahlström) who combine their consummate skills in electro-acoustic music with a sapient understanding of well honed improvisation, Midaircondo have delivered a fascinating and nuanced record which comes across like a Sandro Botticelli for the ears. Whilst most artists whose oeuvre falls within the electronic remit tend to approach the stage with some trepidation as they seek to convert their recorded work into a live proposition, Midaircondo tackled this quandary from the opposite direction; lending a friable sense of spontaneity and majestic evolution to the album. Opening with 'Eva Stern, Shake It', Midaircondo coax a carbonated saxophone out into the open before bewitching it with some heart-soaked vocals that bring to mind both Piana and Mum, swiftly followed by the water-logged double bass and electronic creases of 'Could You Please Stop'. Sounding not unlike Bjork, Hanne Hukkelberg, Psapp or Catrina Pratter, 'Could You Please Stop' is an insistent little bugger than drills deep into your soul and snags whatever it is that makes music so indispensable and nourishing; in short, it's a rimy masterpiece. Elsewhere, 'Serenade' is the kind of overwrought piano led composition that would get to number one in a just universe, 'Perfect Spot' is a fidgety electronic love-song, writ sun-rise tall through its rousing multi-vocal peaks, whilst the lazy fuzz and accordion of 'Faces' suggest stumbling upon a portmanteau radio broadcast from an unknown source. S.t.u.n.n.i.n.g.


Delicious Science is the scientific story of your next meal. Dr. Michael Mosley and botanist James Wong celebrate the physics, chemistry, and biology hidden inside every bite. We Are What We Eat: Travel the world and step inside the UK's leading food laboratory to deconstruct our favorite meals, going inside the food to the molecular level, revealing how the hidden chemistry in every mouthful of food keeps our bodies fit and healthy. A Matter Of Taste: Take a global culinary adventure to reveal the science that makes our food taste delicious and the powerful effect it has on our tongue and nose. Taste is far more than just being delicious–it's a matter of survival. Food On The Brain: Discover how the chemistry in our food affects our brains and creates our deepest cravings. Learn about a whole new way of thinking about our relationship to the modern diet, and the wonderful effect it has on our minds.


Saturday 7:30 p.m. & Sunday 2:00 p.m.
The San Juan Singers winter Holiday Concert features a chamber version of John Rutter's Magnificat. Local instrumentalists and soprano soloist join the Singers in an upbeat, dancing setting of this timeless prayer. To get you in the mood for solstice and Christmas, a selection of new settings of old favorites will fill out the evening's entertainment. Among them, a new selection by renowned composer, Morten Lauridsen, "O Nata Lux;" a new setting of "Carol of the Bells;" an a cappella setting of "O Chanukah;" and a brand new carol, "This Christmas."


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See ya in 2009 Ryan
By Giants1027,
August 7, 2008 in New York Mets
Giants1027
Section MODs
Location:Queens, NY.
It appears the Mets no longer have their hopes up that Ryan Church will return this season. The right fielder has been out since July 6 due to aftereffects from a pair of concussions. He has been evaluated several times, but doctors haven't cleared him to play. He will be evaluated again today or tomorrow.
"I'm not optimistic about that," manager Jerry Manuel said of getting him back. "It's very foreign to all of us and we just aren't sure as to where it could go. And historically, it hasn't gone in our direction.
"We've been going through this, I don't know how long. Two months? Whatever. But, if it does turn out to be something favorable for us, it would be very, very welcome."
Church took batting practice with the team yesterday and fielded balls in the outfield, but gave no one any reason to be more optimistic about the upcoming evaluation. He refused to speak with reporters.
Ryan Church may not return
As they say in the Armed Forces....."shit rolls downhill"
seriously what a shame. he was such a stud for us the first couple of months.
this is just a shitty break that has defined the mets over the years...
Jay Lesner
by ADAM RUBIN, NY Daily News
Ryan Church is believed to be at the doctor today, hoping to gain clearance to begin a rehab assignment in the minor leagues. He would begin playing in Port St. Lucie this weekend if doctors sign off. Either way, he's been feeling fine and champing at the bit to proceed.
Breaking news: Church to play in minors
News out of the clubhouse: Ryan Church has been cleared to go to Florida to begin playing in minor-league games. He'll initially DH in Port St. Lucie after working out at Shea on Saturday


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The second studio album of Area 11 has been released! 'Modern Synthesis' is out now!
The band have conquered many feats that most bands don't get to experience or achieve at such an early stage in their career. In the past 12 months, the band have amassed an astonishing social media following – that puts a lot of established bands to shame, with over 100K global subscribers and 10 million plays on their YouTube channel. This has led to two self-booked & sold out UK Headline tours – with their July 2015 show at London's 'The Barfly', selling out in under 48 hours! Their most recent UK tour, last Winter saw the band step up their audience to to 500 capacity venues, selling out their merchandise and music. This leads us to 2016, where the band signed to Cooking Vinyl, and are thrilled to be releasing their 11-track, full-length 'Modern Synthesis'.
Sparkles*, the vocalist and synth player in the band, explained about how the record came to be;
"We started work on this album way back in February 2015, in a little village in Italy, and it's been a long, thrilling, difficult and rewarding process. We're releasing this record through a partnership with Cooking Vinyl and our own label Smihilism Records.
It's been a new experience for us working with a label, but they're home to a bunch of really great and influential artists and I can't stress enough how great it's been so far. They don't try to influence us artistically, more support and help us maximise the potential the record has. We're all really proud of Modern Synthesis, and we can't wait to take it out on tour in July and finally perform the album live in front of people.
The band just released their new video for their track 'The contract', taken from 'Modern Synthesis and the video for 'Versus' has already 173k views.
'MODERN SYNTHESIS' TRACK LIST:
AREA 11 members:
Sparkles* – Vocals/Synth
Alex Parvis – Guitar
Jonathan Kogan – Bass
Leo Taylor – Drums
ORDER THE ALBUM NOW FROM:
iTunes Amazon Online Store
area11.band


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Tag Archives: documentary
William Greaves on Blu-ray: Reviews of Nationtime and Symbiopsychotaxiplasm
February 28, 2021 Dusty Somers	Leave a comment
Though he directed more than 100 documentaries and helped pioneer cinema vérité in the late 1950s with his work for the National Film Board of Canada, William Greaves remains largely obscure, outside of his 1968 meta-movie Symbiopsychotaxiplasm: Take One, first released by Criterion in 2006 and now out in a surprising Blu-ray upgrade. That release comes in close proximity to Kino Lorber's Blu-ray release of Greaves 1972 documentary Nationtime, recently rescued with a 4K restoration. Given Greaves' prolific career, there's no way these two releases sum up the man's work, but taken together, they start to piece together a picture of the breadth of his interests and styles.
Nationtime, originally released in a truncated version as Nationtime – Gary, takes an intensely focused look at the 1972 National Black Political Convention in Gary, Indiana. Organized by poet, author and activist Amiri Baraka, the event attracted 10,000 people and a who's who of influential Black Americans in an attempt to unify on a national political platform.
Four years removed from the assassination of Martin Luther King, Black political voices were largely divided between nationalists, like Baraka, and moderates, like members of the newly formed Congressional Black Caucus. Both sides were well represented at the event.
Greaves' film, shot guerrilla-style from the convention floor, the camera peering around corners and craning its neck upward from sharp angles, doesn't belabor or even overtly acknowledge this split, though the differences are evident in the message of Baraka and elected officials like Rep. Charles Diggs and Gary, Indiana Mayor Richard Hatcher. Widows of the two men most emblematic of these diverging viewpoints, Coretta Scott King and Betty Shabazz, are both in attendance. There's a sense that an amalgam might be possible in Jesse Jackson's stirring speech, which Greaves includes seemingly in its entirety, the camera unable to cut away from Jackson's charisma and passion.
Though Nationtime is largely focused on the onstage events at the convention, the film becomes looser as it goes on, assembling a portrait of a diverse collection of people and offering tantalizing glimpses of the wealth of artistic talent on display, from the avant-garde jazz of Phil Cohran and his band — Cohran also contributes the film's score — to Dick Gregory's trenchant comedy. Richard Roundtree and Isaac Hayes appear briefly to bask in the crowd's admiration, while Harry Belafonte and Sidney Poitier add in intermittent bits of narration. The film functions both as an incredible historical document and an assertion of the essential cultural and political influence of Black Americans on this country.
Kino's Blu-ray features a 1080p, 1.37:1 transfer, sourced from a 4K restoration of the original camera negative. It's apparent that both the condition of the elements and the film's shooting conditions contribute to an uneven presentation, with the film's color scheme ping-ponging from reasonably vibrant to completely washed out. Image detail and stability are more consistent, and the transfer looks acceptably film-like. Damage has been mitigated nicely, with a generally clean presentation overall. The film has been appended with an onscreen introduction and what appear to be newly added chyrons identifying the film's major players. The uncompressed 2.0 mono soundtrack is about what one would expect for a film shot in a gymnasium, but there are no obvious issues otherwise.
Extras include an audio interview with Greaves' widow, Louise Greaves, and a video interview with his son, David Greaves, who worked as a cinematographer on the film. David Greaves also contributes an audio commentary. A booklet includes an essay with historical context from Leonard N. Moore and restoration notes from Sandra Schulberg. Those notes identify what is an odd omission from the extras: a black-and-white version that was created to mitigate the color version's inconsistencies. This version was "strongly preferred" by Louise Greaves and was the version screened at the restoration's premiere at MoMA. Given the color version was the cut that received the wider release when Kino picked up the film, it makes sense to give it priority, but the black-and-white cut would have been a welcome supplement.
Symbiopsychotaxiplasm: Take One is one of the hidden gems of the Criterion catalog, a not-quite-fiction, not-quite-documentary film that chronicles Greaves' ostensible attempts to shoot a melodrama in Central Park. While different sets of actors performing a break-up scene over and over, Greaves loosely orchestrates, but bystanders wandering onto the set and Greaves' own pontifications to the making-of crew about the kind of film they're making both threaten to prevent anything from cohering. Meanwhile, the crew considers a mutiny of sorts.
Self-reflexive and formally playful movies about moviemaking aren't all that rare, but Greaves' film is one of the few that's convincing as a genuinely found object — a film that somehow sprung into being despite itself. Key to this ruse is Greaves' own performance as a charming but dubiously competent director. The Criterion set also includes the long-promised sequel, Symbiopsychotaxiplasm: Take 2 ½, which returns to Central Park nearly 40 years later to film a follow-up with original actors Audrey Henningham and Shannon Baker. Though the seams are way more visible this time around, the way the film plays with the thin membrane between performance and real life is certainly worthwhile, and Greaves remains as winning a screen presence as ever.
Criterion's Blu-ray presents both films in 1080p, with a 1.33:1 transfer for Take One and a 1.78:1 transfer for Take 2 ½. This is one of those upgrades whose primary value comes in hopefully introducing more viewers to the films, as the technical improvements are quite modest. The Blu-ray release uses the same high-definition transfers as the DVD, and though the 16mm photography of Take One benefits from the added resolution, the on-the-fly shooting style limits how much can be done. Take 2 ½ is mostly shot on standard-def digital, and the new 1080p presentation obviously does nothing for the rampant artifacting and fuzziness. Uncompressed 1.0 mono soundtracks are adequate though obviously limited by the source material. Even Miles Davis's "In A Silent Way" sounds a bit flat.
Extras are identical to the DVD release: 2006 doc Discovering William Greaves, an interview with Steve Buscemi, who helped make the sequel happen and who appears in it as himself, and a booklet with an essay by Amy Taubin and Greaves' production notes for Take One.
Blu-rayCriterion CollectiondocumentaryKino Lorberwilliam greaves
Blu-ray and DVD Review Round-Up: Films by Les Blank, Chris Marker, Terry Gilliam and more!
January 26, 2015 Dusty Somers	Leave a comment
Les Blank: Always for Pleasure
I'm not sure I can think of a more apt descriptor of Les Blank's films than "humanist." The 14 short- to medium-length documentaries included in Criterion's new box set are vivacious, warm and fascinating looks at some of life's most sensual pleasures. Not to be trite, but these are works that make you feel grateful to be alive and able to experience the world around you.
Over and over, Blank shows himself to be a master of distilling down the essence of a subculture into a brief but substantial package. Blank resists explanation — his films are defiantly free form, roaming from moment to moment — in favor of immersion, and one can't help but feel edified after living in one of his cinematic worlds.
Food and music are Blank's two constants in this collection of work. Even films that have a broader focus tend to incorporate these elements as part of the basic building blocks of culture, whether he's documenting Cajuns (Spend it All, 1971), a black Creole community (Dry Wood, 1973) or Los Angeles hippies (God Respects Us When We Work, but Loves Us When We Dance, 1968).
The music films explore blues guitarists (Lightnin' Hopkins in The Blues Accordin' to Lightnin' Hopkins, 1968, and Mance Lipscomb in A Well Spent Life, 1971), Creole Zydeco (Clifton Chenier in Hot Pepper, 1973), polka culture (In Heaven There Is No Beer?, 1984) and African-Cuban rhythms (Sworn to the Drum: A Tribute to Francisco Aguabella, 1995), among others. The sheer joy of the performances captured on film would be enough to justify these films, but each one feels like meaningful time spent with the artist in his environment.
As for food, well, it's rarely looked this good on screen before. Garlic Is as Good as Ten Mothers (1980) and Yum, Yum, Yum! A Taste of Cajun and Creole Cooking (1990) aren't merely food porn (still, prepare to salivate); they're contextualizing tributes to the surrounding cultures.
All 14 films in the three-disc Blu-ray set have been granted 2K digital restorations, and the 1080p, 1.33:1 transfers are beautifully film-like, superb reproductions of the 16mm photography. All of the films feature uncompressed mono soundtracks, save for Sworn to the Drum, which has a lossless stereo track. Clean-up work has left these soundtracks crisp and clean.
As if collecting all these films in one place wasn't enough, Criterion has supplied at least one extra to accompany each film, including five additional short films, outtakes, an excerpt from forthcoming documentary Les Blank: A Quiet Revelation and extensive interviews with family and collaborators, including sons Harrod and Beau, editor Maureen Gosling and friend Werner Herzog. An extensive booklet contains film notes and an essay by Andrew Horton.
On a scale of Excellent, Good, Fair and Poor, Criterion's Les Blank: Always for Pleasure Blu-ray rates:
The Films (out of ****): ****
The Criterion Collection/ 1968-1995 / Color / 1.33:1 / 563 min total / $124.95
Level Five (1996)
Chris Marker returns to many of his favorite themes in Level Five, a characteristically dense and beautiful essay film that touches on the pain of loss and the role of memory in dealing with that loss. Can the past be changed if memories — both the intangible human memories and the tangible technological ones — are changed? In some ways, Level Five plays like a sequel to Sans Soleil (1983), with Marker again focusing on his beloved Japanese culture, this time looking closely at the tragedy of World War II's Battle of Okinawa, a precursor to the bombings of Hiroshima and Nagasaki.
Marker adds a technological wrinkle, as a woman called Laura (Catherine Belkhodja) seeks to carry on her late lover's work by completing a video game about the conflict. She addresses him directly, peering into the camera in a series of monologues that dovetail with Marker's own observations about technology and history. Images of primitive computer graphics mingle with newsreel footage, and Marker's deft editing constantly creates fascinating juxtapositions between the future and the past that these images represent.
Though the film's philosophical underpinnings aren't easy to pin down, the dizzying imagery and the film's elegiac tone ensure Level Five is anything but dry, academic pondering. Marker again returns to referencing Vertigo (1958) at one point, and it's no stretch to say that his investigations into the ability to recreate, restructure and re-contextualize memories are every bit as moving and cinematically wondrous as Hitchcock's film.
Fresh off a theatrical run in 2014 that saw Level Five finally receiving a release in the U.S., Icarus Films brings Marker's masterpiece to home video in an essential DVD release. The variety of sources all look good in this nice transfer, and the DVD comes with a booklet with an extensive essay from Christophe Chazalon.
On a scale of Excellent, Good, Fair and Poor, Icarus Films' Level Five DVD rates:
The Film (out of ****): ****
Film Elements Sourced: ***
New Extra Features: *
Extra Features Overall: *
Icarus Films/ 1996 / Color and black & white / 1.33:1 / 106 min / $29.98
Kinetta (2005)
Second Run DVD
Greek director Yorgos Lanthimos has established himself as a filmmaker with an eerily alienating style with his most recent works Dogtooth (2009) and Alps (2011). His debut feature as a solo director, Kinetta, now getting its worldwide home video debut from intrepid UK label Second Run, is clearly those films' progenitor, examining similar themes in a less formally assured manner.
Like its successors, Kinetta deals with a close-knit community of people that's developed a series of odd rituals in order to relate to one another. Here, a hotel maid (Evangelia Randou), a plainclothes detective (Costas Xikominos) and a photo clerk (Aris Servetalis) pass the time by filming awkward recreations of murder scenes. This uncomfortable role-playing fills the void in what seems to be mostly colorless existences for these people, playing out in a vacation town during the off-season that might as well be an actual ghost town.
Unlike Lanthimos' later films, especially Dogtooth, which displays a Michael Haneke-like formal precision, Kinetta features mostly queasy handheld camerawork, fraying the nerves even more than the off-putting but inscrutable actions of the people on-screen, who are more types than actual characters. On its own, Kinetta might feel like a filmmaker valuing obliqueness for its own sake, but take in conjunction with his subsequent films, it fits into a discomfiting oeuvre of estrangement from reality.
Second Run's 1.85:1 transfer is quite strong considering its standard-def limitations, with a crisp image and a detailed reproduction of Lanthimos' almost colorless palette. Extras include a newly filmed conversation with the director and a booklet with an essay by critic Michael Ewins.
On a scale of Excellent, Good, Fair and Poor, Second Run's Kinetta DVD rates:
Second Run DVD / 2005 / Color / 1.85:1 / 94 min / £12.99 / Region 2 (PAL)
Slaughter Hotel (1971)
Raro Video
Fernando Di Leo is better known for his gritty, violent crime dramas, but with Slaughter Hotel (La bestia uccide a sangue freddo), he serves up a thick slice of giallo-sleaze. Veering between jarringly disjointed and laughably languid, hardly anything here makes a lick of goddamn sense, even by standards of the genre. Still, there's something admirable about Di Leo's willingness to abandon sense and style from scene to scene. Frenetic barrages of canted angles will give way to elegant, gliding takes, while scenes juggle varying combinations of sex and death.
Klaus Kinski nominally stars as Dr. Francis Clay, the head of a mental institution that caters to rich women, most of whom are being treated for having a sex drive. But Kinski's presence is mostly a red herring, as he's not even in the top 10 of weirdest things in the film. Like most of the performances, Kinski's borders on medicated, as a series of brutal murders can barely arouse much of a reaction in anyone besides those being murdered (and sometimes, not even them).
The nudity, which approaches gynecological levels, is far more graphic than the violence — beheadings, impalements and slashes are more stolid than your average giallo. It's hardly an exemplary entry in either the genre's canon or Di Leo's filmography, but worth a look for enthusiasts of either.
Raro Video presents the film in a 1080p, 2.35:1 transfer that will do little to dissuade critics of the company's highly variable technical output. There are some things to like about this transfer, including the consistent color reproduction and strong levels of image clarity. Unfortunately, there's quite a bit of digital manipulation visible, from over-sharpening to heavy-handed edge enhancement. One scene features significant telecine wobble. Elements seem to be in good shape, but the transfer is merely watchable rather than anything commendable.
Two audio options are included, both in 2.0 DTS-HD Master Audio. This disc defaults to an English dub, while an Italian dub is also offered. The original Italian track is far preferable, featuring sound that is much less tinny and harsh than the English track.
Extras include an interview with actress Rosalba Neri, a fairly in-depth archival making-of and a couple minutes of deleted scenes. The set also includes a booklet with film notes and essays.
On a scale of Excellent, Good, Fair and Poor, Raro Video's Slaughter Hotel Blu-ray rates:
The Film (out of ****): **
Video Transfer: **
New Extra Features: N/A
Extra Features Overall: ***
Raro Video/ 1971 / Color / 2.35:1 / 94 min / $29.95
Flaming Star (1960)
Movies starring Elvis Presley don't typically cause much excitement among cinephiles, but he proves himself to be a capably understated performer in Don Siegel's lean western Flaming Star, which opens with a couple of songs before turning into something considerably more sober.
Tensions are rising between white settlers and a Kiowa tribe in post-Civil War Texas, and Presley's Pacer Burton, a half-white, half-Indian man, finds himself torn as he's forced to consider loyalties to heritage, family and community. While his white father, Sam (John McIntire), and his Kiowa mother, Neddy (Dolores del Rio), just want to live peacefully, spates of violence on both sides threaten to ignite all-out war.
Siegel's film has a hair-trigger capability of turning suddenly violent, and he sustains that tension throughout. The film also manages a reasonably fair-minded portrayal of Native Americans, emphasizing the similar community aspects of both cultures while recognizing the vast gulf between them.
Presley communicates a sense of being rent in two with his sensitive, introverted performance. Any of his persona's braggadocio has been replaced with the wandering, unsure eyes of a young man forced to make a decision he's not sure he's equipped to make.
Siegel shoots the action sequences with a tough-minded precision, while he allows more room for the complex interpersonal relationships to play out on screen. That means less of a perfunctory sort-of love interest in Barbara Eden and more of the alternating clashing and bonding between Pacer and white half-brother Clint (Steve Forrest).
Twilight Time presents Fox's 1080p, 2.35:1 transfer of the film, which is an exceptionally clean and sometimes stunningly vivid high-def presentation. The image possesses excellent clarity and sharpness and the somewhat muted color scheme is still capable of displaying vibrant beauty. Audio options include a mostly useless 5.1 DTS-HD Master Audio track, which shunts some of the score to the surrounds and an uncompressed 2.0 track, which gets the job done fine in original mono.
Extras include Twilight Time's signature isolated score track, a commentary by Lem Dobbs and Nick Redman and the theatrical trailer.
On a scale of Excellent, Good, Fair and Poor, Twilight Time's Flaming Star Blu-ray rates:
New Extra Features: *1/2
Extra Features Overall: *1/2
Twilight Time / 1960 / Color / 2.35:1 / 92 min / $29.95
The Zero Theorem (2014)
Terry Gilliam is a filmmaker of boundless imagination, which can sometimes result in overstuffed cinematic worlds in his lesser works. There's a fair amount of frenetically detailed production design in his latest film, The Zero Theorem, but it somehow feels cheap and insubstantial — a thinly realized knock-off of a Gilliam film instead of the real thing. The same goes for the ideas in Pat Rushin's script, which shamelessly borrows from Gilliam's masterpiece Brazil (1985), reshaping story and character elements into a discount version that sort of gets the broad strokes right but haplessly botches the details.
Christoph Waltz stars as Qohen Leth, an office drone in a futuristic society tasked with unlocking the meaning of life. Qohen toils under the watchful eye of superiors both nosy (David Thewlis) and aloof (Matt Damon), but his work is merely a distraction in his obsessive patience for a phone call that he believes will unlock the key to his own destiny.
Miserable and neurotic, Qohen gets glimpses of a happy life courtesy of Bainsley (Mélanie Thierry), a prostitute whose idyllic virtual reality experiences become a source of comfort. The artificial beach in these sequences brings to mind the fractured mental state of Jonathan Pryce's Sam Lowry in the bitterly ironic conclusion of Brazil, but with a half-hearted effort at incisive commentary. Similar broadsides on pervasive advertising and Big Brother surveillance just don't muster up much energy. Even the normally vibrant Waltz delivers a somnambulant performance that rarely brings any specificity to the character.
On the other hand, Tilda Swinton does appear as a rapping virtual psychiatrist, so it's not like the film has nothing going for it.
Well Go's Blu-ray presentation of the film features a roughly 1.75:1 transfer in 1080p. The image features rounded corners in an ostensible attempt to replicate vintage photography. Color reproduction of both garish and muted palettes is nice, and there are solid levels of fine detail to be seen throughout. The image is rarely super-sharp, but this seems to replicate the theatrical look. The 5.1 DTS-HD Master Audio soundtrack isn't tested too often, but it offers a reasonably immersive experience when the material calls for it.
Extras include one big EPK chopped up into smaller chunks on the costuming, sets, visual effects and a general behind-the-scenes piece. The theatrical trailer is also included.
On a scale of Excellent, Good, Fair and Poor, Well Go's The Zero Theorem Blu-ray rates:
The Film (out of ****): *1/2
Well Go USA / 2014 / Color / 1.75:1 / 111 min / $29.98
16mmA Well Spent LifeAlps (2011 film)Andrew HortonAris ServetalisBarbara EdenBattle of OkinawaBeau BlankBrazil (film)Catherine BelkhodjaChris MarkerChristoph WaltzChristophe ChazalonCostas XikominosCriterionDavid ThewlisdocumentaryDogtoothDolores Del RioDon SiegelDry WoodElvis PresleyEvangelia RandouFernando Di LeoFlaming StarGarlic Is as Good as Ten MothersGod Respects Us When We Work but Loves Us When We DanceHarrod BlankHot PepperIcarus FilmsIn Heaven There Is No Beer?John McIntireKinettaKlaus KinskiLa bestia uccide a sangue freddoLem DobbsLes BlankLes Blank: A Quiet RevelationLevel Five (film)Matt DamonMaureen GoslingMélanie ThierryMichael EwinsNick RedmanPat Rushinraro videoRosalba NeriSecond Run FeaturesSlaughter HotelSpend it AlSteve ForrestSworn to the Drum: A Tribute to Francisco AguabellaTerry GilliamThe Blues Accordin' to Lightnin' HopkinsThe Zero TheoremTilda SwintonTwilight TimeWell Go USAWerner HerzogWesternsYorgos LanthimosYumYum! A Taste of Cajun and Creole Cooking
Blu-ray Review: "Come Back, Africa" (1959): The Films of Lionel Rogosin, Volume II
April 5, 2014 Dusty Somers	Leave a comment
Following up their superb 2012 Blu-ray release of Lionel Rogosin's On the Bowery (1956), Milestone Films has released a very welcome second volume of Rogosin's films, headlined by his second feature, Come Back, Africa (1959). Made during the height of Apartheid in South Africa, Come Back, Africa was made under false pretenses, with Rogosin concealing the true political nature of the film from the apartheid regime.
Like On the Bowery, the film features a mixture of documentary and scripted scenes, with Rogosin using non-actors to recreate scenes that could have taken place in their lives. This blend of Robert Flaherty-like observation and Neorealism-influenced drama is the kind of thing that could be more admirable than compelling, but Come Back, Africa is a genuinely moving film, not just an act of political protest. One of the chief reasons the film works is Rogosin's unpretentious immersion in the atmosphere of South Africa. This is not the work of an outsider who purports to have all the answers. Before embarking on production, Rogosin spent a number of months in South Africa to better understand the culture, and when he eventually set upon the project, he did so with co-writers Bloke Modisane and Lewis Nkosi, South African journalists for the magazine Drum. Broadly, Come Back, Africa is the story of Zachariah, a Zulu man who manages to get a pass to work outside the Johannesburg gold mines, but struggles to maintain any meaningful employment in a viciously racist society filled with Afrikaners who immediately believe the worst about him. Stints as a live-in servant, garage attendant and hotel employee are all very short-lived. Zachariah is a portrait of isolation, whether he's the only black face occupying Rogosin's frame or whether he's surrounded by people who should seemingly be his friends. He's separated from his wife, Vinah, who lives elsewhere for her job, and he discovers that the divide between black and white isn't the only caste system in play. Like in On the Bowery, Rogosin here has a knack for visually capturing the essence of a community. Early shots of workers commuting in homogenous masses instantly communicate both the seething energy and deep division of the country. Music is a vital component of the South African culture, and Rogosin integrates that in scenes of street musicians, impromptu gatherings and in the film's signature moment, an irresistible pair of performances by a young Miriam Makeba. This entire scene, taking place in an illegal bar or shebeen, encapsulates what makes Come Back, Africa such a compelling film. A group of intellectuals discuss the vast, seemingly unconquerable problems of apartheid, while agreeing that patronizing, well-meaning white liberals are of no help to the cause. Rogosin seems to understand this about his own filmmaking, resulting in a film and a scene that consciously avoid patronization. In this scene especially, he steps back, allowing the conversation to unfold in leisurely fashion, with all the half-formed ideas and digressions present in any real discussion. These people aren't paragons of virtue or human object lessons or mouthpieces for the director's ideas about the crisis. They're just people, and Rogosin's unassuming respect for the people of South Africa in his film is a forceful anti-apartheid stand by virtue of its contrast to the toxic cultural climate. Come Back, Africa is presented in 1080p high definition and 1.33:1 aspect ratio. Sourced from a restoration of original negatives, a fine grain negative and a dupe negative by the Cineteca di Bologna, the transfer on Milestone's release is every bit the equal of the extraordinary On the Bowery disc. Clarity and detail are exceptional, and the very thorough restoration has eradicated all but a few instances of damage. The film's grain structure is less visible than On the Bowery, but grain is still visible and unaltered here. One wouldn't expect anything less than a conscientious digital transfer from Milestone, and this lives up to expectations, with no compression issued or digital over-tampering to detract from the gorgeous, celluloid-like quality of the image. The uncompressed 2.0 mono soundtrack is only going to be as good as the source allows, and the result is a fairly flat track. English dialogue is occasionally difficult to understand, although that's more a function of the speakers' facility with the language. Milestone's two-disc Blu-ray set is billed as Volume II in The Films of Lionel Rogosin, and it's a packed release. For clarity's sake, I've relegated everything other than Come Back, Africa to bonus feature status, but several of these films could easily lead their own set. The set's extras on disc one are:
Introduction by Martin Scorsese (2 minutes)
An American in Sophiatown: The Making of Come Back, Africa (64 minutes) Rogosin's son Michael and Lloyd Ross direct this in-depth look at numerous aspects of the production.
Radio interview with Lionel Rogosin (19 minutes) Despite being conducted by a sometimes unnecessarily combative interviewer, this piece from 1978 offers some interesting insights into Rogosin's political motivations for making the film. Audio plays over film clips.
Come Back Africa theatrical trailer (2 minutes)
Disc two contains:
Black Roots (1970, 63 minutes) Rogosin's fourth feature expands on the music/politics marriage in the shebeen scene in Come Back, Africa. Activists and musicians, including Reverend Frederick Douglass Kirkpatrick, Florynce "Flo" Kennedy, Jim Collier, Wende Smith, Larry Johnson and Reverend Gary Davis discuss the black experience in the United States and/or perform songs from a variety of genres. Rogosin's observational camera also takes to the streets of New York, where he shoots close-ups of a wide variety of black men, women and children, his images again acting as a forceful humanist statement all on their own. Presented in 1080p, the color cinematography is gritty, but fairly clean.
Bitter Sweet Stories (27 minutes) Son Michael directs another making-of doc, here examining Black Roots.
Have You Seen Drum Recently? (1989, 74 minutes) Jürgen Schadeberg directs a doc on the influential South African magazine Drum.
On a scale of Excellent, Good, Fair and Poor, Milestone Films' Come Back, Africa Blu-ray rates: The Film (out of ****): ***1/2 Film Elements Sourced: ***1/2 Video Transfer: **** Audio: **1/2 New Extra Features: **** Extra Features Overall: **** Milestone Films 1959 / Black and white / 1.33:1 / 86 min / $39.95 Dusty Somers is a Seattle-based writer and editor who splits his critical ambitions between writing Blu-ray & DVD reviews and theater criticism. He's a member of the Online Film Critics Society and Seattle Theater Writers.
apartheidBlu-raydocumentaryLionel Rogosinmilestone filmsmiriam makebasouth africa
Blu-ray Review: "The Epic of Everest" (1924)
February 4, 2014 Dusty Somers	Leave a comment
Even if it were nothing else, Captain John Noel's documentary The Epic of Everest (1924) would be an astonishing historical document. A technologically cutting edge look at an unsuccessful bid for greatness, the film documents the 1924 British Mount Everest expedition, the second effort after a failed 1922 try. Noel's film is a thorough journalistic record, the detailed narrative spilling out over dozens of intertitle cards, among images of extensive preparations in Tibet and the eventual climbing attempts.
But The Epic of Everest frequently transcends mere documentary status; its images of the imposing mountain face, sometimes dotted with minuscule human figures, are mind-blowing, even in this age of Planet Earth and Imax nature docs, where seemingly every detail is brought right up into our faces. Noel's work isn't just descriptive; he treats Everest like a living entity, and shots of the mountain's surfaces have an appropriate blend of awe and terror.
For the men on this expedition, Mount Everest might as well have been an alien being. In the film's early moments, there are some moderately colonialist observations about the Tibetan people and their strange customs, but Noel's fascination with the their otherness is nothing compared to how he regards the mountain. A number of shots of men trudging across the snowy landscapes look like something out of a sci-fi film. Intertitles make bold proclamations about the explorers standing where no other human has ever stood, and as a viewer, you're feeling confident in going a step further — are these people still on Earth?
Captain John Baptist Lucius Noel was one of 12 British men and numerous Tibetan and Sherpa porters to make the trek. Armed with a customized 35mm camera that was both extremely light — less than 20 pounds — and equipped with a 20-inch telephoto lens, Noel could capture action unfolding more than three miles away. No concessions about the era or the technology are necessary to proclaim this a work of technical virtuosity.
The national pride that served as one of the primary motivating factors for the repeated British Everest expeditions is certainly apparent in the film; wide shots of the exploring crew have a self-mythologizing quality, as if the exploits of superheroes were being documented on film. And yet, Noel doesn't shy away from tragedy when it strikes. The fallibility and fragility of man is embraced rather than downplayed.
The film's conclusion, after the finality of George Mallory and Andrew Irvine's likely failed attempt to reach the summit has been fully realized, escalates into mythic proportions. Noel notes the Tibetan name for the mountain, Chomolungma, literally "Goddess Mother of Mountains," and the conception of Everest as the giver and taker of life seems to provide some context and some serenity. Noel has the soul of both a fact-obsessed documentarian and a poet — one of the film's final intertitles extols the virtues of the pure white snow under which Mallory and Irvine's bodies were hidden away in their final resting place. "If you had … died in the heart of nature, would you, yourself, wish for any better grave?"
The BFI's new dual-format release of The Epic of Everest features both a Blu-ray and DVD copy of the film. The Blu-ray presents the film in 1080p high definition at 24 frames per second in its original 1.33:1 aspect ratio. A restoration of the film was undertaken in collaboration with Sandra Noel, the director's daughter. Sourced from nitrate positives held by the BFI National Archive, the transfer presented here is nothing short of luminous. One gets the feeling of watching an exceptional 35mm print, with a beautiful grain structure and excellent levels of fine detail. The original color tinting has been conscientiously recreated, and all intertitles have been reconstructed and restored from the original film elements.
On the audio side, the disc defaults to the newly commissioned score by Simon Fisher Turner, an arresting, moody ambient piece sprinkled with bits of period music and droning sound effects, like a foreboding storm composite that plays out over a climactic moment. To be sure, this is a much more experimental piece than anything that would have accompanied the film in 1924, and there were times where I felt like the score almost hit the tipping point of overwhelming the imagery. Mostly though, I was able to appreciate the unconventional sensibilities of Noel's filmmaking all the more because of Turner's score.
And for anyone who can't abide by the avant-garde accompaniment, BFI has gone the extra mile and also included a recreation of the 1924 score, sourced from more than 25 selections of music, reconstructed and directed by Julie Brown. Turner's score is presented in 5.1 DTS-HD Master Audio, while the 1924 score is given a lossless 2.0 track. Region-locked consumers will be happy to know that the Blu-ray disc is region-free.
Bonus features included in the set are:
Introducing The Epic of Everest (9 minutes) Sandra Noel and silent film curator Bryony Dixon offer an overview of the production history of the film.
Scoring The Epic of Everest (8 minutes) Simon Fisher Turner talks about the genesis of many of the ideas underpinning his new score.
Restoring The Epic of Everest (6 minutes) Dixon, archivist Ben Thompson and Lisa Copson of Deluxe Digital discuss the necessary restoration work and what was done to bring the film into the digital realm.
Four audio-only musical extras that feature pieces that accompanied the film at its first London screening: Prelude to Part I, Untitled; Prelude to Part I, Tibetan Lamas; Prelude to Part II, 'Tibetan Pastoral Music'; The Mount Everest Suite: Airs of Tibet and Nepal
A downloadable PDF of the original 1924 film program (only accessible on the DVD copy)
30-page booklet, featuring an essay on the film by author and anthropologist Wade Davis, a piece on the fundraising commemorative expedition stamp by Sandra Noel, a restoration overview by Kieron Webb and notes on their scores by Simon Fisher Turner and Julie Brown
On a scale of Excellent, Good, Fair, and Poor, the BFI's The Epic of Everest Blu-ray rates:
Audio: ****
New Extra Features: ***
British Film Institute
1924 / Black & White/Tinted / 1:33:1 / 87 min / £19.99
BFIBlu-raydocumentarydual-formatJohn NoelMount EverestSimon Fisher TurnerThe Epic of Everest
Savant Blu-ray Review: "More Than Honey" (2012)
December 30, 2013 Glenn Erickson	Leave a comment
If you don't love honeybees already, you will after seeing Markus Imhoof's fascinating documentary More Than Honey (2012), filmed on four continents and graced with gloriously beautiful macrophotography. The blurb associated with the title is from Albert Einstein: "If bees were to disappear from the globe, mankind would only have four years left to live." The quote makes it sound as if Imhoof's film is yet another alarmist docu, fanning the flames of apocalypse for man's sin of trifling with Mother Nature. But the unusually even-handed Swiss production avoids that stance, and gives the impression that everything will work out for the better in the world of bees and their symbiotic relationship with the plant world.
More Than Honey is a valentine to the tradition of beekeeping as seen in the story of a 3rd-generation Alpine beekeeper working with a specific black bee acclimatized to the cold of higher altitudes. Throughout the show we see the clever ways bees are tricked into a win-win proposition for humans. They pollinate flowering plants on groves and farms large and small. The beekeepers then raid their prized honey, replacing it with sugar water. In a normal bee life cycle the hive replaces a spent queen by creating another and splitting into two hives. Beekeepers instead pluck healthy queens away, force the bees to create more queens, and then spread those out to multiply the colonies by a greater factor.
The show teaches us a great deal about bees, in the process building respect for them. Excellent microphotography shows honeybees flying about with their furred bodies caked with yellow pollen, serving as cupid-like messengers for plants that cannot reproduce unassisted. The result is a beautiful illustration of nature's positive attitude toward life. We also learn about the social structure and life cycles of the bees, that work as a kind of 'multiple organism' in an organization in which every bee has a function but no individual identity, including the queen. In a healthy hive hundreds die every day, to be replaced by hundreds of new members. Some drones live only to mate, and then perish. The colony is everything.
We watch researchers unlock secrets of the well known 'bee dance', discovering that individual bees are capable of making some decisions on their own. The fieldwork is fascinating, as foraging bees with tiny radar equipment glued to their backs 'check in' during their search for new sources of pollen.
In California we meet a busy beekeeping millionaire running an enormous company that maintains thousands of bee colonies. A single enormous almond grove has hundreds of hives to be maintained. Without the bees, this agriculture could not survive, but a wealthy grower tells us that he's not worried that this one region supplies almost all of America's almonds. We travel to China to observe an entrepreneur painstakingly collecting plant pollen, due to a lack of bees. The pollen is sold in packets like seed. Hundreds of miles away an army of workers move slowly through groves, painting flowers with bits of pollen. The work seems almost absurd… making it immediately obvious how much better the job is done by bees.
All this suddenly becomes crucial because bees have been dying off, in an alarming trend that nobody has yet solved. The California beemaster ships his bees all over the country, only to see a goodly percentage of his hives wiped out. The colonies simply fail — activity stops and the larvae in the 'brood' areas of the hive turned to mush. Up in the Alps, the bewhiskered beekeeper prides himself in the purity of his colonies, which are kept free from pesticides, poisons, etc. Just the same, his entire bee house is wiped out by an infection that can't be traced.
The docu gives us plenty of possible reasons for the worldwide bee die-off. Causes discussed are inbreeding, parasitic mites (these look horrible in the macrophotography), invasive worms, microbial diseases, pesticides, and strains placed on the colonies through forced interruptions of their natural life cycles. The California beemaster ships colonies more than halfway across the country to maximize their usefulness, and receives specially selected larval queens to build new colonies afresh. One argument is that a lack of genetic diversity is producing bees incapable of fighting off infections. But the forced diversity of mass-scale bee management seems to aid the spread of disease. Down in Australia, beekeeping researchers are establishing colonies on isolated islands, to maintain healthy strains should mainland bees suffer a catastrophic kill-off.
Yet no predictions of doom emerge. More Than Honey refuses to draw any particular conclusion, which may be wise considering the present incomplete nature of scientific knowledge. The upbeat final act introduces us to a beekeeper in the American Southwest and his adventures with the Africanized bees that have migrated North from Brazil.
Almost everything we've been told about these 'killer bees' is false. They are no more deadly than other bees, and they pollinate plants and produce honey the same as normal honeybees. Africanized bees are more aggressive. The beekeepers that work among this new breed have been forced to wear protective overalls, gloves and veils at all times. The talkative beekeeper in the Southwest likes them, however. He has found them to be very hardy, and he believes they adapt to anything. The show also makes the Africanized bees seem resistant to domestication. The beekeeper's colony soon abandons its hive. He finds that it has regrouped a mile away, halfway up a sheer rock cliff where nobody can get it at it.
If anything is off about More Than Honey, it's that this beekeeper's one opinion makes it seem like the world will be saved by the resilient Africanized bees. The truth is that scientists are still gravely concerned about the global bee kill-off and haven't yet formulated a comprehensive theory for why it is happening. The anecdotal evidence in this picture encourages viewers to conclude that man's interference in the life of bees, domesticating them on a massive scale and micromanaging their colonies for profit, may have affected the strains to the point that they're more susceptible to disease and parasites. But the movie makes no direct statement to that effect.
What we instead get in More Than Honey is a marvelous overview of the world of bees, much of it up close and personal with the industrious, attractive insects. I haven't seen anything on the subject as informative or as pleasant to watch.
Kino Lorber's Blu-ray of More Than Honey is a gorgeous HD encoding of this digitally-shot documentary marvel, with macrophotography that allows us to penetrate into active colonies, and watch ultra- close-ups of details like the tiny bee tongue in its double sheath. Some flying scenes are special effects composites, but they do not detract from the docu's realism — none claim to be air-to-air bee cinematography.
The director Markus Imhoof appears in a lengthy interview, explaining among other things that he himself comes from a family of beekeepers. A number of deleted scenes also appear, that flesh out specific areas of the movie for viewers that would like more detail. Two making-of programs are also quite impressive… it takes an expert with unlimited patience to get some of those shots.
The show is presented with two audio tracks, an original German version and an English language track in which actor John Hurt replaces the German narrator Charles Berling. Subtitles are provided, but only for German dialogue, which leaves hard-of-hearing viewers out of luck for a big chunk of the film's running time.
Glenn Erickson has been reviewing film and video releases since 1997, for MGM, Turner Classic Movies and his own website DVD Savant. A member since 2001 of the Online Film Critics' Society, Glenn has a background in special effects and film and video editorial, but is still at heart a starry-eyed UCLA Film Student. He's done a number of audio commentaries for Warner, Fox and Criterion discs. His latest book is Sci-Fi Savant: Classic Sci-fi Review Reader
On a scale of Excellent, Good, Fair, and Poor,
More Than Honey Blu-ray rates:
Movie: Excellent
Video: Excellent
Sound: Excellent
2012 / Color / 1:78 widescreen / 91 min. / Street Date December 24, 2013 / 34.95
Supplements: Director interview, BTS featurettes, deleted scenes.
Deaf and Hearing-impaired Friendly?
NOT ENTIRELY; Subtitles: English, but only for German dialogue.
Packaging: Keep case
Narrators Charles Berling (German version); John Hurt (English version).
Cinematography Attila Boam, Jörg Jeshel
Film Editor Anne Fabini
Original Music Peter Scherer
Visual Effects Flame artist Thomas Lehmann
Written by Marcus Imhoof, Kerstin Hoppenhaus
Produced by Helmut Grasser, Markus Imhoof, Thomas Kufus, Pierre-Alain Meier
Directed by Markus Imhoof
Reviewed: December 23, 2013
DVD Savant Text &#169 Copyright 2013 Glenn Erickson
beekeepersbeesBlu-rayCharles BerlingdocumentaryJohn Hurt (actor)Killer beesKino LorbermacrophotographyMarkus ImhoofMore Than Honey


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Day 10 of 16 Days of Activism: The United Kingdom
The UK–England, Wales, Scotland and Northern Ireland–will be the focus of #Day10 of #16Days. The complex arrangement of four countries into one United Kingdom means that a ton of resources exist both at the macro and micro levels, so let's get to it.
The National Domestic Violence Freephone Helpline can be reached 24/7 at 0808 2000 247. "The Helpline can give support, help and information over the telephone, wherever the caller might be in the country. The Helpline is staffed 24 hours a day by fully trained female helpline support workers and volunteers. All calls are completely confidential. Translation facilities for callers whose first language is not English, and a service for callers who are deaf or hard of hearing are available."
The Helpline is a partnership between two national organizations, Women's Aid and Refuge. Women's Aid works "to end violence against women and children, and support over 350 domestic and sexual violence services across the country." Refuge serves as a shelter and "is committed to a world where domestic violence is not tolerated and where women and children can live in safety." A third organization, The National Centre for Domestic Violence, "provides a free, fast emergency injunction service to survivors of domestic violence regardless of their financial circumstances, race, gender or sexual orientation." Their services are available 24/7 by phone at 0844 8044 999 or by texting NCDV to 60777.
Victim's Services is an organization that operates at both the national and local level to help victims of crime "find the strength to deal with what [they've] been through." Their Supportline is available at 0845 30 30 900 on weekdays 8am-8pm, weekends 9am-7pm, and bank holidays 9am-5pm. They also support witnesses of crime and participate in research and policy making "to represent the views and interests of victims and witnesses to the government and other stakeholders." Rights of Women is another legal organization in the UK that helps women facing domestic violence, sexual assault, custody battles, divorce, legal asylum or refugee status and other immigration issues. Their "vision is to achieve equality, justice and respect for all women [and] mission is to advise, educate and empower women by
Providing women with free, confidential legal advice by specialist women solicitors and barristers
Enabling women to understand and benefit from their legal rights through accessible and timely publications and training
Campaigning to ensure that women's voices are heard and law and policy meets all women's needs"
England and Wales share many laws, customs and organizations. One of them is Rape Crisis England & Wales. They operate a Freephone Helpline at 0808 802 9999 from 12 – 2:30pm and 7 – 9:30pm. Rape Crisis England & Wales "is a feminist organisation that exists to promote the needs of women and girls who have experienced sexual violence, to improve services to them and to work towards the elimination of sexual violence." The umbrella organization was created to assist local rape crisis centers and advocate for the elimination of sexual violence at the local, regional and national level as well. Reducing the Risk of Domestic Abuse is a catchall page for England and Wales that has a list of Helplines for men, children, the LGBT community and the elderly, among others.
Wales also operates its own free 24/7 Domestic Abuse and Sexual Violence Helpline at 0808 80 10 800. It "is a confidential, freephone support and information service for anyone experiencing domestic abuse or wanting more information on available support services." Welsh Women's Aid "is the national umbrella organisation representing local Women's Aid Groups situated throughout Wales. Our member groups provide direct services for women and children who have experienced or are experiencing domestic abuse."
The Scottish Domestic Abuse Helpline is available 24/7 at 0800 027 1234. Scotland Says No operates the Helpline, and offers help and support for victims, friends and family, perpetrators and young people. Rape Crisis Scotland operates a free Helpline for those affected by sexual violence in Scotland everyday from 6pm to midnight at 08088 01 03 02. The Glasgow Violence Against Women Partnership is a great resource for other organizations in Scotland as well, like the Women's Support Project, Victim Support Scotland, and Scottish Women's Aid which "works to end violence against women by tackling its root cause, which is gender inequality. We do this by:
Promoting women's equality and children's rights.
Campaigning for responses which actively prevent violence against women.
Working to ensure that services are available to women, young people and children with experience of domestic abuse.
Providing services and advice to our members."
The Women's Aid Federation Northern Ireland operates a 24/7 Domestic & Sexual Violence Hotline open to all women and men affected by intimate-partner violence at 08088021414. The organization includes ten local women's aid groups as well and "strives to welcome and support all women, children and young people, including those with disabilities and those without, women from minority communities, different cultures, races, languages and sexual orientations and from a wide age range." Victim Support Northern Ireland, much like the national victim support organization, is dedicated to "provide emotional support, information and practical help to victims, witnesses and others affected by crime." The Rowan is the Sexual Assault Referral Centre for Northern Ireland and operates a 24/7 Freephone Helpline at 0800 389 4424.
The Women's Resource Centre with a network of over 500 organizations "is the leading national umbrella organisation for the women's sector, working towards linking all aspects of the women's movement. We support our members to be more effective and sustainable through training, and we lobby the government on their behalf on a range of women's issues." Maternity Action "is the UK's leading charity committed to ending inequality and improving the health and well-being of pregnant women, partners and young children – from conception through to the child's early years." Positively UK offers support for people living with HIV, from people living with HIV.
The findings of a study conducted by Positively UK
The London Violence Against Women Consortium "is made up of 22 organisations working in partnership to deliver comprehensive, cost effect, high quality services to all communities across London." The Women's Health and Equality Consortium "is a partnership of women's charity organisations, all of who share common goals of health and equality for girls and women." Imkaan "is a UK-based, black feminist organisation dedicated to addressing violence against women and girls." The Foundation for Women's Health Research and Development, FORWARD, "is an African Diaspora women led UK-registered campaign and support charity dedicated to advancing and safeguarding the sexual and reproductive health and rights of African girls and women."
With so many resources available at every level across the country the United Kingdom must be well on its way towards eliminating gender-based violence! We can only hope that other countries will have this abundance of resources soon–but not need them.
This entry was posted on Thursday, December 4th, 2014 at 19:06	and tagged with All Wales Helpline, England, FORWARD, Foundation for Women's Health Research and Development, Glasgow Violence Against Women Partnership, Imkaan, London Violence Against Women Consortium, Maternity Action, National Centre for Domestic Violence, National Domestic Violence Helpline, Northern Ireland, Positively UK, Rape Crisis England & Wales, Rape Crisis Scotland, Reducing the Risk of Domestic Abuse, Refuge, Scotland, Scotland Says No, Scottish Domestic Abuse Helpline, Scottish Women's Aid, The Rowan, United Kingdom, Victim Support Scotland, Victim's Services, Wales, Welsh Women's Aid, Women's Aid, Women's Aid Federation Northern Ireland, Women's Health and Equality Consortium, Women's Resource Centre, Women's Support Project and posted in Race/Ethnicity and Activism, Sex/Sexuality/Reproductive Justice, Strategic Nonviolent Action, Violence Against Women.	You can follow any responses to this entry through the RSS 2.0 feed.
« Day 9 of 16 Days of Activism: Malta
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Iron Age timeline – 1000 to 500 BC
Home/West Asia/Iron Age timeline – 1000 to 500 BC
Iron Age timeline: Zhou Dynasty swimmers (Sichuan bronze vessel, ca. 750 BC)
How did the Iron Age begin?
All across Asia, the early Iron Age started out as a time of many small kingdoms and city-states.
What are city-states?
Bronze Age timeline
Empires timeline
In China, the Zhou Dynasty ruled loosely over a lot of small kingdoms. India was also divided into many small kingdoms. In West Asia, there were also small kingdoms like Lydia, Phoenicia and Israel (this is the time of Samson and of Judith). Further west in Europe and North Africa, the Greeks, Carthaginians, and Etruscans lived in city-states too, loosely organized into leagues. Egypt also broke up into smaller states, often ruled by the people of Aksum to their south.
What's the Zhou Dynasty?
Who invented iron and blacksmithing?
More about Archaic Greece
Assyrian prisoners
When did the first empires get started?
But by about 800 BC, empires were beginning to form again. First the Assyrians united part of West Asia, and then Nebuchadnezzar established a Neo-Babylonian Empire. The Vedic people united northern India. In 539 BC, Cyrus the Great united all of West Asia into the Persian Empire.
The Assyrians
India in the Iron Age
The beginning of world religions
Many Iron Age people also started to follow new religions that were more organized and powerful and could stand up to the empires. About 1000 BC, the new religion of Zoroastrianism took hold in West Asia. At the same time, Judaism began to take its modern, monotheistic form. In India, by 1000 BC the Vedic kingdoms were spreading across northern India, bringing new gods with them. This is the time of the Ramayana. In the 500s, Gautama Buddha brought Buddhism to India. And in China, Confucius and Lao Tzu were also teaching new ethical and religious ideas.
Confucius and Taoism
Gur-e-Dokhtar – possibly the tomb of Cyrus the Great, who started the Persian Empire.
What were the new inventions of the Iron Age?
These new kingdoms and empires also needed new technologies to run them. Traders taught people the alphabet all around the Mediterranean, so many more people could read and write. The need to pay soldiers led the Lydians to invent gold and silver coins in the 600s BC. As these kingdoms got richer, too, more people sent their sons to school. And when those boys grew up they made new scientific discoveries. Thales figured out that the earth was round, and that the moon was lit by light reflected from the sun. He succeeded in predicting an eclipse of the sun. In India, mathematicians were working on the idea of infinity.
Greek astronomy
Indian mathematics
Chavin stone temple (Peru, ca. 900 BC)
Over in South America, the Chavin people were building big stone temples. The Tupi people started conquering Brazil. In Central America, the Olmecs began to decline about 600 BC, and were gradually replaced by the Maya.
Who were the Olmecs?
More about early Brazil
Tuniit carving of a polar bear
North America: the Woodland Period
In North America, 1000 BC marks the beginning of the Woodland period. More and more people were using the bow and arrow instead of spears and atlatls. A lot of Native Americans also started farming and using pottery. And in the far north, Tuniit (Dorset people) started moving from northern Europe into northern Canada.
Farming in North America
The Woodland period
What's an atlatl?
Did this Iron Age timeline help you get oriented in this time period? Let us know in the comments!
Learn by doing: making coins
More about the Iron Age
Bibliography and further reading for a world history timeline:
500-0 BC
By Karen Carr|2019-09-26T12:51:09-07:00September 10th, 2017|West Asia|0 Comments
Cite this page: Carr, K.E. Iron Age timeline – 1000 to 500 BC. Quatr.us Study Guides, September 10, 2017. Web. January 21, 2020.
Who are the Kurds?
October 21st, 2019 | 0 Comments
Where did alphabet letters come from?
West Asian sewage – Mesopotamia and Iran
West Asian numbers – Ancient Mesopotamia
Babylonian math problem – West Asian science
Assyrians Chavin history Maya Persian Empire timeline West Asia Zhou Dynasty


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On November of 2011 I contacted Suwanee EMC to relocate my meter to a new meter box. After a few days, an engineer by the name of Mr. Serge Gagnon was assigned to contact me. After days of waiting and leaving messages on his phone, finally Mr. Gagnon appeared at the house.
After a long discussion between Mr. Gagnon, my electrician, the carpenter, and I, Mr. Gagnon came up with the idea to put a new pole in the middle of the yard and an underground cable connecting it to the meter box. After he quoted us a price of $250, we all agreed to go ahead with his plan. He then started marking the ground and putting flags for the new service cable. Based on the quote he gave us we went ahead with new wirings in the house.
Few weeks later, I made several attempts to get in touch with him, but with no success. He never answered the phone nor returned any of my phone calls. My last attempt to call him was last month, again without any answer. After this last attempt, I sent a message to customer service by e-mail and also contacted them by phone and issued a complaint against him. A few days later he stopped by again and marked the ground and put new flags and left without any attempt to speak with me about the service.
Last week I applied for a temporary power connection with Forsyth County Planning and Development. After this, Mr. Serge called me and left a curt message on my phone, in which he simply gave the price of the new connection of $1959.32. This price was four times higher than the original quote he gave us. I called him back right away to speak with him regarding the price, but again he did not respond or return my calls.
Mr. Gagnon has been dishonest, rude, and unprofessional in my entire experience with him. I feel that he changed the price of the service out of spite for me. An employee like Mr. Serge will seriously damage reputable companies like Suwanee EMC.
I have two witnesses who were present when he gave my original quote who can back up my claim and testify in court if necessary.
I am only asking for fairness and to be charged for the service with the original quote that I was given. I will consider taking legal action if this issue is not resolved in 10 days.


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The Ultimate Fighter: Team Edgar vs. Team Penn Finale (también conocido como The Ultimate Fighter 19 Finale) fue un evento de artes marciales mixtas celebrado por Ultimate Fighting Championship el 6 de julio de 2014 en el Mandalay Bay Events Center en Las Vegas, Nevada.

Historia
El evento estuvo encabezado por una tercera pelea entre los excampeones de peso ligero de UFC Frankie Edgar y B.J. Penn. Ambos se enfrentaron previamente en UFC 112 y UFC 118 con Edgar ganando ambos combates por decisión unánime.

La tarjeta también contó con la final de The Ultimate Fighter: Team Edgar vs. Team Penn en las divisiones de peso medio y peso semipesado.

Resultados

Premios extra
Cada peleador recibió un bono de $50,000.
 Pelea de la Noche: Jumabieke Tuerxun vs. Leandro Issa
 Actuación de la Noche: Leandro Issa y Adriano Martins

Véase también
 Lista de eventos de UFC

Referencias

Enlaces externos
 Página oficial de eventos pasados de UFC (en inglés)
 Resultados de eventos de UFC en Sherdog.com (en inglés)

Eventos de UFC
Artes marciales mixtas en Las Vegas

redpajama_set_name: RedPajamaWikipedia