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Campus Disrupter
April 6, 2018 by Naomi Schaefer Riley
"How many of you drive for a living? How many of you want to?" That's the question Michael Crow, the president of Arizona State University, posed recently to an audience assembled in Washington, D.C., to learn about the future of driverless cars. Crow, who participated in a discussion called "Designing the Transition to Autonomous Mobility" with an executive from Waymo—Google's self-driving car company—reassured the audience that though there will be some disruption, "all this doom and gloom and fear" is silly. "These are not replacement technologies. These are augmentations of us." (Later, after news of the death of a pedestrian struck by an autonomous Uber vehicle in Arizona, Crow told me, "The tragedy in Tempe was a sober reminder that all advances in technology carry risk. My hope is that as autonomous vehicles get better and smarter, they will far surpass the safety of human-driven cars.")
For a 62-year-old, pale, stocky former Ivy League professor of political science, Crow sure does seem gung-ho about the future. The day before the panel, Crow and I sat down in a conference room in ASU's new building in Washington, tricked out with screens and Smart Boards. He told me about a recent trip to Greece he took with his wife.
With an extra day to kill in Athens, Crow went to visit the site of Plato's academy. Getting out of his Uber, Crow says he realized, "This neighborhood is really bad. All the guys had these dogs with these big spikes in their neck that control them so they didn't kill me." Two thousand four hundred years after the beginning of Western philosophy, Crow recalled thinking, "This is it. This is the epitome. This is the birthplace of the modern university, the Gymnasium. .  .  . Instantly I realize that everything changes, nothing is the same. And so, this notion that somehow the university is a static thing, that's a fatal error."
Since 2002, when Crow became the 16th president of the school, ASU has been anything but static. Enrollment has grown to over 100,000 with more than 30,000 students taking courses online. At the same time, ASU's four-year graduation rate has risen from 28.4 percent to 51.6 percent; for students who come in with an A-average in high school, the rate is 70.7 percent. And the student body has become more representative of Arizona's population. Minority enrollment more than doubled, from 17.2 percent in 2002 to 35.2 percent today. As well, ASU's budget has grown to over $3 billion, and it is doing half a billion in research expenditures. U.S. News & World Report has named it the most innovative school in America for three years in a row, placing it ahead of Stanford and MIT.
Crow credits much of this growth to technology—not only the online courses that make an ASU education more accessible but also the use of big data that has helped professors pinpoint what their students need to better understand their coursework. He says that technology is more important than ever at a university, not simply because students will need to understand how it works to get good jobs but because technology's share of economic growth has grown exponentially. In a recent TED-like talk he gave on the state of the university to its various constituencies, Crow explained that before 1900, 8 percent of economic growth could be attributed to technology. Since 1945, that number has grown to something more like 75 percent.
But Crow insists innovation is not an elite sport, and colleges that define themselves by who they keep out rather than who they let in are part of the problem. He says that there was a time when the University of California, Berkeley, and the University of Michigan, for instance, used to admit B-students, but that does not happen today. (Of course, given recent trends in grade inflation, this may not represent a change at all.) "Some public universities," he tells me, "should still maintain the ability to admit every qualified student." ASU does not have an open admissions policy, he emphasizes, but if you earn a B-average taking college preparatory classes in high school, you'll get in.
For that matter, if you attend community college for two years and get a B-average, ASU will automatically accept you as a transfer student. Even if you can't manage that, ASU offers classes online to help potential students reach ASU's admissions standards. "We're using technology to overcome the cultural system variables that may have defeated some of these kids," he says.
This populist approach to higher education has intrigued many of the sector's most traditional critics. Michael Poliakoff, president of the American Council of Trustees and Alumni, tells me that Crow "understands it is not okay for a public institution to confine its efforts to the elite." Poliakoff has been particularly impressed with ASU's ability to move students through courses that "are typically bottlenecks." He mentions how ASU has used data and individually guided technologies to help students pass math prerequisites or other courses that might prevent them from majoring in rigorous subjects like engineering.
For a school that has become well-known for technological innovation and an embrace of new ideas, it was perhaps a little surprising to read that ASU recently launched a new program devoted to some old ones. The School of Civic and Economic Thought and Leadership at Arizona State started offering classes as well as both minors and majors in the field in September 2017. A student studying classic works of Western civilization is preparing to become "a new kind of leader: trained in critical thought, humble about human imperfection, and ready for anything," according to the description on the school's website.
The school was not originally Crow's idea. It owes its origins largely to the Arizona state legislature, which, like many groups of Republicans and conservatives nationwide, has grown increasingly troubled by the lopsided intellectual outlook of universities. With the blessing of Arizona governor Doug Ducey, ASU was offered money —$7 million—and a mandate to pay for a half-dozen new professors as well as some funds for the acquisition of rare manuscripts and to fund student activities.
Needless to say, such an offer would have been summarily rejected by most university presidents. Who do these legislators think they are, telling an institution of higher education how it should operate? That was the theme of a recent New York Times article, "Arizona Republicans Inject Schools of Conservative Thought Into State Universities."
But Crow is no ordinary university administrator; he is much shrewder. Not only could embracing the idea improve his relationship with elected representatives in his state—something any public university president needs to think about in an era of shrinking budgets—but he could use it to attract more students and more attention for his university.
A couple of years ago, after the legislature put aside this money for the program, Harvard University's Harvey Mansfield got a call from Patrick Kenney, a dean at ASU who had been tasked by Crow with creating a plan for the new school. Truth be told, it would hardly be the first foray into "conservative" thought at ASU. The university has received money from the Koch family as well as the Jack Miller Center to provide intellectual balance in its curriculum. The university also has a thriving honors college where students take a two-semester sequence of classes on the classics, including the great books of Western civilization. But this was going to be something different.
As Mansfield recalls the conversation, he advised Kenney against offering tit-for-tat political balance: "I said, 'Forget conservative. Think Great Books.' " Mansfield, who subsequently crafted the new school's mission statement and counts himself a "founding father" of the program, says, "At a certain point people have forgotten about Great Books. A return to them looks like a new idea."
And Crow loves nothing more than a new idea. The new school has gone beyond its legislative mandate, hiring 15 faculty members, and Crow tells me excitedly that they plan to add at least 5 more. Led by Paul Carrese, who was lured away from the Air Force Academy, the school is offering courses like "Capitalism and Great Economic Debates," "Tocqueville on Liberty, Equality, and Democracy," and "Ideological Origins of Anglo-American Liberty." There are nods to diversity—a course on "Women in Political Thought and Leadership" and one on "Political Thought in Islam, Hinduism, and Confucianism"—but there is a refreshing interest in the Western tradition.
As Crow explains, "The new school is an expansion of our intellectual engagement where we thought that we were not adequately getting enough learning—we had not created a sufficiently robust learning environment for some faculty and some students in what I would call classic political thought, classic political theory, classic economic thought, classic philosophy. In the spirit of our other 20 or so transdisciplinary schools [into which he has divided the university], we built another one."
Indeed, for Crow, the School of Civic and Economic Thought and Leadership is simply "another one." "We have more than 200 majors," he boasts happily. "Are you allowed to major in journalism at Harvard?" he asks me pointedly. "Or tourism management?" (The answer in both cases is no). If variety is the spice of life, Crow sees ASU as a kind of educational jambalaya. (He has forced his own three children, who have attended traditional elite institutions, to double-major in college.) Whether you want to study health innovation or international trade or civil engineering, there is a degree for you at ASU.
Crow revels in ASU's quantity of offerings and its flexibility in letting students study disparate subjects. He recalls going to a Jewish religious service on campus recently and admiring the voice of the cantor, an ASU student. She was admitted to Juilliard, she told him, but decided to come to ASU so she could major in opera and biochemistry at the same time. "For the other 52,000 undergraduates who are on campus, we have these hundreds of pathways for them. Each of them are created for them to optimize their learning outcomes when we're trying to produce this master learner."
So what does the School of Civic and Economic Thought and Leadership represent in Crow's mind? "What we were looking for was a particular learning environment. .  .  . It's not like the PPE [Philosophy, Politics, and Economics] programs at Oxford or Cambridge .  .  . although it's similar to those. It's got pieces of those. It's our sort of 21st-century version of a learning academy built around these powerful ideas on which much of our civilization is based. Now, that doesn't mean that there aren't lineages and connections and content."
But to be clear, this school is not the first among equals. Though Poliakoff tells me he is "very sanguine that we'll see coming out of ASU a stronger core curriculum," there are plenty of reasons to be skeptical. Crow likes the classics but he likes a lot of other things too.
If you ask Michael Crow about his political affiliation, he declines to provide one. Instead he explains his philosophical affinities. "I'm happy to be in an argument with anyone, and sometimes I'd be on this side of the table and sometimes I'd be on that side of the table. Maybe, to you, that might make me weak, but what it means is that I'm a pragmatist." He admires the pragmatic philosophers, whom he finds to be "very, very thoughtful and capable and intelligent." And he thinks that pragmatists would support "intellectual diversity" in the university. Indeed, Crow says the philosopher he "pays the most attention to" is John Dewey.
Carrese has also noticed Crow's interest in Dewey, suggesting that's where he derives his philosophy about the role of a university in a democracy. "Michael Crow is interested in moral principles about equality. That's a principle of justice for him." For Crow that means not only increasing the number of students he serves from low-income backgrounds—the school has enlarged its percentage of first-generation college students significantly—but also ensuring that the university (especially because it's a public one) serves the larger community. Its total research expenditures put it at 44 out of 876 institutions in the country. And among universities without a medical school, ASU ranks ninth in research expenditures. The school also prides itself on the economic contributions the university makes to the state, listing wages in 2015 for those who earned bachelor's degrees between 1990 and 2015 at $5.5 billion.
Crow's dedication to local communities isn't just talk. The Great Hearts charter schools, a large network of Great Books K-12 schools in Arizona, have been looking for teachers and approached ASU to see if it might be interested in helping out. Crow tasked Carrese with creating a master's degree in teaching for those who want to train to work at Great Hearts or similar schools. "This commitment to the fundamental principles of liberal democracy and to civic education," says Carrese, means "he would look at this new department and say we could be doing more."
But not everyone is pleased with Crow's leadership style, to say nothing of the new Great Books program. There are the obvious complaints from the "Hey Ho, Western civ has got to go" crowd. Karen Kuo, a professor of Asian Pacific American Studies, told the New York Times, "They don't seem to be interested in looking at diverse political theorists in this country, Booker T. Washington, W. E. B. Du Bois, Ida B. Wells, Native scholars or Asian-American scholars."
But the complaints go much deeper. In a cri de coeur for the Chronicle of Higher Education, Peter Brooks, a professor emeritus of comparative literature at Yale University, wrote about how his own university narrowly averted the disastrous fate of ASU several years ago. "As I read the news of the [ASU School of Civic and Economic Thought and Leadership], memory came sweeping back. Something very similar almost happened at Yale when I was on the faculty there. It would have happened had not the faculty, myself included, said no. We might be less successful today."
In the case of Yale, it wasn't the state legislature offering money; it was the Texas oil billionaire Lee Bass, who gave the school $20 million for the creation of a Western civilization program. Brooks noted, "The announcement of a major new program before the faculty had been told of it—much less been given the chance to consider it—was unprecedented."
The faculty threw a fit and eventually succeeded in blocking the program. Yale lost its $20 million, but as Brooks explains, the news from Arizona is further proof that "the tradition of faculty governance in academic affairs .  .  . has suffered everywhere. The university has come to resemble a corporation, with a larger and less accountable bureaucracy, and greater attention to the bottom line and to public repute as measured by U.S. News & World Report." Brooks is particularly concerned about the deterioration of the institution of tenure. "As that system buckles under economic pressures, it means that administrators and donors gain relatively greater power to define the educational mission of the institution."
For Crow, this is not exactly bad news. In the second half of the 20th century, he laments, "The university became too faculty-centric. It became unbalanced. .  .  . The university doesn't exist for the faculty, particularly a public university; it exists for the students and the community." "The faculty," he says pointedly, "are the means."
For Crow, this problem was especially obvious in the way that faculty at big universities were allowed to push teaching aside in favor of their own research agendas. "At UC Berkeley, in 1950, full professors taught at least 2-in-2 [that is, two courses each semester], if not 3-in-3 and now they teach 1-in-1, maybe, and sometimes not at all." They can buy out their whole teaching load with their research. But Crow also notes that in 1950, Berkeley was "already a world-class research university. Where did that go? Why can't you still work at that level" while also teaching?
For one thing, Crow notes, the high-powered, big-name faculty members are often happy to go to the highest bidder—the place that will offer them the largest salary for the smallest teaching load. It's fine if you're a private university and you want to play that game, but Crow says that's not appropriate for a public institution.
Though he insists that he has been able to recruit and retain high-level research faculty, he has also limited the faculty's power significantly. Crow hasn't gotten rid of tenure, but he has significantly restricted its use. "If you're on tenure or tenure-track, that means you're doing scholarship for which academic freedom is a necessary protection for you to do that work." But most of ASU's faculty do not fall into that category. "If you're on a lectureship, you are a teacher creating your own content .  .  . but you have no scholarship measurement for which you're being held accountable," Crow says, and so you are not eligible for tenure. "If you're an instructor, you're basically purveying someone else's content." No tenure.
Even for tenured faculty, Crow says there are real limits he has imposed using "post-tenure review." Sounding more like the host of The Apprentice than a college president, Crow explains: "If you do not perform, you're fired. If you get lazy, you're fired. If you act inappropriately, you get fired. If you act [in a way] unbecoming of a faculty member, you get fired." Tenure is, in Crow's words, "an academic-freedom protection necessary to the advancement of knowledge, which has been misappropriated and abused by many, many institutions."
The original idea for tenure as necessary to guarantee freedom for thinkers and researchers of the highest order was promulgated by none other than Crow's hero, John Dewey. In 1915, Dewey coauthored with Arthur Lovejoy, a philosophy professor, a "Declaration of Principles" for the newly formed American Association of University Professors (AAUP):
To the degree that professional scholars, in the formation and promulgation of their opinions, are, or by the character of their tenure appear to be, subject to any motive other than their own scientific conscience and a desire for the respect of their fellow-experts, to that degree the university teaching profession is corrupted; its proper influence upon public opinion is diminished and vitiated; and society at large fails to get from its scholars, in an unadulterated form, the peculiar and necessary service which it is the office of the professional scholar to furnish.
The growth of the faculty's power in the wake of this statement and the establishment of the AAUP was intentional. Though its ultimate effects may not have been foreseen by Dewey, his ideas about the formation of the research university were partly to blame. Like his Progressive colleagues, Dewey supported the idea that university faculty were to be "experts" in their fields—and that their fields were so specialized and their expertise so deep and important that ordinary members of the public did not have standing to question them.
As the number of academic specialties in American universities continued to expand, it became increasingly difficult—nay, impossible—for one segment of the faculty to judge the worth of another. Even within departments, were experts on kitchenware in Chaucer really qualified to understand the scholarship of experts on the literature of former slaves during Reconstruction? Or, more reasonably, were microbiologists prepared to determine whether their zoology colleagues were worthy of promotion?
With no centralizing authority for such judgments, the university's centripetal force weakened and each department and discipline gained more and more power over its own turf. Which is precisely the problem that Michael Crow and others university leaders face. As Mansfield notes, "Professors today go about concerning themselves above all with protecting their turf."
Crow, says Mansfield, has developed a kind of "Machiavellian" solution to this problem. By reorganizing the entire university into different transdisciplinary fields, he has left faculty squabbling among themselves in this turf battle. "Reorganization has the primary function of increasing the power of the reorganizer," Mansfield chuckles.
Mark Yudof, who served as president of the University of California from 2008 to 2013, tells me, "Meshing disciplines is extremely difficult for public universities to do." He says Crow is "extremely creative and ingenious," which is how he has "survived in a difficult financial environment. .  .  . He is a genuine thinker in our field."
The road ahead may not be easy, though. Yudof thinks that many people are overestimating the power of technology to save money. The evidence right now suggests that blended learning models—combining classroom experience and technology—are the most effective, but still accrue significant labor costs. Moreover, there is a lot of competition for the space that ASU is trying to occupy. Not only are traditional for-profit schools offering some of the same vocational training ASU does, but new players like Purdue University (with its recent acquisition of Kaplan, a big player in the world of online learning) will give ASU a run for its money.
Crow has wisely learned to pick his battles. He has likely made the Arizona legislature happy with the establishment of the School of Civic and Economic Thought and Leadership, but he still has a long way to go to get what he really wants from it—more money and more freedom. The state's investment in education has shrunk to $3,200 per student in inflation-adjusted dollars from a high of almost $8,000 per student in 2009. Crow wants to move away from a public-agency model—one in which the university is controlled by the state government and subject to various regulations—to a "charter" model, wherein the school receives a per-pupil dollar amount and operates independently but is held accountable by the state for its results.
The regulation of universities (and public education in general) by a centralized authority was a dream of Dewey and his cohort, as Larry Arnn, the president of Hillsdale College, notes. So Crow's idea of a "charter" public university might end up undoing another bit of harm his intellectual hero caused. "Charter schools are the best single idea of American education," says Arnn. "It locates authority where students and teachers and parents are gathered. They will come up with better solutions."
Arnn suggests that Crow's new model of a public university—and the School of Civic and Economic Thought and Leadership in particular—has real potential. "It's very common for every kind of college or university to make enormous claims that they're good for society and that they prepare people to lead," he says. Arnn once heard the president of the University of Southern California claim he is "stealing fire from the gods and bringing it down to man." But "what Crow is doing is different and better. With this new school, he is giving some credence to the venerable understanding of our nation and where one would want to lead it."
Though Crow may not believe that the classics of Western civilization should be a foundation for every education, they were clearly a foundation for his own. And as Mansfield notes, "People who study these books become better public leaders." Which may be one reason Michael Crow has an edge over the competition.
Naomi Schaefer Riley is a visiting fellow at the American Enterprise Institute and a senior fellow at the Independent Women's Forum.


text:
is een Japans voormalig voetballer die als aanvaller speelde.

Clubcarrière
In 1978 ging Sarusawa naar de Osaka University of Health and Sport Sciences, waar hij in het schoolteam voetbalde. Nadat hij in 1982 afstudeerde, ging Sarusawa spelen voor Mazda. Sarusawa beëindigde zijn spelersloopbaan in 1990.

Interlandcarrière
Sarusawa speelde met het nationale elftal voor spelers onder de 20 jaar op het WK –20 van 1979 in Japan.

Japans voetballer

redpajama_set_name: RedPajamaWikipedia


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HAIL THE SUN PREMIERES MUSIC VIDEO FOR "BURN NICE AND SLOW (THE FORMATIVE YEARS)"
Equal Vision Records' Hail The Sun will release their new full-length, Culture Scars, on June 17 – just before the band begins their run on the 2016 Vans Warped Tour. The band recently debuted a live video for the demo version of "Paranoia", and today they have launched a new video for "Burn Nice and Slow (The Formative Years)" via Youtube.com/equalvision, which features an incredible animated storyline and personal footage from the band that was filmed between May 2010 and March 2016.
Pre-orders are also available now at hailthesun.merchnow.com. The first pressing for the LP is limited to 1000, with three color variations including 700 on sand colored vinyl (merchNOW/retail), 200 on forest green vinyl (tour exclusive) and 100 on opaque white vinyl (merchNOW). "Burn Nice and Slow (The Formative Years)" and the album version of "Paranoia" are both now available via digital retailers such as Spotify, iTunes, Google Play, AmazonMP3 and as an instant grat track via merchNOW.
Culture Scars is Hail The Sun's third full-length, and was recorded with producer Mike Watts (The Dear Hunter, Hopesfall, As Cities Burn). The thoughtprovoking album offers a dark mix of personal reflection and social commentary, exploring the relationships between observation vs. action and perception vs. reality – and the effect of each on human emotion and society as a whole.
"Burn Nice and Slow (The Formative Years)" takes listeners back to 2009, when the band formed upon meeting one another while attending college in Chico, CA. The introspective song explores vocalist/drummer Donovan Melero's personal journey of overcoming addiction and reflects on his growth since that time, and the impact that getting sober (now seven years clean) has had on his perception of himself, his past relationships, and his appreciation for the opportunity to make music and tour with his bandmates.
"That time in college for me was a massive learning experience. I came to the conclusion later in life that I was not ready to live and take care of myself on my own at that time, and while I was there for school, school always took a backseat. I've always seen my college years divided into two parts – pre-sobriety and post sobriety. The lyrics of this song reflect both parts. I felt like I was a piece of shit most of the time, totally undeserving, and definitely self-absorbed at the same time," shares Melero. "That state of mind negatively influenced my self-esteem, and the first relationship I was in. It caused me to be complacent and selfish, and see through a filter. Ultimately, I'm sure it's what led to that particular breakup but what always kept me grounded, and what was to follow, was playing music with the four people I share the stage with to this day. We would tour during every break from school we had. Although we all LOVED it, it was also a learning experience filled with bad shows, bad weather, and dealing with each other for long periods of time – but it has led to some of the best times of my life."
He continues, "My bandmates and I became more like brothers, with a common goal and dream. Those four years of school were crucial in my own personal development, as well as the band's development. This song is an attempt at capturing the beginning stages that led to where everything has ended up."
Culture Scars is the follow-up to Wake (2014) and two prior self-released albums: Elephantitis EP (2012) and Pow! Right in the Kisser! (2010).
Hail The Sun is comprised of Donovan Melero (vocals, drums), Aric Garcia (guitar), John Stirrat (bass), and Shane Gann (guitar).
Hail The Sun w/My Iron Lung and Hearts Like Lions
Jun 12 Seattle, WA @ El Corazon
Jun 13 Portland, OR @ Analog Cafe
Jun 14 Chico, CA @ 1078 Gallery
Jun 15 San Francisco, CA @ Brick and Mortar
Jun 17 Anaheim, CA @ Chain Reaction*
Jun 18 Van Nuys, CA @ White Oak Music Hall
Jun 19 San Diego, CA @ House of Blues – Voodoo Room
Jun 20 Scottsdale, AZ @ Pub Rock
Jun 21 El Paso, TX @ Mesa Music Hall
Jun 22 Albuquerque, NM @ The Co-op
*Hail The Sun w/My Iron Lung and VIS only
2016 Vans Warped Tour
Jun 24 Dallas, TX @ Gexa Energy Pavilion
Jun 25 San Antonio, TX @ AT&T Center
Jun 26 Houston, TX @ NRG Park Main St Yellow Lot
Jun 27 New Orleans, LA @ Mardi Gras World
Jun 29 Nashville, TN @ The Fairgrounds
Jun 30 Atlanta, GA @ Lakewood Amphitheatre
Jul 01 St. Petersburg, FL @ Vinoy Park
Jul 02 Orlando, FL @ Tinker Field
Jul 03 West Palm Beach, FL @ S. Florida Fairgrounds
Jul 05 Charlotte, NC @ PNC Music Pavilion
Jul 06 Virginia Beach, VA @ Veterans United Home Loans Amphitheater
Jul 07 Syracuse, NY @ Lakeview Amphitheater
Jul 08 Camden, NJ @ BB&T Pavilion
Jul 09 Wantagh, NY @ Nikon at Jones Beach Theater
Jul 10 Hartford, CT @ XFINITY Theatre
Jul 11 Scranton, PA @ The Pavilion at Montage Mountain
Jul 13 Mansfield, MA @ Xfinity Center
Jul 14 Darien Center, NY @ Darien Lake Performing Arts Center
Jul 15 Pittsburgh, PA @ First Niagara Pavilion
Jul 16 Columbia, MD @ Merriweather Post Pavilion

redpajama_set_name: RedPajamaCommonCrawl


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Less than two years since the release of "The Missing Peace" — the first L.A. GUNS album since 2002's "Waking The Dead" to feature founding guitarist Tracii Guns and vocalist Phil Lewis — the group will issue a follow-up effort, "The Devil You Know", on March 29 via Frontiers Music Srl. The first single from ...
MARTY FRIEDMAN Says The 'Chemistry' In His Current Solo Band Is 'Something Special'
Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently spoke with Claudio Cicolin of Italy's Lezioni-Chitarra.it. The full conversation can be seen below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On his new live album, "One Bad M.F. Live!!": Marty: "My band and I have been touring for quite some time, and it's just been ...
'Ronnie Montrose Remembered' All-Star Memorial Concert To Feature Former Members Of DOKKEN, WHITESNAKE, SCORPIONS
The "Ronnie Montrose Remembered" concert will take place on Friday, January 25 at the M3 Live Anaheim Event Center. This all-star extravaganza will be hosted by SiriusXM radio personality Eddie Trunk. Iconic American rock guitarist Ronnie Montrose will be saluted by musicians whose own careers were influenced by his legendary, powerful sound. This celebratory concert ...
RATT Singer On The Mend After Knee Surgery
RATT singer Stephen Pearcy is on the mend after recently undergoing knee surgery He wrote on Twitter: "Almost a full week out of knee surgery, it's been therapy right out of the box. Now I recall the beat down the first time. Eeeoooooch. Only way to get back running on all cylinders. And I will ...
MARTY FRIEDMAN Nearly Auditioned For MADONNA: 'I Would Have Played With Her In A Heartbeat'
In a brand new interview with The Metal Voice, former MEGADETH axeman Marty Friedman confirmed that he once nearly tried out for the guitarist spot in pop superstar Madonna's band. "It was gonna happen the same week that I auditioned for MEGADETH," Friedman said. "So it obviously didn't happen. I mean, I would have played ...
MARTY FRIEDMAN: 'I Don't Picture A Whole Lot Of Guys Losing Their Virginity To Instrumental Music'
During a recent question-and-answer session at "BackStory Events" in New York City, former MEGADETH guitarist Marty Friedman spoke about the evolution of his guitar playing over the course of the last few of his solo albums. "Every time, I try to not repeat myself," he said (see video below). "That's pretty much my biggest thing ...
STEVE RILEY: Why I Am Using L.A. GUNS Name For M3 ROCK FESTIVAL Appearance
Steve Riley has spoken to "Rock Talk With Mitch Lafon" about the version of L.A. GUNS that will perform at next year's M3 Rock Festival, set to take place May 3-5, 2019 at the Merriweather Post Pavilion in Columbia, Maryland. Joining the drummer will be returning members Kelly Nickels (bass) and Scott Griffin (now on ...
MARTY FRIEDMAN On Guitarists Having Their Own Unique Sound: 'When A Player Is Playing, It's Really That Person's Life Coming Out'
During a recent appearance on "The Jasta Show", the podcast hosted by HATEBREED's Jamey Jasta, former MEGADETH axeman Marty Friedman spoke about the importance of guitarists having their own sound and style that can be easily identified. "I think, especially if you create a lot of music, you have to decide every single thing that ...
L.A. GUNS Performs New Song 'The Devil You Know' In Houston (Video)
Fan-filmed video footage of L.A. GUNS performing a new song called "The Devil You Know" on November 29 at Warehouse Live in Houston, Texas can be seen below. "The Devil You Know" is apparently the title track of L.A. GUNS' new album, which will be released in 2019 via Frontiers Music Srl. L.A. GUNS has ...
TRACII GUNS Says Newly Completed L.A. GUNS Album Is 'Pissed Off' And 'Nasty'
As it nears the end of a successful tour in support of "The Missing Peace" — the first L.A. GUNS album since 2002's "Waking The Dead" to feature founding guitarist Tracii Guns and vocalist Phil Lewis — the group has announced that it has finished recording a follow-up effort, apparently titled "The Devil You Know", ...
MARTY FRIEDMAN Is 'Completely Fine' With 'Little Inaccuracies' On His New Live Album
Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently appeared on "The Official Danko Jones Podcast". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On whether his new double live album, "One Bad M.F. Live!!", was inspired by KISS: Marty: "In a lot of respects. I think KISS's two live albums, ...
CARLOS CAVAZO: 'It Didn't Seem Right' To Keep Playing With RATT If WARREN DEMARTINI Is Not Involved
Carlos Cavazo says that he left RATT because "it didn't seem right" for him to keep playing with the band without Warren DeMartini. Back in March, it was reported by Metal Sludge that DeMartini was fired by singer Stephen Pearcy and bassist Juan Croucier, with undisclosed sources telling the site that "serious issues" existed between ...
JAKE E. LEE: RATT Is Not RATT Without Both WARREN DEMARTINI And STEPHEN PEARCY
Jake E. Lee has once again shot down a rumor that he was approached to play with RATT earlier this year as the replacement for Warren DeMartini. Lee actually began his career as a member of singer Stephen Pearcy's MICKEY RATT, which became better known as RATT after a name change in the early '80s. ...
RATT Wins Dismissal Of Counterclaims By BOBBY BLOTZER In Trademark Infringement Case
According to the Northern California Record, a federal court has dismissed counterclaims from drummer Bobby Blotzer in a lawsuit related to the ownership and use of the RATT trademark. A judgment was entered in favor of RATT's general partnership — which includes RATT's fellow original members Stephen Pearcy (vocals), Juan Croucier (bass) — ...
JAKE E. LEE Says He Won't Perform OZZY OSBOURNE Songs Anymore Unless It's With OZZY
Former OZZY OSBOURNE and current RED DRAGON CARTEL guitarist Jake E. Lee recently spoke with Jimmy Kay of The Metal Voice. The full conversation can be heard below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET). On RED DRAGON CARTEL's new album, "Patina": Jake: "This one is, I think, a little more what ...
MARTY FRIEDMAN On Classic Live Albums That Inspired His 'One Bad M.F. Live!!'
Guitarist Marty Friedman (MEGADETH, CACOPHONY) recently spoke with Metal Wani about his new live album, "One Bad M.F. Live!!". The full conversation can be streamed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET and Metal Wani). On the classic live albums that inspired him: Marty: "I would definitely prefer live albums when I was ...
SCOTT GORHAM Says It's 'Disappointing' THIN LIZZY Won't Be Inducted Into ROCK AND ROLL HALL OF FAME This Year
AVENGED SEVENFOLD's 'Live In The LBC & Diamonds In The Rough' To Be Released Digitally For First Time
NAPALM DEATH To Release 'Logic Ravaged By Brute Force' Digital EP


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Lord of Mistrust (Trysts and Treachery Book 4)
Following their hearts could destroy the monarchy.
Headstrong Chloe dresses as a boy and runs away to her birth mother to escape a horrendous marriage. She's shocked to discover that her parent owns a bawdy house, and is in no position to help- nor will she reveal the identity of Chloe's father. When a street accident throws Chloe into the lap of the tempting Robert Mallory, he offers distraction and adventure, but his stubborn refusal to trust her endangers them both.
Hot-headed Robert Mallory is battling to protect his sister, his livelihood, and his honor. He's a spy who can't follow the rules and distrusts everyone, particularly the delectable young woman from the bordello. Having endangered her, then rescued her from a nest of traitors, he learns that Chloe is the natural daughter of the one man he can't afford to upset, Sir Mortimer Fowler. Offering marriage to save Chloe's reputation is out of the question, as Fowler needs her for bait in a deadly trap.
Robert is faced with an impossible choice. He's desperate to save Chloe, but if he follows his heart, the security of the entire realm is at risk.
Trysts and Treachery
Lord of Deception
Lord of Loyalty
Lord of the Forest
Lord of Mistrust
Lord of the Manor
Author: Elizabeth Keysian
Series: Trysts and Treachery, Book 4
Genres: Medieval Romance, Tudor Romance
Tag: Dragonblade Sweet Dreams
ASIN: B08P2G74YL
Elizabeth Keysian
Elizabeth Keysian is an international bestselling author of heart-pounding Regency romances, set mostly in the West of England. She is working on a fresh series for Dragonblade Publishing called Trysts and Treachery, which is set in the Tudor era. Though primarily a writer of romance, she loves to put a bit of mystery, adventure, and suspense into her stories, and refuses to let her characters take themselves too seriously.
Elizabeth likes to write from experience, not easy when her works range from the medieval to the Victorian eras. However, her passion for re-enactment has helped, as have the many years she spent working in museums and British archaeology. If you find some detail in her work you've never come across before, you can bet she either dug it up, quite literally, or found it on a museum shelf.
Other Books in "Trysts and Treachery"
Lord of Loyalty ____(Trysts and Treachery Book 2)
Her Christmas White Knight: A Tudor Historical Romance Holiday Novella (Trysts and Treachery)
Lord of Deception ____________ (Trysts and Treachery Book 1)
Lord of the Forest (Trysts and Treachery Book 3)
Lord of the Manor (Trysts and Treachery Book 5)


With the November release of Android Lollipop, Google's Material Design language has begun making its first appearances in the wild. Designers and technologists everywhere are aflutter with praise for the new design language, which aspires to unite Google's expansive product line under a rich set of design styles and principles.
The visual details are delightful, and the paradigmatic underpinnings — that interfaces are three-dimensional constructions, composed of layers of "physical" components — are refreshingly novel. But I'll spare you more "oohs" and "aahs" over the language's use of bright colors, large images, and depth. If we take anything from Material Design it isn't how to use color, how your ease timing should be set, or what the resting elevation of an object should be. It's not the details themselves we take away, it's how the details combine to create purposeful brand experience.
Like all digital brands, our experiences with Google center around product interfaces. These experiences involve interactions with stuff made of metal and plastic, like phones and keyboards, but involve significantly more interactions with stuff made of pixels, like weather apps and word processors. Those pixels create our experience and perception of the brands behind them. Those pixels are the brand.
Material Design doesn't just create order, it creates order with purpose and meaning. It's a sensory expression of Google's brand. If it finds purchase, it could be the first serious threat to Apple's apparent monopoly on sublime user experience. As an iPhone devotee, I have to confess that for the first time I've begun casting sidelong glances Android's way (Android has about as good a chance of earning my affection as Lloyd Christmas did with Mary Swanson).
A brand is either built up or razed by the details of the experience. There is no pixel too small — not even a Retina one — that it shouldn't be considered.
It's worth noticing that Material Design wasn't created ex nihilo; astute observers have seen Google's careful evolution over the last few years. In 2011, Gmail was redesigned with flatter buttons and a healthy serving of margin and whitespace. In 2012, Google Now introduced layered "cards," even more whitespace, and well-designed typographic hierarchies. Discrete design updates like these, now formalized via Material Design, were a part of — from an outside perspective, at least — a very purposeful process.
While there's always room for improvement, what's been most impressive is Google's ambition for, and subsequent achievement of, unity across a varied and disparate set of products. Anyone who has worked in software can attest that even modest updates to legacy systems — with existing users, stale code, and competing business interests — can be impossibly difficult. Material Design may turn out to be proof that it can be done, even at scale.


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Mathew Knowles and Je'Caryous Johnson collaborate on "Survivor: The Destiny's Child Musical"
Posted on 04/23/19 by The Spartan Echo
Since its inception in 1990, Destiny's Child has sold more than 150 million records worldwide, won multiple Grammy Awards, served as an inspiration to many musical acts and garnered generations of fans. Now audiences will be treated to a behind-the-scenes look at how one of the greatest girl groups of all time was created courtesy of the mastermind behind them, Mathew Knowles.
"I want to pull back the curtain," explains Knowles, Destiny's Child co-creator and manager. "I feel it's time to give the world an opportunity to hear, see and feel the victories and failures that I've had as a husband, father and manager who risked everything in pursuit of fulfilling dreams – those of mine and others."
Told from his perspective, Survivor: The Destiny's Child Musical will start its roller coaster tale at the point of humble beginnings and travel through a storyline addressing the layers of evolution – good and bad – that Knowles faced during his climb into the music industry. Ultimately, the story shares the message that building a dream takes sacrifice, even at the cost of everything and everyone you love.
With a project of such magnitude and significance, Knowles knew there was no storyteller better prepared to bring his vision to life than multi-hyphenate writer, producer, director, and Houston native, Je'Caryous Johnson.
A theater industry veteran, Johnson is one of the most prolific, commercial producers working today. Tallying nearly a quarter of a billion dollars in box office receipts, he has written, directed and produced more than 20 plays seen by millions of theatergoers. His recent stage productions include Redemption of a Dogg, an original bio-musical based on the life and music of rap superstar Snoop Dogg, and Set It Off Live, a dynamic stage adaptation of the 1996 Warner Brothers cult film that starred Queen Latifah, Jada Pinkett-Smith and Vivica A. Fox. Critics hailed Johnson's adaption – which starred Destiny's Child original member LeToya Luckett – as, among other superlatives, "groundbreaking."
"I am ecstatic to be working with Mr. Knowles on the development of Survivor: The Destiny's Child Musical," says Johnson. "It is a unique and inspiring story that will fearlessly tackle hard truths, while bringing both vindication and healing to all who lived it. It's fair, it's real and it's an absolute honor to know that Mr. Knowles trusts me to pen and produce such an iconic piece of American history."
Featuring a mix of music, dance and beautiful imagery, Survivor: The Destiny's Child Musical promises complete transparency in dissecting the man who developed and navigated the careers of an iconic girl group as well as the legacy of one of music's biggest superstars.
"It is my mission to tell the stories of our legends and cement their legacies in the history of our world," continues Johnson, "but this one is very dear to me. As a native Houstonian, I have a special affinity for Destiny's Child because we are from the same city and it is one that breeds greatness. I can assure their fans, and mine, that I will give everything I have to this story and will make sure it is the greatest show they ever experience."
Survivor: The Destiny's Child Musical will premiere in Houston, with plans for Broadway, London's West End and, eventually, its own world tour.
For more details on casting news, tour dates, tickets and more, visit www.JeCaryous.com.
Tags: Destiney's Child, Destiny's Child Musical, Je'Caryous Johnson, Knowles, Mathew Knowles, musical, survivor.. Bookmark the permalink.
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We hope your second week at Larchmont FFX was a great one! We know our year is in full swing when Back to School Night approaches. From kindergarten all the way to third grade, students have been busy preparing special writing and/or art samples for you to view that night when you visit classrooms. We hope everyone will join us for one of the biggest nights of our year - - to see student work on display, but also for teacher presentations as well as presentations from school leadership.


This journal has been just sitting here but I have moved on. So much has happened and life is good today. I have my health, my family and my art. There have been losses and wins but mostly there has been change. If you are still out there feel free to say hello. Hope things are well with you.
No worries, I followed you to that other place anyway.
Gonna be adding some things here too.
Believe it or not, after all this time LJ is still my homepage.
That's crazy. I have a project that had me looking at this that brought me back.


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OHMSS' 50th: 'This never happened to the other fella'
Posted on December 1, 2019 by The Spy Commander
OHMSS poster
Updated and adapted from a 2014 post.
When Sean Connery was cast as James Bond in Dr. No, there was interest. Ian Fleming's 007 novels were popular. President John F. Kennedy was among their fans. Still, it wasn't anything to obsess over.
By the end of the 1960s, things had changed. Bond was a worldwide phenomenon. 007 was a big business that even producers Albert R. Broccoli and Harry Saltzman hadn't anticipated originally. Now, the role was being re-cast after Sean Connery departed the role.
As a result, On Her Majesty's Secret Service, which debuted 50 years ago this month, was under intense scrutiny. The film required a long, exhausting shooting schedule. This time, Bond would be played by a novice actor, George Lazenby, and supervised by a first-time director, Peter Hunt.
Hunt, at least, was no novice with the world of 007. He had been editor or supervising editor of the previous five Broccoli-Saltzman 007 films and second unit director of You Only Live Twice. So he was more than familiar with how the Bond production machine worked. Also, he had support of other 007 veterans, including production designer Syd Cain, set decorator Peter Lamont, screenwriter Richard Maibaum and composer John Barry.
Lazenby, on the other hand, had to take a crash course. He was paired with much more experienced co-stars, including Diana Rigg and Telly Savalas. And he was constantly being compared with Connery.
When, at the end of the pre-titles sequence, Lazenby says, "This never happened to the other fella," the statement was true on multiple levels.
Majesty's was also the first time Eon Productions re-calibrated. You Only Live Twice had dispensed with the main plot of Fleming's novel and emphasized spectacle instead. Majesty's ended up being arguably the most faithful adaptation of a Fleming 007 novel. It was still big, but it had no spaceships or volcano hideouts.
Majesty's global box office totaled $82 million, according to THE NUMBERS WEBSITE. That was a slide from You Only Live Twice's $111.6 million. Twice's box offce, in turn, had declined compared with Thunderball.
For Lazenby, once was enough. He subsequently has said he erred by not making a second Bond. "This never happened to the other fella," indeed.
The film also marked Hunt's exit from the series. He had been one of the major contributors of the early 007 films. But Eon would no longer employ his services after Majesty's.
Today, Majesty's has a good reputation among many 007 fans. In 1969 and 1970, the brain trust at Eon Productions and United Artists concluded some re-thinking was needed. Things were about to change yet again.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Diana Rigg, George Lazenby, Harry Saltzman, John Barry, On Her Majesty's Secret Service, Peter Hunt, Peter Lamont, Richard Maibaum, Syd Cain, Telly Savalas |	1 Comment »
RE-POST: Author talks about his Broccoli-Saltzman book
Posted on September 1, 2019 by The Spy Commander
Cover to When Harry Met Cubby by Robert Sellers
Originally posted May 10. Re-posted today, Sept. 1, because the book is due out later this month..
Author Robert Sellers provided an in-depth look about the fourth James Bond film, Thunderball, with 2007's The Battle for Bond. The writer has re-entered the world of Bondage with a new book, When Harry Met Cubby, about the founding 007 film producers, Albert R. Broccoli and Harry Saltzman.
The blog interviewed Sellers about his new book via e-mail.
THE SPY COMMAND: You did a comprehensive book about Thunderball. What about the Broccoli-Saltzman story enticed you to tackle their story?
ROBERT SELLERS: Mainly because no one had done it before, which is strange because seemingly every other aspect of the Bond films has been covered. But not the relationship between these two extraordinary men, not in any great detail that's for sure. I just thought it was about time their story was told.
SC: The Broccoli-Saltzman partnership was a bit of an Odd Couple affair. What strengths did each partner bring? What was each partner's weakness?
SELLERS: The words most people used to describe them was chalk and cheese. They shared almost nothing in common, save for drive, ambition and a love of movies. Personality-wise you couldn't have had two more different individuals. That included their outside pursuits and social circles. If you went to Harry's house for dinner, or you went to Cubby's, even if there were 20 people at dinner there was no overlap. Cubby's friends were completely different to Harry's.
At the beginning there was this strange alchemy at work, theirs was a relationship that was based on two opposing points of view reaching the same objective and their combined qualities made for an ideal pairing. Things went bad after just a few movies, mainly because Saltzman had so many outside interests. Harry was always buying up companies, signing up talent or movie properties, he had so many other strings to his bow, other balls in the air, whereas Cubby knew that Bond was like the goose that laid the golden egg and was intent on preserving it and to make sure that nobody tarnished it. Broccoli never understood why Harry needed to make other pictures outside Bond and this did lead to friction between the two men.
Both men certainly brought a lot of separate talents to the Bond table. Harry loved the gadgets and gizmos, Cubby was very much concerned with the casting, making sure that the girls were pretty, and worrying about the script, that it didn't get bogged down with too much dialogue, that it got on with the action, and that the storyline was straightforward enough so people from ten to 100 could follow it.
As (screenwriter) Tom Mankiewicz so brilliantly put it to me: "So much of the pizazz that went in Bond belonged to Harry, and much of the essence and soul of Bond was Cubby."
SC: Saltzman exited the world of Bond in the mid-1970s. He is perhaps less well known to newer Bond fans compared with Broccoli (especially since Broccoli's daughter and stepson still run the show). Should Saltzman be better remembered than he is? Why?
SELLERS: Absolutely. People have told me that in the early days Harry was the driving force behind the films, much more proactive than Cubby. That changed later on when Harry began to diversify all over the place. Harry was a real ideas man; he'd churn them out with machine gun rapidity. The only problem was most of his ideas were either too expensive, too impractical or downright dumb. So, it was a case of sieving through the bad ones to get to the good ones. But those good ideas were often absolute gems.
There was also something of the showman about Harry Saltzman, the spit and sawdust of the circuses he worked in during his early days in show business and it was these elements that he later brought to bear upon the Bond movies; everything had to have an over the top style. That was Harry's circus philosophy, make it bigger, make it more spectacular, make it something audiences have never seen before. There was something of P. T. Barnum about Harry.
SC: Eventually, each partner alternated as primary producer for each Bond film. When did that start? As early as You Only Live Twice? Even earlier?
Albert R. Broccoli and Harry Saltzman pose with Roger Moore during the filming of Live And Let Die.
SELLERS: The fractures in the producer's relationship was really highlighted around the making of You Only Live Twice, ironically at much the same time as both of them fell out with their star, Sean Connery.
There had always been disagreements behind the scenes, but what had begun to grate with Cubby was the feeling that his partner wasn't as committed to Bond as he was. This growing imbalance between the two men in their commitment to the Bond pictures reached a point where Cubby just felt aggrieved that he was carrying the load of the franchise almost on his own. As a result, Cubby was pretty much the working producer on You Only Live Twice. I was told Harry never stepped foot in Japan once cameras started rolling.
By the time of Diamonds Are Forever, the two producers could no longer work together and it was decided they ought to take turns being the operating producer on each new Bond. As Guy Hamilton succinctly put it: "I can work very happily with Cubby, and I can work very happily with Harry. But working with Cubby and Harry together is a nightmare."
SC: Without giving too much away about your book, what was the biggest surprise you encountered during your research?
SELLERS: I guess the thing I could say that impressed me the most was just how much creative control both producers had over the films.
According to Broccoli and Saltzman, there were two kinds of producers, the business and administrative producer and the creative producer. Both men identified themselves as creative producers, involved in all aspects of the filmmaking process, offering ideas and guidance and ultimately putting their individual stamp on the pictures.
In post-production, too, they were a presence in the cutting room and at rushes. Even when the film was in release their job wasn't finished; they'd scrutinize ad campaigns, carefully go through every detail with the distributors, attend opening nights round the world and read reviews to gauge what the critics were saying.
This was especially important to Broccoli. He might be on holiday or visiting some city in the world, and if there was a Bond film playing, he would go in and sit and listen to the reaction of the audience to find out what they liked, and what they didn't like.
The way each of them operated as producers on the set was different, though. Harry would be around, but you wouldn't know he was there. He might be in his trailer or having meetings somewhere. Whereas Cubby was always very visual, always around. And he knew every crew member's name. The crew loved Cubby, not so much Harry.
Ian Fleming, Harry Saltzman and Albert R. Broccoli
SC: In terms of the early Bond films, could any other producers have achieved what they did? Was it like catching lightning in a bottle? I know that a lot of the regular crew members (Ted Moore, Ken Adam, Richard Maibaum) had worked for Broccoli when he was partner with Irving Allen.
SELLERS: I honestly believe the Bond films would not have been the success they were without Broccoli and Saltzman at the helm. Probably their greatest contribution was selecting the right team for the films, many of whom had worked for Cubby before, people that he knew were dependable and could deliver the goods.
On Dr No, Broccoli and Saltzman chose the technicians with the same care and diligence as the actors. They brought together an excellent crew and encouraged them; that was their real talent, hiring the right people and allowing them the creative freedom to express themselves. Can you imagine what the Bond films would have been without the vital contribution of Ken Adam or John Barry? Or for that matter the skillful editing of Peter Hunt, who was brought in by Saltzman.
Broccoli and Saltzman were also risk takers. They knew that in the film business you have to take risks and have the strength of your conviction. Both men were not afraid to make tough decisions and both stood up for what they believed in.
There is no better example of this than their choice of Sean Connery to play Bond. When United Artists voiced their disapproval, Broccoli and Saltzman stood by their man, telling the studio top brass they intended going ahead with Connery or not at all. Instinct told them this was the guy. And history proved them correct, of course. That's why the Bond films were a success under Harry and Cubby, all the decisions they made were the right ones.
When Harry Met Cubby: The Story of the James Bond Producers is set for publication in September from The History Press. You can view its Amazon entry BY CLICKING HERE. You can view its Amazon UK entry BY CLICKING HERE.
Filed under: James Bond Books, James Bond Films | Tagged: Albert R. Broccoli, Eon Productions, Harry Saltzman, History Press, Ian Fleming, Irving Allen, Ken Adam, Richard Maibaum, Robert Sellers, Roger Moore, Sean Connery, Ted Moore, When Harry Met Cubby |	1 Comment »
Golden Gun's 45th anniversary: The unloved Bond?
Posted on July 1, 2019 by The Spy Commander
The Man With the Golden Gun poster
Updated and expanded from a 2014 post.
This year marks the 45th anniversary of The Man With The Golden Gun.
The 1974 film has received a lot of flak over the decades. It's exhibit A when the subject comes up about 007 film misfires. Too goofy. Too cheap. Too many of the crew members having a bad day.
For example, Don McGregor, then a writer for Marvel Comics, savaged the movie in a lengthy article in a 1975 issue of Deadly Hands of Kung Fu magazine (which featured a cover drawn by comics legend Neal Adams).
Also, the former Her Majesty's Secret Servant website had few kind words when its contributors (including myself) did rankings of the Bond films. (Speaking only for myself, as I look back on my comments, one about John Barry was over the top.)
Over the years, Bond fans have said it has an average John Barry score (though one supposes Picasso had average paintings). It has too many bad gags (Bond watches as two teenage karate students take out a supposedly deadly school of assassins). And, for a number of first-generation 007 film fans, it has Roger Moore playing Bond, which is bad it and of itself.
Golden Gun is a way for fans to establish "street cred" — a way of establishing, "I'm not a fan boy."
Neal Adams cover to The Deadly Hands of Kung Fu magazine containing an article savaging The Man With the Golden Gun
However, the movie also has its defenders. Among them is David Leigh, who runs The James Bond Dossier website and is a regular guest on the James Bond & Friends podcast. Also, the August 2018 issue of 007 Magazine (which is sold out) had an article titled, "In Defence of The Man With the Golden Gun."
The movie was a bit of a disappointment at the box office. Golden Gun's worldwide box office plunged 40 percent compared with Live And Let Die ($97.6 million versus $161.8 million, according to THE NUMBERS website). Within a few weeks of its December 1974 U.S. release, United Artists hurriedly paired Golden Gun with Thunderbolt and Lightfoot, which UA released earlier in 1974, to make a double feature.
In terms of long-term importance, Golden Gun was the finale of the Albert R. Broccoli-Harry Saltzman 007 partnership. Saltzman would soon be in financial trouble and have to sell out his share of the franchise to United Artists. In a way, things have never really been the same since.
Golden Gun is not the best offering in the Eon Production series. Rather, in many ways, it's the runt of the litter that many like to pick on — even among the same people who'd chafe at criticism of their favorite 007 film.
The documentary Inside The Man With The Golden Gun says the movie has all of the 007 "ingredients." Of course, such a documentary is approved by executives who aren't demanding candor.
But the statement is true. It has not one, but two Oscar winning directors of photography (Oswald Morris and Ted Moore); it has a score by a five-time Oscar winner (John Barry); it is one of 13 007 movies Richard Maibaum contributed writing.
Then again, movies sometimes are less the sum of their parts. It happens. Not everyone has their best day.
For many, Golden Gun is a convenient piñata. Despite some positives (including a genuinely dangerous driving stunt), it doesn't get much love from part of the 007 fan community.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Don McGregor, Harry Saltzman, Her Majesty's Secret Servant, James Bond & Friends, John Barry, Live and Let Die, Marvel Comics, Oswald Morris, Roger Moore, Ted Moore, The James Bond Dossier, The Man with the Golden Gun |	2 Comments »
Robert Sellers talks about his Broccoli-Saltzman Book
Filed under: James Bond Books, James Bond Films | Tagged: Albert R. Broccoli, Diamonds Are Forever, Dr. No, Harry Saltzman, Robert Sellers, Sean Connery, When Harry Met Cubby, You Only Live Twice |	Leave a comment »
David Picker, ex-UA executive, dies at 87
David Picker (1931-2019)
David Picker, part of the United Artists executive team that struck the deal with Albert R. Broccoli and Harry Saltzman to launch the 007 film series, died Saturday at 87, according to The Hollywood Reporter.
The cause was colon cancer, according to the entertainment-news outlet.
Picker was among the UA executives who, in 1961, held a meeting in New York with Broccoli and Saltzman. He was head of production for the studio, which was led by Arthur Krim (1910-1994).
In the documentary Inside Dr. No, he said UA struck a deal with the producers the same day.
Picker wrote a 2013 memoir, Musts, Maybe and Nevers: A Book About the Movies. In the book, he took credit for part of the success of the Bond series.
"Much has been written about Bond," Picker wrote. "Until now, no one has written in detail exactly what happened, how it happened and why it happened for one simple reason: they weren't there." The Bond series "would not have happened had it not been for this author's belief in their potential."
In the memoir, Picker wrote that Dr. No really cost $1.35 million, not the $1.1 million that had been budgeted and that he had found a way to provide the extra $250,000.
The 2011 book A Bond for Bond, published by Film Finances Inc., the company that provided the movie's completion bond, published a copy January 1963 budget document with a figure in British pounds that was closer to the $1.1 million figure.
In 1969, Picker became president and chief operating officer at UA. For 1971's Diamonds Are Forever, Broccoli and Saltzman signed American actor John Gavin to play Bond. PIcker, though, didn't like the choice and wanted to try to re-sign Sean Connery, who had departed the Eon series after You Only Live Twice.
UA operated more like a bank than a studio. It didn't have its own studio facilities, like a Warner Bros. or a Disney. It often gave the producers it worked with a lot of leeway.
But on this occasion, Picker won out and Connery was signed for $1.25 million, with UA agreeing to finance other films for the star. One movie, The Offence, was made under that deal.
Picker left UA in the 1970s. For a time, he became a producer himself, then held executive jobs at Paramount and Columbia Pictures.
Picker appeared in multiple documentaries made in the late 1990s and directed by John Cork about Bond movies. He also was among those interviewed for the 2012 documentary Everything or Nothing about the 007 film series.
Filed under: James Bond Films | Tagged: Albert R. Broccoli, Arthur Krim, David Picker, Diamonds Are Forever, Dr. No, Everything or Nothing documentary, Harry Saltzman, Inside Dr. No, Sean Connery, United Artists |	Leave a comment »
Robert Sellers coming out with a Broccoli-Saltzman book
Posted on March 9, 2019 by The Spy Commander
Robert Sellers, the author of The Battle for Bond, a book about the behind-the-scenes conflict concerning Thunderball, is coming out with a new book about Albert R. Broccoli and Harry Saltzman, the co-founders of Eon Productions.
There is a listing on the U.K. site of Amazon for When Harry Met Cubby: The Story of the James Bond Producers.
According to the listing, the book will be out in September. Here's part of the description:
Both men were of such contrasting personalities that relations between them often span out of control, to such an extent that they not only fell out with their star, Sean Connery, but ultimately with each other. Loved and hated in equal measure, respected and feared by their contemporaries, few movie people have loomed as large over the industry as Broccoli and Saltzman, yet tragically they would meet very different ends.
During the 1960s heydey of the Bond film series, Broccoli and Saltzman took the industry by storm as 007 became a phenomenon.
In the ensuing decades, a narrative took hold of Saltzman being the more volatile of the two. Some fans (via social media) claim that Saltzman wasn't really a producer.
On the other hand, other accounts indicate that Saltzman had a major impact on Bond film stories. Richard Maibaum had been a Broccoli man (going back to the producer's partnership with Irving Allen). Saltzman brought in others (such as Len Deighton, Paul Dehn and John Hopkins) to revise Maibaum's work.
Regardless, the blog's guess is the new Sellers book will bring new insights to an old partnership that finally ruptured in the mid-1970s.
Filed under: James Bond Books, James Bond Films | Tagged: Albert R. Broccoli, Amazon, Danjaq LLC, Eon Productions, Harry Saltzman, John Hopkins, Len Deighton, Paul Dehn, Richard Maibaum, Robert Sellers, The Battle for Bond, When Cubby Met Harry |	2 Comments »
Albert Finney dies at 82
Posted on February 8, 2019 by The Spy Commander
Albert Finney (1936-2019)
British actor Albert Finney has died at 82, according to obituaries published by The Guardian and the BBC.
The actor had a long career, beginning in the 1950s and concluding with 2012's Skyfall, the 23rd James Bond film. He was nominated five times for an Oscar, including for his performances in 1963's Tom Jones and 1974's Murder on the Orient Express.
One of his early highlights was 1960's Saturday Night and Sunday Morning, a "kitchen sink" drama from producer Harry Saltzman, who a year later co-founded Eon Productions with Albert R. Broccoli.
In Skyfall, Finney played Kincade, who the actor described as "an old retainer of James Bond's family."
Skyfall director Sam Mendes told The Huffington Post in 2012 there had been consideration of trying to cast Sean Connery, the original film Bond, in the part. " So, it was a very brief flirtation with that thought, but it was never going to happen, because I thought it would distract," Mendes told the website.
Baz Bamigboye of the Daily Mail wrote in a November 2011 story that Mendes surprised the Skyfall cast during a script reading with the news that Finney was joining them.
The story, however, had one key error: "Finney, who has been in remission from cancer of the prostate for several years, will play a Foreign Office mandarin with powers over the Secret Intelligence Service, described to me as a reasonably big role and full of class." That would turn out to be Mallory, played by Ralph Fiennes. Mallory takes over as the new M following the death of the Judi Dench M at the climax of the film.
Below is a brief video with Finney in costume talking about Skyfall.
Filed under: James Bond Films | Tagged: Albert Finney, Baz Bamigboye, BBC, Harry Saltzman, Murder on the Orient Express, Ralph Fiennes, Sam Mendes, Saturday Night and Sunday Morning, Skyfall, The Guardian, Tom Jones (film) |	2 Comments »


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When Spain's economy crashed hard a few years ago, the conservative party in power reacted by imposing severe spending cuts. Now voters have reacted by turning left. In yesterday's local elections, many voters elected members of a left-wing party that grew out of Spain's Occupy movement. That includes the incoming Mayor of Barcelona, Ada Colau. Lauren Frayer reports.
LAUREN FRAYER, BYLINE: One of the most tweeted photos today in Spain shows Ada Colau being hauled away by riot police. The photo's from July 2013 when she was trying to occupy a Barcelona bank that was foreclosing on homes - the caption, welcome, new mayor. Colau is a 41-year-old activist who made her name by physically trying to block police from serving eviction notices. She's been detained by police dozens of times. Testifying before parliament two years ago, she spoke right after a representative of Spain's banking industry.
FRAYER: "This man is a criminal, and he should be treated like one," she said, her voice shaking with rage. Lawmakers' jaws dropped, but her speech endeared Colau to millions of Spaniards hurt by layoffs and austerity.
ANTONIO ROLDAN: She's transparent. She's honest. She speaks the language of the people.
FRAYER: Analyst Antonio Roldan is at the Eurasia Group in London. He says Spaniards fed up with unemployment and corruption chose grassroots activists like Colau over the two parties that have ruled Spain for decades - the Socialists and the ruling conservative Popular Party.
ROLDAN: The Popular Party had absolute majorities in almost all regions, and now they have none. So it's a new period of somehow cleaning up the corrupt establishment.
FRAYER: The man who hopes to lead these grassroots activists to national power is Pablo Iglesias, a 36-year-old political science professor with a ponytail. He heads the new left-wing party Podemos - We Can in Spanish.
FRAYER: "We're not like other politicians supported by the banks. Our creditors are the people," Iglesias said at a rally for Colau in Barcelona. He hopes momentum from these local victories can propel left-wing activists to power in Spain's national elections later this year. For NPR News, I'm Lauren Frayer in Madrid.


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text:
#include "ofxVideoMirror.h"

//--------------------------------------------------------------
void ofxVideoMirror::setup() {

	// Set capture dimensions of 320x240, a common video size.
	camWidth = 1280;
	camHeight = 720;
	frameReady = false;
	curMode = enMirror3Sides;
    numSides = 3;
	setMode(curMode);

	if (running)
	{
		running = false;
		vidGrabber.setVerbose(true);
		//Select desired grabbing frame rate
		vidGrabber.setDesiredFrameRate(30);
		vidGrabber.setDeviceID(deviceID);
		vidGrabber.initGrabber(camWidth, camHeight);

		running = true;
    } else {
        deviceID = 0;
    }

	if (!guiInitialized) {
		gui.setup();
		gui.add(translation.setup("Translation", ofVec3f(0, 0, 0), ofVec3f(-500, -500, -500), ofVec3f(500, 500, 500)));
		guiInitialized = true;
	}
}

//--------------------------------------------------------------
void ofxVideoMirror::update() {

	if (running) {

		vidGrabber.update();

		if (vidGrabber.isFrameNew()) {

			//Initialize output pixels
			ofPixels pixels = vidGrabber.getPixels();
			//Get pixel arrays for grabber
			ofPixels &pixelsGrab = vidGrabber.getPixels();

			switch (curMode) {
			case enMirrorNormal:

				//Scan pixels
				for (int y = 0; y < camHeight; y++) {
					for (int x = 0; x < camWidth * curMirrorFactor; x++) {
						//Get grabber color
						ofColor colorGrab = pixelsGrab.getColor(x, y);

						pixels.setColor(x, y, colorGrab);
					}
					for (int x = camWidth * curMirrorFactor; x < camWidth; x++) {
						//Get grabber color
						ofColor colorGrab = pixelsGrab.getColor(camWidth - x, y);

						pixels.setColor(x, y, colorGrab);
					}
				}
				break;

			case enMirror3Sides:

				//Scan pixels
				for (int y = 0; y < camHeight; y++) {
					for (int x = camWidth * curMirrorFactor; x < camWidth * 2 * curMirrorFactor; x++) {
						//Get grabber color
						ofColor colorGrab = pixelsGrab.getColor(x, y);

						pixels.setColor(x, y, colorGrab);
					}
					for (int x = 0; x < camWidth * curMirrorFactor; x++) {
						//Get grabber color
						int xIn = ofClamp(camWidth * 2 * curMirrorFactor - x, 0, camWidth - 1);
						int xOut = ofClamp(x + camWidth * 2 * curMirrorFactor, 0, camWidth - 1);

						ofColor colorGrab = pixelsGrab.getColor(xIn, y);

						pixels.setColor(x, y, colorGrab);
						pixels.setColor(xOut, y, colorGrab);
					}

				}
				break;
                case enMirrorNSides:

                    //Scan pixels
                    for (int y = 0; y < camHeight; y++) {
                        for (int x = camWidth * curMirrorFactor; x < camWidth * (numSides-1) * curMirrorFactor; x++) {
                            //Get grabber color
                            ofColor colorGrab = pixelsGrab.getColor(x, y);

                            pixels.setColor(x, y, colorGrab);
                        }
                        for (int x = 0; x < camWidth * curMirrorFactor; x++) {
                            //Get grabber color
                            int xIn = ofClamp(camWidth * (numSides-1) * curMirrorFactor - x, 0, camWidth - 1);
                            int xOut = ofClamp(x + camWidth * (numSides-1) * curMirrorFactor, 0, camWidth - 1);

                            ofColor colorGrab = pixelsGrab.getColor(xIn, y);

                            pixels.setColor(x, y, colorGrab);
                            pixels.setColor(xOut, y, colorGrab);
                        }

                    }
                    break;
			case enMirrorMiddle:
				//Scan pixels
				for (int y = 0; y < camHeight; y++) {
					int xMin = ofClamp(camWidth * curMirrorFactor, 0, camWidth);
					int xMax = ofClamp(xMin + camWidth * 2 * curMirrorFactor, 0, camWidth);
					for (int x = xMin; x <= xMax; x++) {
						//Get grabber color
						ofColor colorGrab = pixelsGrab.getColor(x, y);

						int xOut1 = ofClamp(x - xMin, 0, camWidth - 1);
						int xOut2 = ofClamp(camWidth - (xOut1), 0, camWidth - 1);

						pixels.setColor(xOut1, y, colorGrab);
						pixels.setColor(xOut2, y, colorGrab);
					}
				}
				break;
			}
			//Update image pixels
			image.setFromPixels(pixels);

			/*if (!image.isAllocated()) {
				image = ofImage(vidGrabber.getPixelsRef());
			}

			ofPixels img = vidGrabber.getPixelsRef();
			ofImage  crop2;
			ofImage  crop;
			ofImage mirror;
			img.cropTo(crop, 0, 0, camWidth / 2, camHeight);
			crop.getPixelsRef().pasteInto(image.getPixelsRef(), 0, 0);
			img.cropTo(crop2, camWidth / 2, 0, camWidth, 0);
			crop2.mirror(false, true);
			image.update();
			crop2.update();
			crop2.getPixelsRef().pasteInto(image.getPixelsRef(), camWidth / 2, 0);
			image.update();*/

			frameReady = true;

		}
	}
}

//--------------------------------------------------------------
void ofxVideoMirror::draw() {

	ofEnableAlphaBlending();

	//ofTranslate(translation);

	//ofDrawAxis(500);
	ofPushMatrix();
	ofTranslate(0, ofGetScreenHeight());
	ofScale(1, -1, 1);
	if (frameReady) {

		// draw the incoming, the grayscale, the bg and the thresholded difference
		ofSetHexColor(0xffffff);
		//vidGrabber.draw(0, -camHeight / 2.0);
		image.draw(0, 0, 0, ofGetScreenWidth(), ofGetScreenHeight());
	}
	ofPopMatrix();

	ofDisableAlphaBlending();

	if (bShowGui) {
		gui.draw();

		stringstream ss;
		ss << "r: start video" << endl;
		ss << "s: stop video" << endl;
		ss << "h: show/hide help" << endl;
		ss << "q/d: change mirror width (current: " << curMirrorFactor << ")" << endl;
		ss << "m: change mirror mode (current: " << curMode << ")" << endl;
		ofDrawBitmapStringHighlight(ss.str(), 10, 10);
	}
}

void ofxVideoMirror::setMode(int mode) {

    cout << "mode " << mode << endl;

    switch (mode) {
        case enMirrorNormal:
            curMirrorFactor = 0.5f;
            break;
        case enMirror3Sides: {
            numSides = 3;
            curMirrorFactor = 1. / numSides;
        }
            break;
        case enMirrorNSides:
            curMirrorFactor = 1. / numSides;
            break;
        case enMirrorMiddle:
            curMirrorFactor = 0.25f;
            break;
    }
}

//--------------------------------------------------------------
void ofxVideoMirror::keyPressed(int key) {
	switch (key)
	{
	case 'r': running = true;
		frameReady = false;
		setup();
		break;
	case 's':
		running = false;
		frameReady = false;
		vidGrabber.close();
		break;
	case 'm':
		curMode = (curMode + 1) % 4;
		setMode(curMode);
		break;
    case 'M':{
        numSides = (numSides + 1) % 10;
        setMode(curMode);
        cout << "numSides " << numSides << endl;
    } break;
    case 'n': // cycle through cams 1-2
        deviceID = (deviceID +1)%2;
        break;
	case 'q':
		curMirrorFactor = ofClamp(curMirrorFactor - 0.01, 0, 1);
		break;
	case 'd':
		curMirrorFactor = ofClamp(curMirrorFactor + 0.01, 0, 1);
		break;
	case 'h': bShowGui = !bShowGui;
		break;
	}
}


text:
Q: Send form data when clicking on table I'm trying to post some form data when a user clicks on a table but I can
't get it to work. This is what I've tried so far:
<form Method="post">

sometext

Option 1	TEXT

Option 2	TEXT

Option 3	TEXT

</form>

I think I might need to use JavaScript but I don't know how to since I'm new to JavaScript.

A: Use Jquery
jQuery('tr').click(function(){
     jQuery('form').submit();
});

But take a look at this article for further clearance :)
Forms

A: here you go
<form Method="post" id="myForm">

sometext

Option 1	TEXT

Option 2	TEXT

Option 3	TEXT

</form>

Few Changes to HTML

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