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English for mariners: 21 useful water idioms
by Barista Uno | Jan 14, 2023 | Media, Communications and Language
Idiom: a group of words in a fixed order that has a particular meaning that is different from the meanings of each word on its own (Cambridge Dictionary)
Seafarers who want to hone their English skills would do well to learn and use more idioms in their daily life. Idioms are useful tools for facilitating communication. They can also give a good impression of the seafarer to senior officers and management.
The following idioms are all related to water.
dead in the water — used to describe something that has failed and is unlikely to succeed in the future
Example: Plans to restore the historic SS United States are dead in the water.
fish out of water — describes a person who feels uneasy or uncomfortable in a situation that is new to him or her
Example: Some sailors feel like fish out of water when they grow old and can no longer sail.
spend money like water — spend money mindlessly or recklessly [This implies that one has plenty of money to spend. — BU]
Example: He spent money like water to impress the ladies.
muddy the waters — to make an issue or situation more complicated and confusing
Example: People who spin theories about the cause of a marine accident just muddy the waers.
in hot water — in a difficult or troublesome situation where a person is likely to be punished because of his action/s [Water in this idiom is always in the singular form, so don't say "in hot waters". — BU)
Example: The able seamen was in hot water after disobeying the captain's order.
like oil and water — used to describe two things or persons that are so different from each other that they cannot co-exist in harmony
Example: The two shipmates were like oil and water, always arguing.
does not hold water — said of a statement or explanation that is not supported by the facts and is therefore weak
Example: The captain's claim that the accident was due to the ship having a defective engine does not hold hold water.
water under the bridge — something that belongs to be past and cannot be changed, so it is best forgotten
Example: He was finally at sea, and his love for a faithless woman was now water under the bridge.
water off a duck's back — said when something (e.g., criticism) has no effect on a person
Example: The captain scolded and cursed the crew, but it was all water off a duck's back.
keep one's head above water — to have just enough money to survive or continue
Example: Some shipowners pay their crews just enough to keep the latters' heads above water.
like a duck to water — to engage in a new activity with ease and enjoyment, often suggesting a fast learner
Example: The young girl took to sailing like a duck to water.
test the waters — to try something tentatively before committing yourself to doing it
Example: Those who work at sea usually don't have the luxury of testing the waters.
water down — to weaken something or make it less effective
Example: ILO Maritime Labour Convention, 2006, seems so watered down that many shipowners get away with abusing seafarers.
throw cold water on — to be negative about or disapprove of an idea or plan
Example: The unions threw cold water on the shipowners' proposal to freeze wage levels for seafarers.
unchartered waters — a situation which is completely new or unfamiliar and could pose a challenge or even danger to those involved
Example: Using Electronic Chart Display and Information Systems (ECDIS) is unchartered waters for a ship officer who lacks training.
pour oil on troubled waters — to calm a tense situation or stop a dispute from getting out of hand
Example: The angry crew was on the verge of mutiny, but the captain was able to pour oil on troubled waters.
blow out of the water — to defeat something or someone overwhelmingly
Example: When it comes to quality education, American maritime academies blow many of their foreign counterparts out of the water.
watering hole — a place for drinking alcoholic beverages, usually a bar
Example: The sailors went to their favourite watering hole every time they were on shore leave.
come hell or high water — used when somebody is determined to do something no matter the difficulty or the possible consequences.
Example: The seaman decided to report the double-payrolling to the ITF come hell or high water.
troubled waters — a difficult situation marked by problems, discord and emotional stress
Example: The chief mate's marriage was in troubled waters because he was often at sea.
have both oars in the water — to remain calm and avoid extreme emotional reactions during difficult times
Example: He is a level-headed captain who always has both oars in the water.
Familiarise yourself with more idioms in
Ship-related idioms to add flavour to your conversation
The French father and daughter who painted seascapes
by Barista Uno | Jan 12, 2023 | Maritime Art, Culture and History
Is artistic talent genetic and can it be inherited? One is tempted to consider the possibility in the case of Herminie Henriette Gudin, daughter of the 19th-century French marine painter, Theodore Gudin. The expression "a chip off the old block" may well come to mind when one views Ms. Gudin's seascapes. However, this would not do justice to her individual gift as an artist.
Says the International Maritime Museum Hamburg abouut Ms. Gudin:
She was the daughter of the famous painter Théodore Gudin (1802-1880), and quickly enjoyed great success thanks to her special talent. Although she was known as "Gudin La Fille" during her lifetime, her participation in the Paris Salons in 1848, 1849, 1850, and 1853 proves that she was widely accepted among contemporary critics. Her works are characterized by finely nuanced light accents and their atmospheric effect.
Read more: Henriette Hermine Gudin, marine painter
There is very little information about the personal life of Herminie Henriette Gudin. It would be interesting to find out how she got into painting and to what extent she was influenced by the elder Gudin. In any case, here are sample paintings by father and daughter for everyone to enjoy:
The daughter's art
Bringing in the catch (no date)
Herminie Henriette Gudin (French, 1825–1876)
Courtesy of Christie's
Shared by Marine Café Blog under the Fair Use principle
Beach scene with shrimp fishermen by moonlight (by 1876)
Herminie Henriette Gudin (French, 1825-1876)
Courtesy of Wikimedia Commons
A shipwreck (no date)
Courtesy of Bukowskis auction house
The father's art
View of a Rocky Coast by Moonlight (between 1830 and 1880)
Théodore Gudin (French, 1802–1880)
Courtesy of Rijksmuseum, Amsterdam
Battle of Lagos, June 27, 1693 (before 1880)
Seascape during a Storm Seen from the Ship "Le Véloce" (1839)
Courtesy of Fondation Custodia via Wikimedia Commons
Women artists of the 19th century who painted the sea
Inspired by poetry: Mendelssohn's symphonic seascape
by Barista Uno | Jan 5, 2023 | Poetry and Music
In 1795 the famous German poet and author, Johann Wolfgang von Goethe, wrote a pair of sea poems. Both are short. The first (Meeresstille, or Calm at Sea) consists of only eight lines; the second (Glückliche Fahrt, or The Prosperous Voyage), 10 lines. However, they would inspire Felix Mendelssohn to compose a captivating concert overture which borrowed the titles of Goethe's poems and was first performed in 1828.
A symphonic seascape
Watch the Frankfurt Radio Symphony perform Mendelssohn's Calm Sea and Prosperous Voyage (Meeresstille und glückliche Fahrt), Opus 27. At the baton is Andrés Orozco-Estrada, Colombian violinist and conductor.
The source of Mendelssohn's inpiration
The following are English translations of Goethe's poems from the 1853 book, Poems of Goethe, translated in the original metres by Edgar Alfred Bowring.
Goethe obviously intended the poems to be read in tandem. The first describes a deathly calm at sea. For sailors during the Age of Sail, this spelled trouble. The boat is becalmed — meaning, it is dead in the water. It cannot move forward as there is no wind to propel the sails. The second talks about improving conditions at sea. With the mist clearing and the wind building up, the vessel is finally able to sail. The poem ends with the triumphant shout, "I see land beyond!"
Meeresstille (Calm at Sea)
Silence deep rules o'er the waters,
Calmly slumb'ring lies the main,
While the sailor views with trouble
Nought but one vast level plain.
Not a zephyr is in motion!
Silence fearful as the grave!
In the mighty waste of ocean
Sunk to rest is ev'ry wave.
Glückliche Fahrt (The Prosperous Voyage)
The mist is fast clearing.
And radiant is heaven,
Whilst Aeolus loosens
Our anguish-fraught bond.
The zephyrs are sighing,
Alert is the sailor.
Quick! nimbly be plying!
The billows are riven,
The distance approaches;
I see land beyond!
A quartet of captivating poems about sailing
The mind's eye: Five imaginary seascapes caught on camera
by Barista Uno | Jan 5, 2023 | Photography
'Every child is born blessed with a vivid imagination. But just as a muscle grows flabby with disuse, so the bright imagination of a child pales in later years if he ceases to exercise it'. — Walt Disney
Fearing the paling of my imagination, I challenged myself by looking at an old concrete wall to try to find anything that resembled a seascape. The wall stands just a few feet outside my window. It is made of hollow blocks with no paint, just random coats of cement plaster. I looked and looked, my mind painting small seascapes on the rough canvas. After several days of wall-gazing, I came up with the following black & white photographs.
Moon Over the Sea
Photo by BU, 2023
Waves Against the Rocks
Photo by BU
The Coming Storm
Bird's Eye View of Sea and Land
Eight great quotes about beginnings to ponder upon
by Barista Uno | Jan 2, 2023 | Quotable Quotes, Society and Culture
Sunrise over the Eastern Sea, 1932
Fujishima Takeji (Japanese, 1867–1943)
Courtesy of the Google Art Project
Humans have an instinctive need to celebrate beginnings — New Year's Day, the birth of a child, the launching of a newbuilding ship, etc. Such events do not only mark the start of something new. They evoke feelings of hope, which is the one essential quality that separates man from animals. The famous Irish poet, William Butler Yeats, summed up the difference in the first four lines of his poem 'Death':
Nor dread nor hope attend
A dying animal;
A man awaits his end
Dreading and hoping all;
The past is but the beginning of a beginning, and all that is or has been is but the twilight of the dawn.
— H.G. Wells, in The Discovery of the Future (1901)
What one needs to do at every moment of one's life is to put an end to the old world and to begin a new world.
— Nikolai Berdyaev, in The Beginning and the End (1947)
…every moment is a fresh beginning.
— T. S. Eliot, in The Cocktail Party (1949)
Geese at Dawn, 1933
Richard Bishop (American, 1887–1975)
Courtesy of the Philadelphia Museum of Art
The beginnings of all things are small.
— Marcus Tullius Cicero, in De Finibus Bonorum et Malorum (45 B.C.E.)
Now at last I have come to see what life is,
Nothing is ever ended, everything only begun,
And the brave victories that seem so splendid
Are never really won.
— Sara Teasdale, in 'At Midnight', Collected Poems of Sara Teasdale (1966)
You are not enclosed within your bodies, nor confined to houses or fields.
That which is you dwells above the mountain and roves with the wind.
It is not a thing that crawls into the sun for warmth or digs holes into darkness for safety,
But a thing free, a spirit that envelops the earth and moves in the ether.
If these be vague words, then seek not to clear them.
Vague and nebulous is the beginning of all things, but not their end,
And I fain would have you rememberme as a beginning.
Life, and all that lives, is conceived in the mist and not in the crystal. And who knows but a crystal is mist in decay?
— Kahlil Gibran, in The Prophet (1923)
The miracle that saves the world, the realm of human affairs, from its normal, 'natural' ruin is ultimately the fact of natality, in which the faculty of action is ontologically rooted. It is, in other words, the birth of new [people] and the new beginning, the action they are capable of by virtue of being born. Only the full experience of this capacity can bestow upon human affairs faith and hope.
— Hannah Arendt, in The Human Condition (1958)
Dawn, 1903
Joseph Farquharson (Scottish, 1846–1935)
Photo credit: Walker Art Gallery
Creative Commons Attribution-NonCommercial licence (CC BY-NC)
Courtesy of Art UK
There are no fixed limits
Time does not stand still.
Nothing endures,
Nothing is final.
You cannot lay hold
Of the end or the beginning.
He who is wise sees near and far
As the same,
Does not despise the small
Or value the great:
Where all standards differ
How can you compare?
With one glance
He takes in past and present,
Without sorrow for the past
Or impatience with the present.
All is in movement.
He has experience
Of fullness and emptiness.
He does not rejoice in success
Or lament in failure
The game is never over
Birth and death are even
The terms are not final.
— Chuang Tzu, in The Way of Chuang Tzu by Thomas Merton (1965)


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Joshua Lee Burgess Receives Death Sentence For Killing and Torturing 15-Year-Old Daughter
Zaria Burgess was subjected to horrific abuse at her father's house.
Photo Courtesy of Union County District Attorney's Office & Facebook (Black Kids Haven)
Joshua Lee Burgess was sentenced to death in North Carolina after brutally raping and murdering his daughter Zaria Joshalyn Burgess.
On June 3, Burgess, 35 was sentenced after three hours of jury deliberation following a three-week trial.
On August 18, 2019, Burgess killed his 15-year-old daughter Zaria who typically lived with her mother but was visiting him.
After 22 hours of psychological and sexual torture at his home, Burgess murdered Zaria by slitting her throat.
After committing the crimes, Burgess went to the Union County Sheriff's Office and turned himself in for murder.
The disgraced father was convicted of one count of first-degree murder, one count of statutory rape, three counts of a statutory sex offense, and one count of first-degree sexual exploitation of a minor. In addition to his death sentence, he has an additional minimum of nearly 76 years in prison for those offenses.
Related Story: Joshua Nelson Donates College Fund After Receiving Scholarship
In a Facebook post shared by The Union County District Attorney's Office, District Attorney Trey Robison thanked the jurors "who gave their time and effort in this very emotional case and helped bring closure to Zaria's family and friends."
"This was truly an especially heinous, atrocious, and cruel killing of an innocent child. This case was emotionally taxing for everyone involved. We continue to grieve with and pray for Zaria's mother," the post read.
Sheriff Eddie Cathey said, "The details of this murder are indescribable. Every officer and detective involved in this case is feeling the effects of what happened to this child. There is no logical answer to explain why this man did what he is accused of doing."
The last person executed in North Carolina was Samuel Flippen, who was put to death on Aug. 18, 2006 for the murder of his 2-year-old stepdaughter.
On October 29, 1998, North Carolina eliminated execution by lethal gas making lethal injection North Carolina's only method of execution.
We are sending prayers to Zaria's family for their healing.
Tags: DaughterFatherJoshua Lee Burgesslethal injectionmurderNorth CarolinaZaria Burgess
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Black DC Firefighter Catches Toddler From Burning Building
LeBron James Sends Prayers To Family Of Teen Beaten To Death Outside Of His I Promise School

redpajama_set_name: RedPajamaCommonCrawl


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Q: Variable Length NVARCHAR with Scalar-valued Function Is it possible to create a scalar-valued function that returns a variable length nvarchar using SQL Server 2012? When I say variable length, I want the function to accept an nvarchar of any length and return an nvarchar of the same length.
I am trying to create a helper function that cleans up nvarchar columns using views before putting them into our data warehouse. I'm pretty sure this isn't possible, please correct me if I'm wrong.
My current function (obviously not working due to truncation, etc.):
create function dbo.fnClean (@input nvarchar)
returns nvarchar as
begin
    declare @return nvarchar

    set @return = ltrim(rtrim(@input))

    return @return
end

A: No, this isn't possible (and you'd need dynamic SQL to create columns or convert this way on the other side). But if you know in advance what the length is, then you could just track that separately instead of relying on the function. Or use a table-valued function that returns @input AND LEN(@input).
Finally, if this is all this function is doing, it is going to be very expensive. What do you gain out of this that you don't get by just applying LTRIM(RTRIM()) to the input without ever needing to create or reference a function? Scalar functions are not exactly great for performance.

A: This would not work, although I would question the goal nvarchar or varchar will already take up variable space...I have written scripts in ETL that figure out the max data type and scale the column results.  However, this is if you are super cautious about data types and space (specifically decimal and don't have luxury of enterprise).  What is your goal?

redpajama_set_name: RedPajamaStackExchange


Author(s): Roelofsen, T.; Geels, Y.P.; Pijnenborg, J.M.A.; Ham, M.A.P.C. van ; Zomer, S.F.; Tilburg, J.M. van; Snijders, M.P.; Siebers, A.G. ; Bulten, J. ; Massuger, L.F.A.G.
The aim of this study was to determine the frequency of abnormal cervical cytology in preoperative cervical cytology of patients diagnosed with uterine papillary serous carcinoma (UPSC) and endometrioid endometrial carcinoma (EEC). In addition, associations between abnormal cervical cytology and clinicopathologic factors were evaluated. In this multicentre study, EEC patients diagnosed at two hospitals from 1999 to 2009 and UPSC patients diagnosed at five hospitals from 1992 to 2009, were included. Revision of the histologic slides was performed systematically and independently by 3 gynecopathologists. Cervical cytology within six months before histopathologic diagnosis of endometrial carcinoma was available for 267 EEC and 80 UPSC patients. Cervical cytology with atypical, malignant, or normal endometrial cells in postmenopausal women was considered as abnormal cytology, specific for endometrial pathology. Abnormal cervical cytology was found in 87.5% of UPSC patients, compared with 37.8% in EEC patients. In UPSC, abnormal cytology was associated with extrauterine spread of disease (P=0.043). In EEC, abnormal cytology was associated with cervical involvement (P=0.034). In both EEC and UPSC patients, abnormal cervical cytology was not associated with survival. In conclusion, abnormal cervical cytology was more frequently found in UPSC patients. It was associated with extrauterine disease in UPSC patients, and with cervical involvement in EEC patients. More prospective research should be performed to assess the true clinical value of preoperative cervical cytology in endometrial cancer patients.


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Manda.
www.mandaolivia.com
Taiwan || Guide to Chill (but fun) Travel
One thing I've learned from being an avid traveler is the importance of balancing a chill and adventure filled holiday.
So it doesn't matter if this is your first, second or millionth time in Taiwan. Here's list of Places to Go and Food to eat + Cafes to Visit in this post:
1. The Romantic Road
This place was the highlight of our tour around the Ruifang district. It's called the Romantic Road. It has an amazing undisrupted view of the ocean and valley around Ruifang. The best part about it is that not a lot of tourists know about it. The best time to arrive for cool weather is around 5pm-6pm. That's when the sun doesn't glare too much and the ocean glistens.
2. Rocks near Yeh Liu GeoPark
As you can already see from this post, I'm highlight places from my trip that aren't common to the regular tourist.
That's also because the hoards of 人山人海 situation at Yeh Liu Geopark almost gave me a panic attack. Don't get me wrong, Yehliu Geopark is a pretty cool place. But the driver we engaged found us this really cool spot a stone throw away from it and the view was to die for. I can give you an exact location for this but if you're driving up from Taipei city, you won't miss it! It looks like a canyon with rocks flanked on both sides.
If I were you, I'd pick this spot over the Geopark any day.
Ps- if anybody needs someone to tour you around all the hidden spots to explore, hit me up for the driver we got and I'll pass you his contact.
3. Creative Park
Creative buffs, this is for you. The Huashan 1914 Creative Park is a multi-purpose park in Zhongzheng District, Taipei, Taiwan. Tons of exhibits that are everchanging. The best time to visit is on a weekday during off-peak hours. The area is really pleasant! It's a 30 mins walk from Xi Men Ding... or you could just uber.
No. 1, Section 1, Bade Road,
Zhongzheng District, Taipei City, Taiwan 100
Places NOT to Visit
(view photos clockwise with points below)
#TRUTH: If you end up taking more selfies than photos of a place, that means you're prettier than the destination itself.
Elephant Mountain was the lamest thing ever (top left photo). Beware - the climb is not for the unfit. We went for a Sunset trail just 'cause the reviews told us so. There were hoards of tourists flanking the stairway up. When we finally got to the top, all I could see were bobbing heads of people blocking my view. Nup, wouldn't recommend it at all.
Taipei 101 is the most commercialized thing ever. Guys, it's just a really tall building. People say that you should visit the Starbucks situated on one of the highest levels in Taipei 101. I say, don't waste your time booking and queuing. There are better views of the city elsewhere.
Shifen Waterfall was underwhelming af. Because it's so underwhelming, here's a touristy selfie of my sister and I because we were the prettiest things there. Lol kidding. But yea really it's just a waterfall with a lot of tourists and mosquitos.
Places to Eat (Mainly Cafes lol)
Let's be honest, if you're going to Taiwan, you're probably readying your list of places to eat good stuff. Yes, for sure - Food will be a huge contributing factor to your trip. Here's a list of food you have to try in Taiwan:
The Famous Shi Lin Chicken
* Down a shot of Bittergourd juice right after that 'cause you're gonna be so heaty. It's an acquired taste but it gets the job done.
Peanut / Sesame Riceballs Rou He Market
Pork Mee sua from Ximending
BUBBLE TEA (with extra pearls)
燒餅油條 (you tiao) and soya bean
滷肉飯 (Minced pork/beef rice)
Taiwan is an amazing place to fill up on street food, no doubt. But did you know their coffee scene is totally rad too? In my 6 days there, my fam bam and I visited an embarrassing total of 6 cafes. (Gosh are we hipster or are we hipster). Here are some of our recommendations:
Tamed Fox is by far my favourite cafe. Their vibes are exceptionally chill, and if you're (almost) chinese illiteral such as moi, they have English menus too, to cushion your data usage on google translate. To top it off, they have an adorable toy poodle called Rae too that lives in a teepee! (no photo sorry)
No. 56, Lane 122, Section 4, Ren'ai Road,
Da'an District, Taipei City, Taiwan 106
*Do note that they're closed on Wednesdays
Swell co. cafe has tons of surfer vibes. One thing I realised about the cafes in Taiwan is that people would sit in the whole day and they won't get chased out? Super cool. Drop by for their acai bowl!
No. 23, Siwei Road,
This place was a pity. It has this Mulberry Au Lat milk thing I realllyyy wanted to try but it was out of stock on that particular day. Check out their Instagram for it - it looks SO YUM. Please let me know if it's good if you've tried it! They use milk from Yakult! They open really early too so it's good for a morning pick me up.
No. 125, Section 1, Da'an Road,
This is my favourite coffee joint. The owner (left photo using his laptop) opened this store 3 years ago. His beans are from Costa Rica so they're EXTRA chocolatey. If you're there, try their cold brew. You won't regret it. I've never tasted such a unique brew. They ONLY sell coffee but there's a market right next to it to get your morning breakfast.
No. 3-1, Lane 208, Siwei Road,
Hope this has been helpful for you! Feel free to drop me a comment below or email me if you have any questions!
Categories: Travel
© Manda.. Design by FCD.


If you've ever worked in an office, run a company, or owned your own business, you're most likely familiar with human resources. Whether referring to the term or a department, at its core, human resources is about people. But have you ever thought about the actual system in place to help ensure a company's people perform at their full potential? Human resource software, or HR software, is designed to do just that.
People are elaborate, and they contain countless components. Likewise, a myriad of features can comprise human resource software, from recruiting, onboarding, and payroll to time management, performance, and retention. Just like people are diverse, there are different kinds of HR software solutions. There's traditional, on-premises software, which is installed and utilized on individual computers. Today, however, cloud-based software is more prevalent—and often preferred—primarily because of its advanced features and accessibility. Taking technology a step further, software on the cloud can be mobile compatible, which means employees can access important information not only from their desktops, but from anywhere at any time via their laptops, smartphones, and tablets.
Ultimate Software's human resource software, UltiPro®, is a unified, cloud-based solution that puts people first. It's engaging, easy to use, and engineered with multiple generations in mind. From hire to retire, UltiPro simplifies HR so employees can focus on what they do best each day, instead of spending valuable hours filling out mounds of forms or worrying whether they'll get paid on time. Plus, UltiPro offers features such as comprehensive performance analytics, so managers always know who's high-performing or even at high risk of leaving.
Deciding to adopt cloud-based human resource software doesn't have to be daunting. Discover 10 must-ask questions for making a confident move to the cloud.


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MedUni Vienna: Consequences of asbestos – new laboratory installed for research into pleural cancer
In the last few years the health-damaging effects of asbestos have led to an increase in pleural cancers. A new interdisciplinary research laboratory at the Comprehensive Cancer Center of the Medical University of Vienna and the Vienna General Hospital is set to lead to scientific advances in treatment.
At the Comprehensive Cancer Center Vienna of the Medical University of Vienna and the Vienna General Hospital interdisciplinary research collaboration with a focus on translational thoracic oncology has been in place for some years. In addition to lung cancer, the main focus is on pleural mesothelioma (pleural cancer). Michael Grusch from the Institute for Cancer Research at the MedUni Vienna says: "Until recently, pleural mesothelioma was regarded as a rare disease. Unfortunately, this is changing now. One of the main causes triggering the disease is asbestos. The long incubation period for this disease means that the damage done 20, 30 years ago is just coming to light now. A reputable study predicts that, by 2029, 250,000 people will die of pleural cancer in Europe."
Says thoracic surgeon Mir Alireza Hoda: "We are very struck by the fact that we are increasingly seeing younger patients between 30 and 50 years old. Earlier it mainly affected people over 65." Pleural mesothelioma is treated with a combination of chemotherapy, surgery and radiotherapy. Says Hoda: "Our goal is to find markers for mesothelioma and to develop personalised approaches to treatment. There still aren't any but they would help us to select the right treatments for the patients affected." This could have a decisive impact on improving the success of treatment as, at present, the average survival rate after diagnosis is nine to twelve months.
The collaboration between the Clinical Department of Thoracic Surgery at the University Department of Surgery at the MedUni Vienna and the Vienna General Hospital and the Institute for Cancer Research at the MedUni Vienna has existed for five years within the framework of the Comprehensive Cancer Centers (CCC) Vienna. With a series of papers published in top publications and a unique cell culture bank, the ambitious team of experts have attracted attention, even at international level. It now has its own research laboratory of recent date, which is based in the Anna-Spiegel-Research Building: the laboratory for translational thoracic oncology.
First thoracic tumour cell bank
In order to be better able to understand pleural cancer, the laboratory staff have created one of the largest cell culture banks in this field worldwide. Here not only blood and tissue samples are being collected but also cell cultures established. This enables the scientists to conduct comprehensive functional investigations on proteins and genes. Says molecular biologist Balazs Hegedüs: "Our work is very broadly based. We are working on all aspects of the disease from the genetics right through to the assessment of treatments. Thus we can now check findings from the clinic in the laboratory and, by the same token, apply the results of this basic research directly in the clinic. We therefore do not have a separation between basic research and clinical research. This ensures fertile soil for new developments."
International success
The researchers' results are on par with those being achieved internationally. Numerous papers published in top journals, some grants and prizes successfully attracted, as well as research collaborations, are evidence of the group's productivity. Great importance is placed on international collaborations, for example with the universities of Sydney, Zürich, Zagreb, Budapest or Phoenix, Arizona. Says Walter Klepetko, Head of the Department of Thoracic Surgery: "As a result of our work we have managed to put our facility on the map internationally and position ourselves as a highly competent centre of excellence. Our goal is to become the contact for pleural cancer in Central and Eastern Europe. The rising number of national and international patients demonstrates that we are on the right path."
Cancer Research Run on 4 October
Participation in the Cancer Research Run organised by the Cancer Research Initiative will serve to demonstrate personal commitment in the fight against cancer. In 2013 more than 3,000 participants and numerous friends and family members gathered for the mass run. The more than 70,000 Euros made in revenue last year was entirely ploughed into innovative research projects at the MedUni Vienna in the fight against cancer. The Cancer Research Run is taking place on 4th October 2014 from 10.00 a.m. to 2.00 p.m. on the "Old General Hospital" campus of the university.


Núcleo Publicidad was founded in June 1987.
If we were to define ourselves, we would say that we are a company specialized in Integrated Marketing Communications.
In a setting with highly fragmented and saturated media, it is increasingly indispensable to plan and control all the brands' Points of Contact with the consumer.
Effectiveness and forcefulness are achieved using these points of contact for the synergistic creation of a unique, memorable and powerful brand image, close to the hearts of consumers.
• We believe that sales effectiveness is achieved through a Strategy-oriented stunning creativity.
• We believe that today, long-term strategies have turned into short-time tactics.
• Across all the agency's areas, we declare war against complexity.
• We avoid any unnecessary in-house processes. We define the tasks as simply as possible, so we can focus on the real job.
• We are convinced that the best Ideas are always linked to a simple concept.
With the client's Marketing objectives as our point of departure, we develop a Strategy, based on which we create a "fan" of communication units that "surround" the Target Audience (360º).


The Window Shade Valance gives your phtography studio a more professional look. Each backdrop valance comes with the brackets to hold a window shade backdrop roller. The Window Shade Rollers are each sold seperately.


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Trump executive order on immigration shakes Berkeley community
PAMELA LARSON | STAFF
SUPPORT OUR NONPROFIT NEWSROOM
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The Daily Californian News Staff
Update 1/29/2017: This article has been updated to reflect additional information from the San Francisco International Airport.
Update 5/21/2018: A portion of this article has been retracted because of personal safety concerns.
SAN FRANCISCO — The UC Office of the President is recommending that members of the UC community from Iran, Iraq, Libya, Somalia, Sudan, Syria and Yemen do not exit the United States in light of President Donald Trump's recent executive order restricting entry into the country.
Trump issued the order Friday, which indefinitely suspends Syrian immigrants' entry into the United States and halts entry of individuals from the other six countries for 90 days. A federal judge, however, ordered a temporary stay on the ban Saturday evening.
The UC statement advised that students, staff or faculty from these countries do not leave the United States, even if they hold visas or are lawful permanent residents.
Individuals originally from these countries with immigrant and nonimmigrant visas, as well as those with green cards, are being denied entry into the United States.
"We will continue to monitor and analyze the impact of the executive order and will issue additional guidance as soon as possible," the UC statement said.
The stay, granted by Judge Ann Donnelly of the U.S. District Court in Brooklyn, approves ACLU's request to allow individuals who are lawfully authorized to enter the country.
UC Berkeley spokespeople were not immediately available for comment on whether the executive order will affect any UC Berkeley students who are abroad this semester. Visa and green card holders from these countries who are abroad are encouraged to contact the Berkeley International Office.
The office sent an email to international students Saturday evening informing them of the impact of Trump's executive order and advising all international students to "(minimize) international travel due to the changing nature of the new administration's policies on visas and U.S. entry."
The office also warned that the executive order calls for a review of the United States' visa issuance process for all countries. Because these revisions are ongoing, the office warned that other countries may be added to or removed from the suspension list.
Iranian international student Omid Shams Solari, who is a doctoral candidate in statistics, said the executive order has changed his entire perspective on his future.
"I spent most of my 20s in this country. I love California, and I love Berkeley," Shams Solari said, adding that he thinks of Berkeley as his second home.
Hundreds of people from Berkeley and many other local communities gathered at the San Francisco Airport about 3 p.m. Saturday to protest Trump's executive order and show support for those affected by the new bans.
Sumayyah Din, a UC Berkeley senior and former ASUC senator representing the Middle Eastern Muslim Sikh and South Asian Coalition, participated in the protest because of violence against the Muslim community living in the United States, adding that it has increased since Trump's election. She has family in Afghanistan who are planning to immigrate to the United States in the coming weeks.
"Afghanistan is not on the ban list, but at this point, anything can happen," Din said. "I feel powerless and helpless, for the sake of all refugees and all those seeking a better life only to find struggle."
Many SFO protesters drew parallels between the new executive orders and the policies from Nazi-era Germany by wearing Star of David pins with the word "Muslim" and crescent moons drawn on them.
According to San Francisco International Airport spokesperson Doug Yakel, five individuals were detained in total, including a Sudanese graduate student who attends Stanford University, and all were released by Sunday afternoon. The detainees also included an elderly Iranian couple and an Iranian man, according to Nina Farnia from the National Lawyers Guild who was at the protest.
Jake Grumbach, a fifth-year UC Berkeley political science doctoral candidate who attended the protest, said that because it is unlikely that Congress and the Senate will defy Trump, it is up to the people to protest. He called the situation "a constitutional and moral crisis."
"Political science, when it's studied in the U.S., is very hopeful about American institutions. It was a big surprise to American scholars that Trump has come forward," Grumbach said. "Scholars of American politics, like me, need to wake up and realize we're in uncharted waters. The way we teach about American politics needs to fundamentally shift."
Mary Shaughnessy, a counselor at Alameda Community College and an El Cerrito resident, was also one of many who attended the SFO protest. She said one of her students is in Yemen getting dental work and was supposed to arrive Monday but still has not returned.
"I could not sit at home today," Shaughnessy said, crying. "It's time to take to the streets. It's time to be loud. It's time to say no."
California District 11 State Sen. Scott Wiener attended the protest as well, emphasizing the need to oppose the executive order. He said he was there to put "enormous pressure" on SFO.
"Now's the time to stand up to the evil," Wiener said. "The immigrant community and diversity are our strengths, and we have to get rid of this government."
Berkeley College Republicans treasurer David Craig, who was not at the protest, said he was unaware of the details of Trump's executive order and could not speak to its impact on UC Berkeley students.
He said, however, that people have "the perfect right" to protest and that he supported them voicing their opinions, as long as they remained peaceful.
"America has a great tradition of nonviolent protests," Craig said. "It's great that we have the opportunity to voice ourselves on the public forum."
ASUC President Will Morrow expressed his horror at the ban and emphasized his support for UC Berkeley students affected by Trump's new immigration policy. He also referred students to the Undocumented Students Program, which issued a fact sheet with resources to assist students affected by the executive order.
"This ban is not only a threat to (our university) as an institution of global learning — it is a threat to the basic humanity of many of our students," Morrow said. "I am committed to making sure that students who are impacted by these executive orders have their concerns brought up to administration (and) to folks at the office of the president."
Contact The Daily Californian News Staff at [email protected].
Alameda Community College
ASUC President Will Morrow
Berkeley International Office
Jake Grumbach
Mary Shaughnessy
National Lawyers Guild
Nina Farnia
San Francisco Airport
State Senator Scott Wiener
Sumayyah Din
Undocumented Students Program
Trump executive order threatens Berkeley sanctuary, but city stands firm
The executive order, "Enhancing Public Safety in the Interior of the United States," added thousands of agents to Immigration and Customs Enforcement and would strip federal grant money from sanctuary cities that refuse to enforce federal ICE policy — a promise Trump frequently made throughout his presidential campaign.
Students, community process Donald Trump victory in search of reconciliation
With the campus erupting into protests after Donald Trump's election Tuesday night, campus leadership is calling for unity, mutual respect and solidarity as the community and country regroup after a divisive — and, for many, devastating — campaign season.
Graduate Assembly President Iman Sylvain tenders resignation
Iman Sylvain submitted her resignation from her role as Graduate Assembly president Monday, according to an email from GA Internal Vice President Kena Hazelwood-Carter.


text:
Didogobius schlieweni is een  straalvinnige vissensoort uit de familie van grondels (Gobiidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1993 door Miller.

De soort staat op de Rode Lijst van de IUCN als Onzeker, beoordelingsjaar 2007.

Gobiidae
IUCN-status niet bedreigd

redpajama_set_name: RedPajamaWikipedia


text:
Pandemics, Warnings
COVID-19 is just the first – we face the prospect of pandemic after pandemic
December 8, 2020 Marshall Brain	Leave a comment
How Climate Change Is Ushering in a New Pandemic Era – A warming world is expanding the range of deadly diseases and risking an explosion of new zoonotic pathogens from the likes of bats, mosquitoes, and ticks
This paragraph paints a picture of what humanity has lost due to COVID-19:
Covid-19 likely emerged from the wilds near southern China, then found residence in horseshoe bats before making the jump to humans. The virus, as of this writing, has infected 63 million people and caused 1.5 million deaths around the world. The global economic impact of the pandemic was estimated at $8 trillion to $16 trillion in July 2020 — it may be $16 trillion in the U.S. alone by the fourth quarter of 2021 (assuming vaccines are effective at controlling it by then). The amount of human suffering this tiny microbe has caused is incalculable: lost loved ones, vanished jobs, broken families, and lingering sickness from a virus that will eventually retreat but will never disappear.
But the future could be much worse:
But the biggest impact may be on the emergence of new pathogens from animals. Through intensive agriculture, habitat destruction, and rising temperatures, we are forcing creatures to live by the cardinal rule of the climate crisis: adapt or die. For many animals, that means migrating to more hospitable environments. In one recent study that tracked the movement of 4,000 species over the past few decades, as many as 70 percent had moved, almost all of them seeking cooler lands and waters. Some animals have made big leaps. Atlantic cod have moved more than 120 miles per decade. In the Andes Mountains in South America, frogs and fungi species have climbed a quarter mile higher over the past 70 years. In Alaska, hunters are discovering parasites from more than 950 miles southeast in Canada, alive under the skin of wild birds (tiny parasites adapt better to rapidly changing temperatures than large animals). Great white sharks are turning up as far north as Maine. "A wild exodus has begun," writes Sonia Shah in The Next Great Migration. "It is happening on every continent and in every ocean."
Somehow humanity has to stop doing what it is doing and become responsible stewards of the planet. But can humanity do this?
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Flexible Support
Managed Staffing
We're Launching a Monthly Contribution Meetup!
Tags:Drupal Community,Open Source Contributions,Announcements,News
We've mentioned before that we've been having conversations internally about how we can step up our contribution efforts. Our team members have been working on some of the ideas that have emerged from these conversations, and we're happy to say we're now putting some of these plans in action.
So far, we've built a team of volunteers to help with this initiative. These individuals will lead meetups and calls, manage the initiative, and rotate these responsibilities among them.
"Our objective is to get more people from within Axelerant to contribute to Drupal regularly, and also to help those who have not been able to contribute with getting started," says Parth Gohil, People Operations Manager, Axelerant.
Contributing is empowering and gratifying—when it's done in a sustainable way.
For developers, contributing regularly is not just an obligation; it makes them competent and keeps them up to date with the community and technology. You learn a lot from contributing, whether it's while preparing for session submissions or reviewing and contributing patches.
Our goal is not merely to increase the number of contributions but to build long lasting contribution habits and amplify the mentoring spirit.
Sushil Hanwate, Drupal Engineer
In other words, we don't just want to increase the number of contributions but to increase the number of consistent contributors and mentors.
Encouraging people to contribute begins with understanding what's stopping them.
That's what we set out to discover with our first monthly contribution meetup, led by Sushil on July 30th, 2019.
This call, to be held every month for Axelerant team members, will be a place where individuals can share their experiences with contributing and any obstacles they've faced, as well as ask for support.
"I was always thrilled about contributing modules and patches but did not seem to find the time, confidence or motivation. After speaking to some colleagues, I found out that these problems were not unique," he says.
Sushil wanted to start a group for people like him who need a little support to improve their contribution habits.
The initial response has exceeded our expectations.
The first objective of our initiative is to isolate common problems. And through the conversations we've been having, we've found that a lot of people are interested in contributing back to the community in their own way.
These are some of the top reasons why people aren't able to contribute.
Some of the challenges that emerged from this conversation are:
QA engineers often face challenges contributing due to a lack of technical knowledge about site building, installation, applying patches, etc.
New contributors often experience a lack of confidence or a lack of knowledge about the process.
Understanding the context surrounding a particular issue takes a lot of time because of long comment threads as well as unfamiliarity with Contrib modules.
When it comes to session submissions, some individuals may not know where to start or face problems choosing the right topic.
Being active on support channels or websites can be intimidating for some due to a lack of confidence/knowledge about the process.
General impediments in contribution practices include:
Different priorities, lack of motivation, procrastination
Self-doubt, lack of confidence
Here's how we're making it easier for our team members to contribute.
We're building and maintaining a list of issues that individuals can quickly get started with.
"To allow first-time contributors to quickly get their feet wet, our volunteer team has put together a triaged issue list," says Parth.
This list consists of issues that are easy to understand, and which do not have a long history that contributors need to immerse themselves in before getting started
Apart from the triaged issue list, we've also appointed people who can approve and merge requests immediately.
And finally, there's support available from assigned mentors each month for those who need it.
Here are some other things we're doing already to boost contributions from our team members:
Sponsoring mentored contribution sprints (we did this at DrupalCamp Delhi 2019).
Incentivizing contributions by making them part of individuals' KPIs.
Encouraging a contribution-first approach in engineering practices. For example, instead of creating a project-specific custom module, we build a generic module and contribute it (or use an existing contributed module), and then create another custom module for personalized requirements.
What else can we do to encourage contribution?
Here are some other things we'd like to try in the future:
Allowing a few dedicated hours per week for contributions.
Tracking contribution statistics per year or per quarter for the organization and for individuals, and retrospecting and publicly recognizing people on the progress they make.
Getting a small percentage of the project budget approved for contribution efforts.
At the same time, we're aware that we people need to be able to do this at their own pace.
Rather than pressuring our team members to contribute more, faster, we're simply looking forward to getting our contribution engine going in a sustainable way.
Parth Gohil, People Operations Manager
And we'll scale this up as and when we're able.
There are plenty of Drupal developers in India but very few of them are regular contributors. "We're hoping that with an initiative like this, we might be able to boost this number substantially," says Sushil.
Axelerant Editorial Team
The Axelerant Editorial Team collaborates to uncover valuable insights from within (and outside) the organization and bring them to our readers.
We're ready. It's time to see what we can accomplish, together.
Axelerant
Open Handbook
Acquia Products
© 2022 Axelerant. All Rights Reserved.
Are we connected?


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Walter Schnee (8 August 1885 in Rawitsch, now Rawicz – 10 June 1958 in Leipzig) was a German mathematician. From 1904 to 1908 he studied mathematics in Berlin. From 1909 to 1917 he worked at the University of Breslau. He then went to the University of Leipzig, where he stayed till 1954. He worked in the field of number theory.

References

 Walter Schnee

1885 births
1958 deaths
People from Rawicz
People from the Province of Posen
20th-century German mathematicians


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Lecture by Heghnar Watenpaugh, September 9, 2019
Professor Heghnar Zeitlian Watenpaugh will speak at the Binghamton University Art Museum on Monday, September 9, 2019 at 4 pm. Her talk is entitled, "The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice," and draws from her recent book about the Zey'tun Gospels. Art history, histories of genocide, cultural heritage, and the questions of the continuity of the medieval and the modern intersect in the biography of this medieval Armenian Gospels manuscript. Eight of its illuminated pages were discovered in the J. Paul Getty Museum in 2010, prompting a lawsuit. The tale of the separation of the pages from the manuscript tells a story of genocide and survival, and makes the case for a human right to art. Heghnar Zeitlian Watenpaugh is Professor of Art History at the University of California, Davis. She researches the visual cultures of the Middle East, including issues of architectural preservation, museums, and cultural heritage.
Hosted by the Middle East and North Africa Studies Program (MENA). Generously co-sponsored by the Institute for Genocide and Mass Atrocity Prevention (I-GMAP), the departments of Asian and Asian American Studies, Art History, and Classical and Near Eastern Studies, the Center for Medieval and Renaissance Studies, the Material and Visual Worlds TAE, and the Binghamton University Art Museum.
Undergraduate Activities: Congratulations to our 2019 graduates!
May 29, 2019 May 29, 2019 / Binghamton University Department of Art History	/ Leave a comment
L-R: Emily Greenberg, Annemarie Maag-Tanchak, and Erin Livingston celebrate at commencement.
The Art History department congratulates this year's graduating BA students!
Olivia Baerga
Marisa Davila
Jennifer Dioguardi
Emma Fishbein
Emily Greenberg
Erin Livingston (honors)
Annemarie Maag-Tanchak
Keara McAdams
Lauren Rachel Poretsky
Thomas Rice
Sabrina Soffer
Alicia Wilcox Walker of Bryn Mawr to deliver 2019 Ferber Lecture on Wednesday 13 March
Associate Professor Alicia Wilcox Walker (History of Art, Bryn Mawr College) will deliver the 2019 Ferber Lecture as part of the Spring 2019 VizCult Dean's Speaker Series, 5:00 PM on Wednesday 13 March in FA 143. Entitled "Erotic Images, Christian Eyes: Seeing with the Body and Soul in Byzantium," her talk explores how the Greco-Roman tradition contributed in meaningful ways to Byzantine paradigms of female behavior, self-understanding, and comportment. Female characters of antique myth and epic remained relevant in the Byzantine world because they provided compelling models for how corporeal beauty and sexual allure might be advantageously deployed, as well as cautionary examples of how people who engaged with these powerful forces might be corrupted. Her paper explores how Byzantine women's bodies were put in dialogue with visual and textual portrayals of pagan goddesses and heroines, and how these practices changed in fundamental ways from the early to middle Byzantine eras.
Applications for the Binghamton DHRI due February 20
February 18, 2019 February 18, 2019 / Binghamton University Department of Art History	/ Leave a comment
Reminder: Applications for the Binghamton Digital Humanities Research Institute (DHRI) are due on February 20! The Binghamton DHRI is a 4-day intensive workshop aimed at Binghamton University faculty and advanced graduate students who are interested in or curious about the digital humanities. Prior experience is not required. The institute will include seminar-type sessions oriented around critical discussion and hands-on workshops that will introduce the software and tools that are central to digital humanities practices. Topics will include data visualization, mapping, text analysis, platforms for digital publishing, and more. The Binghamton DHRI is hosted by the Binghamton University Libraries and co-sponsored by the Center for Learning and Teaching, the Institute for Advanced Studies in the Humanities, The Graduate School, Harpur College of Arts and Sciences, and the Office of Undergraduate Education.
For more information, visit the DHRI website or contact Nancy Um or Amy Gay.
Upcoming Data Salon – Nancy Um presents "Data and the Future of the Humanities: Cases from Digital Art History"
November 14, 2018 November 14, 2018 / Binghamton University Department of Art History	/ Leave a comment
Screenshot, artistsinparis.org
This data salon will be held in LN-1302C (Zurack Hi-Technology Collaboration Center) at 12 pm on Monday Nov. 19. Lunch will be provided.
Description: Researchers in the humanities are actively exploring new technologies and innovative computational methods to reinvigorate long-standing approaches to the study of literature, art, culture, and society. Brought together under the umbrella of the digital humanities, these initiatives have opened up a new set of analytical pathways for scholars across history, art history, literature, philosophy, and other disciplines. They have also brought humanities scholars into direct communication with those in otherwise distant disciplines, such as computer science, geography, and mathematics. In this talk, we will explore the goals and methods of the digital humanities, using cases from art history as springboards. We will also highlight the ways in which the core practices of the digital humanities intersect, but also diverge from the goals and outlook of other domains in data science.
Julia Walker at IASH
October 12, 2018 October 12, 2018 / Binghamton University Department of Art History	/ Leave a comment
Julia Walker will be speaking at the Institute for Advanced Studies in the Humanities (IASH) on Wednesday, October 17 at 12:00 in LN 1106. Her paper is titled "'Form is nothing but emptiness, emptiness nothing but form': Brigitte D'Ortschy and Frank Lloyd Wright in Germany, America, and Japan." All are welcome to attend.
This paper examines the understudied German architect and planner Brigitte D'Ortschy. Born in Berlin, D'Ortschy spent much of her architectural career in Munich, first at the Technische Universität and later as a founding member of the Bavarian Committee for Urban and Regional Planning. Yet in between, she came in contact with Frank Lloyd Wright, in whom she would find a resonant intelligence—one who privileged the mental and spiritual in architecture and one who contemplated the powerful effects of silence, space, and absence. Her interactions with Wright, I aim to show, laid the groundwork for her later pursuit: becoming a Zen master of the Sanbo Kyodan school in Japan. Through analysis of D'Ortschy's essays, letters, talks, and photographic archives, this paper reveals her intensive engagement with Wright's ideas, from his theory of "organic architecture" to his thinking about the importance of flow and continuity in architectural space. I hope to show that D'Ortschy's developing interest in Zen and Japan, aided by Wright's philosophy, led her to view architecture as yet another form of the ideal "emptiness" she sought in spiritual contemplation.
The Path of Tolerance: September 29-October 9
September 17, 2018 September 18, 2018 / Binghamton University Department of Art History	/ Leave a comment
Binghamton University will host The Path of Tolerance, a sponsored public art exhibition featuring over 90 works of art from contributors worldwide. The exhibition will be on view from Sept. 29 through Oct. 9, on the Lois B. DeFleur walkway, between the Glenn G. Bartle Library and the Fine Arts Building, on campus. Binghamton will be the first major institution to present the full Tolerance collection in the United States, and the first to exhibit the pieces directly on the ground. This public exhibition originated from a larger project initiated by renowned graphic designer and illustrator Mirko Ilić, who will lead an opening tour of the exhibition at 2 p.m. Saturday, Sept. 29 on the Lois B. DeFleur walkway. This growing exhibition – initially starting with just 21 pieces and now boasting 93 – features artwork based on the theme of tolerance. Each artist is only given dimensions and minimal instructions to follow. Their piece must include their signature, the name of their country and the word "tolerance" in their own language. To make this exhibition possible at Binghamton University, Blazo Kovacevic, associate professor of art and design, selected an appropriate location and printed the images onto specially made outdoor material. Prints will be installed directly onto the pavement as stickers along the Lois B. DeFleur walkway for students to see while walking to class. Families and alumni will be able to see the artwork as well, as the exhibition is running through Family Weekend and Alumni Week.
Other collaborators have shown similar exhibitions all over the world. In Turkey prints were installed in a mall, in Madrid they hung off an overpass, and in Slovenia images were enlarged to fill billboards throughout the city.
For further information, contact Blazo Kovacevic at bkovacev@binghamton.edu. This
exhibition is organized by Binghamton University Department of Art and Design and is
supported by the Elsie Rosefsky Memorial Endowment.
Art + Feminism Wikipedia Edit-a-thon, April 21, 2018
April 18, 2018 April 18, 2018 / Binghamton University Department of Art History	/ Leave a comment
The Binghamton University Libraries is hosting the Art + Feminism Wikipedia Edit-a-thon on Saturday, April 21, 2018, 1-5 pm, in the Zurack Collaboration Center. Register here: http://libcal.binghamton.edu/event/4047879?hs=a
Material and Visual Worlds TAE Spring Speaker Series
Next VizCult: Esra Akcan, Cornell University, Today
November 1, 2017 November 1, 2017 / Binghamton University Department of Art History	/ Leave a comment


If one were to name just one person from our film industry from the last fifty-eight years who was famous and infamous, popular and yet disliked in some quarters, rich but greedy, benevolent, confident, notorious, royal, well-dressed yet often over done (Read: make-up), it has to be Noorjehan. From 1923 or 1929(her National Identiy Card was tempered turning 1923or 1925 into 1929) to 2000, Noorjehan's life was full of hangama and hallagulla. She never ever had a quite moment in her life except for the last couple of years during her serious illness at Karachi. Born as Allahwasai, Noorjehan was first seen as child star in PIND DI KURI (1935) and this was followed by HEER SAYAL, SASSI PUNNO, YAMLA JATT, and GUL BAKAOLI, Leaving childhood behind, CHAUDHRY was her major film as a leading lady. She worked in Lahore, Calcutta (now Kolkata) and Bombay (now Mumbai). Shaukat Hussain Rizvi was a film editor in Calcutta who was called in at Lahore for editing and later directing KHAZANCHI. He was a gorgeous hunk and there was no reason why Noorjehan would not fall instantly for this young man. I guess it was love at first sight. This was followed by Shaukat Rizvi turning to direction in KHANDAN and the romance ended up with Shaukat and Noorjehan getting married (which has been explained in spicy details by Minto in Noorjehan-Saroor Jehan). Shaukat and Noorjeahn were to work together as part of a team in DOST, NAUKAR, ZEENAT and JUGNU. Noorjehan's other major titles from that period as actress/ singer include ANMOL GHARI (directed by Mahboob Khan), LAL HAVELI, GAON KI GORI, BHAI JAN BARI MAA, NADAN, DIL and MIRZA SAHAIBAN. After Independence, the couple migrated to Lahore and together made CHUNWAY (directed by Shaukat but credited to Noorjehan for her overall control in a Punjabi film). Noorjehan's independent ventures as actress included DUPATTA, GULNAR, INTEZAR, LAKHT E JIGAR, NEEND, ANARKALI, KOEL GHALIB in Urdu and PATEY KHAN, PARDES, NOORAN and CHOOMANTAR in Punjabi. GHALIB was her last film as an actress, followed by a beginning as the most popular, notable, rich and demanding playback singer in Pakistani filmhistory.
Noorjehan was never a good actress and it was her voice, which sustained her till GHALIB. After arriving in Pakistan, the priority for Shaukat and Noorjehan was neither direction nor acting or singing but making a film studio. In 1948 the deserted and burnt- down film studios of Shorey on Multan Road Lahore was allotted to Shaukat and Noorjehan and it came up as Shahnoor and would always hold the prestige of Pakistan's first film studio. Noorjehan had a wild record of romances and flurting. Her marriages with Shaukat and Ijaz Durrani ended in messy divorces and lengthy child custody battles due to that very reason. It has been reported that Noorjehan was so determined to leave Shaukat that she agreed to trade in a divorce for her share in the Shanoor Studios.Even if one was to skip her infamous and notorious past in Calcutta, Bombay and pre-partition Lahore, Her post – Independence famous affairs with crickerter Nazar (he had to loose one leg and a glowing career in cirkcet by jumping off the window after Shaukat raided the place), producer-distributor Naseem, director Anwar Kemal Pasha, actor Aslam Pervez,director Hassan Tariq, composer Nazir Ali, actor Yousaf Khan, President General Yahya Khan and much more is now part of the history. Now that she has gone, decency and good taste prevents us from going into more details.
Noorjahan was a worldly woman in every sense of the term. She was intelligent, stubborn and foul-mouthed. She was greedy and never ever spared a producer for her astronomical fee as a playbacksinger. Sometimes she would charges it in advance for songs yet to be rendered. Then she would shower that money on her children. The producer may or may not be broke, but Noorjehean would give zakat at her Gulberg residence regularly to poor and needy.
She was monopolistic and would not let any other singer or composer stand in her way (the list of people who faced her wrath ranges from Runa Laila to Nisar Bazmi to Humaira Chunna to Tahira Saeed). She wanted total obedience from everyone in the film trade and outside and those who did not go by her order were the outcasts. She recorded songs in bulk, giving no consideration to her voice quality or her being selective. Once offended by a producer-director-writer-journalist, she yelled at him in the studios, threatening that she would take off his pants right on the fountain of the studios.
Notable Indian journalist Kuldip Nayyer once asked her the number of songs she had rendered. Noorjhena replied"Nayyer Sahab, mei ney apney gano aur gunahoon ka hisaab nahi raka. Mujhey umeed hai key pehley ki liya mujhe aap aur dosrey key liye mujhey mera Khuda maaf kar dey ga (I have not kept account of my songs and sins. I hope you would forgive me for the first and my God would forgive me for the later). She once accompanied actress Zamurd to famous Haji Karim Buksh department store in Lahore. On being attracted by a new tea set with tea cups in different colours, she remarked in Punjabi "kiney soneh lagdey ney wakhrey wakhrey,kangri di aulad vergey"( look so beautiful in different colors like offspsrings of a whore). She was once invited by a Federal Secretary to participate in a music competion in London. She insisted that she must be given two First-class tickets for herself and her son and an economy ticket for her maid and then remarked" people grabbed land in murabas from the government aur mujhey to government sey saeb ka muraba bhi nahi mila(I didn't even get apple jam from the government) .
Coming to her forte in music, she did have a brilliant voice, comparable only to Lata. The list of her outstanding songs is long and yet she added so much to the mediocrity in film music by singing three songs in a day and charging in cash and often in advance from the downtrodden producer. If one the one hand she would demand her payment in advance or increase her amount at the beginning of a live show abroad, her other aspect is there too. Once in Dhaka, she performed for the dignitaries where the hotel staff was not invited. . The waiters were sad as Madam was leaving for Lahore next day. Madame cancelled all her commitments in the evening and held a special performance in the hotel for waiters and hotel staff and sang her heart out till the early hours of the morning. She did have heart for under-privileged and she would go to any length to bring laughter and pleasure for them. She loved her children more than she loved anything else. She would regularly go to Muree to meet her daughters in the boarding school, not withstanding the difficult journey from Lahore to Muree and her urgent recording commitments-children came first.
When the chips were low for her in the film trade (Read:Mehnaz and Naheed Akhtar ruling the filmmusic scene), she recorded two series of musical programme Tarannum for PTV. She was once asked why she appeared on TV. "Kiya aap ko bura laga"(did you mind my coming on TV). She vividely recalled her duet with Rafi in GUJNO, filmed on her and Dilip Kumar and praised Rafi. She also praised Lata many times. There was a time when she would remember the lyrics by heart in no time and Roshan Ara Begum described her as Siahi Choos (Blotting Paper).In her later years,she re-wrote the lyrics with marker.
Going through down memory lane, I have compiled a list of some of her best songs, which I like. One cannot forget her a sad number filmed on her in GUJNO "Aj ki raat" composed by Feroz Nizami."Terey mukhrey tey kala kala dil" by Feroz Nizami, filmed on her in CHUNWAY "Sagir roey lehreen shor machain" from KOEL and "Ankh sey ankh mila ley" from INTEZAR, composed by Khursheed Anwar were also filmed on her."Sada hoon apney pyar ki" filmed on her in ANARKALI."Chun chun bajey payal bajey"composed by Rashid Attrey in NEEND And then come Noorjehan , the playback singer. "Baharo na ab hum ko awaz dena" from QAIDI, composed by Rashid Attrey and filmed in a serene mood on Shamim Ara and Darpan on a boat. "Sub dagh-e-dil chiragh bana ker jala deye", composed by Master Inayat Huusain and filmed on Neelo in AZRA. "Gaey gi duniya geet merey" composed by Rashid Attrey for his own production MOSIQAR and filmed on the streets on Sabiha."Lut uljhi suljha ja rey balam"composed by Rashid Attrey in SAWAL and filmed so well by Hassan Tariq on Sabiha. Zeba was seen singing:"Ho tamana aur kiya jane-e- tamna aap heen" composed by Nisar Bazmi for AISA BHI HOTA HAI. "Bari Mushkil sey huwa","Chalo acha huwa tum bhool gaey" and "Man mandir key devta" all from LAKHOH MEI EIK,composed brilliantly by Nisar Bazmi and filmed on Shamim Ara. Josh Malihabad 's symbolic poetry came with AAG KA DARYA in "Huwa sey moti baras rahey haeen" composed by Ghulam Nabi and filmed in the scenic outdoors on Shamim Ara. Nayyer Sultana is a widow in BAJI and a breeze comes in her sad life with "Dil key afsaney nighaoon ki zaban " in BAJI. Nighat Sultana was so tragic in SUSRAL as crippled bride crying "Ja apni hasratoon pey ansoo baha key so ja" composed by Hassan Lateef. Noorjehan,Rashid Attrey and Shamim Ara did full justice to Faiz Sahab in Qaidi with "Mujh sey pehli si mohabat merey mahboob na mang" Then there are more Punjabi numbers "Buey dil dey",composed by Rashid Attrey and filmed on Firdaus in MIRZA JATT or still a popular melody from SALA SAHAB composed by Wajahat Attrey and filmed on Mumtaz and Ali Ijaz in SALA SAHA "Mei tey mera dilbar jani".
With JUGNO, she gave me popularity and herself left for Pakistan. The film proved my comeback and I owe it all to Noorjehan.
We were together in YAMLA JATT and she was 12 at then. We were together again in KHANDAN. There is no other singer like her and hear all her songs.
Her patriotic songs during 1965 are heartwarming and these songs still move me.


text:
The Living Daylights (titulada 007: Alta tensión en España y Su nombre es peligro en Hispanoamérica) es una película británica de 1987, la decimoquinta correspondiente a la saga de James Bond y la primera en protagonizar Timothy Dalton como el agente del MI6 James Bond, en sustitución de Roger Moore. El nombre del filme fue tomado del cuento de Ian Fleming "The Living Daylights" del libro Octopussy and The Living Daylights. Fue la última película en usar el título de una historia de Ian Fleming hasta Casino Royale en 2006.

En la película, Bond actúa como un francotirador para proteger un desertor soviético, Georgi Koskov. Este le dice a Bond que el General Pushkin, jefe de la KGB, está asesinando sistemáticamente a agentes británicos y estadounidenses. Cuando Koskov es aparentemente secuestrado de vuelta, Bond le sigue a través de Europa, Marruecos y Afganistán.

La película fue dirigida por John Glen y producida por Albert R. Broccoli y Michael G. Wilson. The Living Daylights contó con un presupuesto de 40 millones de dólares y generalmente fue bien recibida por la mayoría de los críticos y también fue un éxito financiero, recaudando $191,2 millones en todo el mundo.

Argumento
En la secuencia pre-créditos, los agentes secretos 002, 004 y 007 son enviados a una misión de entrenamiento en Gibraltar, que consistía en infiltrarse en una estación de radar vigilada por soldados del Special Air Service (SAS). 002 (Glyn Baker) pierde la prueba mientras que 004 (Frederick Warder) intentando escalar un monte es asesinado por un falso 00 (Carl Rigg). El asesino se da a la fuga y 007 (Timothy Dalton) lo persigue en un camión hasta hacerlo caer a un acantilado. Bond se salva con su paracaídas y antes de informar lo sucedido cae en un yate donde decide pasar un momento romántico con una chica (Belle Avery).

En Bratislava, Eslovaquia —entonces Checoslovaquia—, Bond y su compañero Saunders (Thomas Wheatley) vigilan a un alto dignatario de la KGB: el general Georgi Koskov (Jeroen Krabbé), un desertor del mismo, a la vez Bond observa a una hermosa chelista y luego ambos se dirigen a un edificio aledaño para fingir un atentado contra Koskov pero la chelista intenta tirar con rifle a Koskov y Bond dispara a su rifle rozándole su muñeca. Ayudados por Rosika Miklos (Julie T. Wallace), Bond hace que Koskov escape por un tubo de gas que pasa por la frontera y es recibido por Q (Desmond Llewelyn) en Austria y después el desertor huye en un avión, Saunders enojado amenaza a Bond de quejarse con M por no matar a la francotiradora.

Más tarde en el MI6, Q busca a las asesinas de la KGB pero ninguna coincide con la vista por Bond y este pide a Moneypenny (Caroline Bliss) investigar a la chelista. Bond llega a una pequeña mansión campestre donde en un salón se encuentra con M (Robert Brown), el ministro de defensa Sir Frederick Gray (Geoffrey Keen) y Koskov quien dice que el responsable de su deserción es su superior el General Leonid Pushkin, sucesor del General Gogol. Koskov muestra un papel con una orden de Pushkin: Smiert spionam (Muerte a los Espías) con una lista de agentes que serían asesinados. Bond y sus superiores abandonan la mansión sin saber que un asesino (y aparente espía de la KGB) llamado Necros (Andreas Wisniewski) se ha infiltrado en la propiedad y disfrazado primero de repartidor y después de médico da muerte a varios empleados y se lleva a Koskov en un helicóptero. Al saber del ataque en la mansión, M envía a Bond a eliminar a Pushkin pero Bond no está seguro y M muestra a Bond el mensaje encontrado en el cadáver de 004 en Gibraltar: Smiert spionam (Muerte a los Espías) y le reclama además del informe de Saunders: no haber matado a la chelista francotiradora. Según Bond, además de conocer a Pushkin, de quien duda que esté detrás del ataque a la mansión, instintivamente tomó la decisión de no matarla y M lo amenaza con enviar a 008 para que matase a Pushkin ya que 008 "No conoce a Pushkin y sigue órdenes, no instintos" pero Bond aun así acepta su misión. Después Bond llega al laboratorio de Q donde le da un gadget: un Llavero buscador de Philips; dispositivo magnético que se activa cuando 007 silba las primeras notas de 'Rule Britannia', y expulsa un gas soporífero capaz de aturdir un oponente durante 30 segundos, siempre y cuando esté a menos de un metro de distancia. También incluye un explosivo plástico altamente concentrado que se detona cuando 007 hace el silbido insinuador y también con capacidad de abrir el 90% de las cerraduras del mundo mientras que Moneypenny consigue la información de la chelista: Kara Milovy.

Antes de ir a Tánger por Pushkin, Bond viaja de nuevo a Bratislava para encontrar a Kara Milovy (Maryam d'Abo) y la sigue hasta el tranvía donde ve cómo agentes del KGB la llevan a un coche donde la espera Pushkin (John Rhys-Davies), Bond llega a la estación del Tranvía donde teniendo el chelo de Milovy observa el rifle usado por ella la semana anterior y observa las balas eran de salva a la vez que descubre su dirección. Al día siguiente Milovy vuelve a su hogar donde encuentra todo en desorden y se encuentra con Bond quien se hace ver como amigo de Koskov y descubre que las balas del rifle usado por Milovy eran de fogueo para que la deserción de Koskov fuese real y cuenta que Pushkin la tuvo retenida para averiguar el paradero de Koskov, Bond descubriendo que Milovy es la novia de Koskov le dice que se encuentra a salvo y le pide huir con él para encontrarse con su novio. Ambos escapan de Brastilava en el Aston Martin hasta Viena usando los gadgets del coche contra los policías y soldados de la frontera y usando el estuche del Chelo como trineo para escapar.

Mientras tanto, en Tánger, Puskin visita al mercenario Brad Withaker (Joe Don Baker) para cancelar un negocio de armas con él. Withaker es un megalómano aficionado a la guerra con réplicas de grandes líderes militares (Adolf Hitler, Atila, Napoleón…), prototipos de armas y dioramas de guerras. Al llegar a Viena sano y salvo junto con Kara, ambos llegan a un hotel para hospedarse, y asisten a una ópera. En el transcurso de la película, Bond y Kara se van enamorando. Por otro lado Withaker quien tenía en su hogar a Koskov y a Necros les informa del movimiento de Pushkin y Koskov confía en que Bond elimine a Pushkin, de no hacerlo Necros se encargaría de tal tarea y este es enviado también a Viena. Estando en la casa de Ópera de Viena, Bond comenta a Saunders que la deserción de Koskov era una mentira para desinformar lo que deja sorprendido, además que Kara no es francotiradora sino la novia de Koskov, y Bond le pide sacar documentación falsa para poder salir de Austria. Mientras Kara entra a una tienda de regalos en la feria, 007 va a un restaurante pequeño para reunirse con Saunders, el cual le comenta a Bond que Withaker está detrás del complot pero cuando Bond salía Necros disfrazado de vendedor de globos activa una bomba matando a Saunders y uno de los globos poseía el mensaje Smiert spionam.

En Tánger, Marruecos, Bond acude a interrogar a Pushkin para averiguar cuáles son sus intenciones, Bond duda en eliminarlo sin antes conocer su verdadera versión. Después de descubrir que la versión narrada sobre Koskov era una mentira ya que este sería arrestado por malversación de fondos, y con eso que tenía motivos personales por eliminar a Pushkin, Bond y el jefe de la KGB llegan a un acuerdo para fingir que 007 ha asesinado a Pushkin. De esta manera Bond pretende atraer a Koskov hacia él. El plan es llevado a cabo con Necros como testigo y el plan cambia cuando su amigo de la CIA, Félix Leiter (John Terry) interviene, y se une a Bond con la misión. Mientras Koskov celebra con Withaker y Necros la presunta muerte de Pushkin recibe una llamada de Kara quien cree que Bond es agente de la KGB que quiere capturarlo. Al regresar al Hotel de Tánger, Bond confiesa que es agente y no amigo de Koskov y después cae en la trampa y es capturado junto con Kara por Necros y Koskov y posteriormente en un avión Hércules. Bond y Kara observan que a través de hielo, Koskov contrabandea diamantes y afirma que su misión en la KGB era desinformar al MI6.

La pareja es llevada a una base militar soviética en Afganistán, donde se realizaba en secreto un contrabando de droga. Koskov entrega a Bond acusándolo de matar a Pushkin y a Kara de desertora. Escapan de la prisión, gracias al llavero que Q le había dado y se topan con la resistencia terrorista de Afganistán, lideradas por Kamran Shah (Art Malik). Bond le pide ayuda para detener a Koskov y a sus cómplices, pero el líder terrorista afgano se niega a sacrificar más hombres, ya que se encontraba ocupado por la guerra que tenían contra los rusos. Durante el amanecer, Bond se disfraza de terrorista afgano y acude solo a enfrentarse a los rusos a la vez que descubre que Koskov está detrás del contrabando de diamantes y el tráfico de opio quien compra este último para luego venderlo en los barrios pobres de Estados Unidos y obtener grandes sumas de dinero y una parte del dinero sería usada para la compra de armas ultramodernas de Withaker las cuales serían usadas en contra de los británicos y los afganos. Kara decide ir a ayudarlo, mientras que Kamran, quien fuera salvado por el mismo Bond durante su estancia en la prisión, se decide a ayudarlo también. Al entrar a un avión Coloso de la fuerza aérea, Bond esconde una bomba dentro de un costal junto a la droga transportada. Al ser descubierto por un soldado y por Koskov, Bond golpea al soldado y le arrebata su ametralladora, con la que dispara sin parar a los rusos para mantenerlos a raya mientras él toma el avión. Entonces, los terroristas llegan al ataque contra los hombres de Koskov destruyendo prácticamente la base soviética. Kara sube a un Jeep y logra entrar al avión para reunirse con 007. Mientras Kara tomaba el control del avión, Bond va a desactivar la bomba, pero se lo impide la intervención de Necros, quien había conseguido introducirse también en el avión. Tras una fuerte y tensa lucha, finalmente Bond consigue deshacerse de él haciéndolo caer desde el avión. Bond lanza la bomba hacia un puente, donde las tropas rusas que perseguían a los terroristas muyahidines caen vencidas.

Kara y Bond llegan a Karachi, Pakistán para hospedarse luego de bajar con dificultad del avión al cual se le había acabado el combustible y tras estrellarse el avión Withaker perdía su droga. Durante una operación nocturna en la mansión ayudado por Leiter, Bond mata a Whitaker utilizando el llavero que le dio Q en su laboratorio. Segundos antes de ser ametrallado por uno de los hombres de Whitaker, Pushkin aparece y salva la vida de 007 al disparar contra el cómplice. Después de terminar con la misión, Pushkin arresta a Koskov y ordena a que lo envíen a Siberia. Kara termina tocando para el Conservatorio de Viena siendo después felicitada por M y el General Gogol (Walter Gotell) quien ahora dirigía Asuntos Exteriores y le consiguió una visa a Milovy y después es felicitada también por Kamran Shah y sus hombres, el guerrillero afgano pregunta por Bond y M le dice que está en una misión en otro país y Milovy va a su camerino donde se encuentra con Bond y pasan un momento romántico.

Reparto

Producción
Originalmente, la película fue propuesta para ser una precuela de la serie, una idea que eventualmente resurgió con el reinicio de la serie en 2006. SMERSH, la agencia de contrainteligencia soviética novelada que figuró en el Casino Royale de Fleming y varias otras novelas tempranas de James Bond, era un acrónimo de Smiert Shpionam, «Muerte a los espías».

Casting
En otoño de 1985, después de la decepción financiera y crítica de A View to a Kill, comenzaron los guiones para la próxima película de Bond, con la intención de que Roger Moore no volviera a interpretar el papel de James Bond. Moore, que en el momento del estreno de The Living Daylights, tenía 59 años de edad, optó por retirarse del papel después de doce años y siete películas. Albert Broccoli, sin embargo, afirmó que dejó a Moore coger el papel. En ese momento comenzó una búsqueda significativa de un nuevo actor para interpretar a Bond, entre ellos el neozelandés Sam Neill, el irlandés Pierce Brosnan y el galés Timothy Dalton para el papel en 1986. El coproductor Michael G. Wilson, el director John Glen, Dana y Barbara Broccoli "quedaron impresionados con Sam Neill y querían contratarlo". Sin embargo, Albert Broccoli no aceptó al actor.

Los productores eventualmente ofrecieron el papel a Brosnan después de una prueba de pantalla de tres días. En ese momento, fue contratado para la serie de televisión Remington Steele, que había sido cancelado por la NBC debido a la caída de los niveles de audiencia. El anuncio de que sería elegido para interpretar a James Bond causó un aumento en el interés en la serie, lo que llevó a la NBC a ejercer (menos de tres días antes de la expiración) una opción de 60 días en el contrato de Brosnan para hacer una nueva temporada de la serie. La acción de NBC causó repercusiones drásticas, como resultado de lo cual Albert Broccoli retiró la oferta dada a Brosnan, citando que él no quiso el personaje asociado con una serie de televisión contemporánea. Esto llevó a una caída en el interés en Remington Steele y sólo se grabaron cinco nuevos episodios antes de que el show fuese finalmente cancelado. El edicto de Broccoli fue que "Remington Steele no será James Bond".

Dana Broccoli sugirió, entonces, a Timothy Dalton. Albert Broccoli inicialmente se mostró reacio a la falta de interés público de Dalton por el papel, pero a instancias de su esposa acordó reunirse con el actor. Sin embargo Dalton pronto comenzaría a filmar Brenda Starr y así no estaría disponible. En el período intermedio, habiendo completado Brenda Starr, Dalton recibió nuevamente el papel, que aceptó. Durante un período, los cineastas tenían a Dalton, pero él no había firmado el contrato. Un director de casting persuadió a Robert Bathurst, un actor inglés que se haría conocido por sus papeles en Joking Apart, Cold Feet y Downton Abbey para la audición de Bond. Bathurst cree que su "audición ridícula" fue sólo "un ejercicio de despiste" porque los productores querían persuadir a Dalton para que asumiera el papel dejando entrever que todavía estaban audicionando a otros actores.

La actriz inglesa Maryam d'Abo, que también fue modelo anteriormente, fue elegida como la violonchelista checoslovaca Kara Milovy. En 1984, d'Abo había asistido a audiciones para el papel de Pola Ivanova en A View to a Kill. Barbara Broccoli incluyó a d'Abo en la audición para interpretar a Kara, la cual luego pasó.

Originalmente, el general del KGB creado por Koskov iba a ser el general Gogol. Sin embargo, Walter Gotell estaba demasiado enfermo para manejar el papel principal, y el personaje de Leonid Pushkin reemplazó a Gogol, que aparece brevemente al final de la película, trasladándose al servicio diplomático soviético. Esta fue la aparición final de Gogol en una película de James Bond. Morten Harket, el vocalista del grupo de rock noruego A-ha (que interpretó la canción del título de la película), recibió un pequeño papel como secuaz de un villano en la película, pero declinó, por falta de tiempo y porque sentía que lo quería debido a su popularidad en ese momento en lugar de su aptitud en la actuación.

Rodaje

La película fue filmada en los Estudios Pinewood en el habitual 007 Stage del Reino Unido, así como en Weissensee, en Austria. La secuencia del pretítulo fue filmada en el Peñón de Gibraltar y aunque la secuencia muestra a un Land Rover secuestrado viajando por varias secciones de la carretera durante varios minutos antes de estallar a través de una pared hacia el mar, la ubicación usó el mismo tramo corto de carretera en la parte superior de la roca, filmada desde numerosos ángulos diferentes. Las defensas de las playas vistas al pie de la roca en el plano inicial también fueron agregadas solamente para la película, a una área de otra manera no militar. La acción que implicaba el Land Rover cambió de Gibraltar al Cabo Beachy en el Reino Unido para el plano que mostraba el vehículo volando. Las pruebas de la trama con el Land Rover, durante el cual Bond se escapa en paracaídas desde el vehículo que cae, fueron filmadas en el desierto de Mojave, aunque el corte final de la película utiliza una secuencia realizado con un maniquí. Otras localidades incluyeron Alemania, Estados Unidos e Italia, mientras que las escenas del desierto fueron filmadas en Uarzazat, Marruecos. La conclusión de la película fue rodada en el Palacio de Schönbrunn, la Casa de la Ópera Volksoper en Viena y el Elveden Hall, Suffolk.

La fotografía principal comenzó en Gibraltar el 17 de septiembre de 1986. Los dobles aéreos B. J. Worth y Jake Lombard realizaron el salto de paracaídas de los precréditos. Tanto el terreno como el viento eran desfavorables. Se consideró que el truco se estaba haciendo usando grúas, pero el arreglista de acrobacias aéreas B. J. Worth se quedó con el paracaidismo y completó las escenas en un día. El avión utilizado para el salto era un C-130 Hércules, que en la película tenía la oficina de M instalada en la cabina del avión. El punto de vista inicial de la escena muestra a M en lo que parece ser su oficina habitual en Londres, pero la cámara luego se acerca para revelar que, de hecho, está dentro de un avión. A pesar de estar marcado como un avión de la Real Fuerza Aérea, el del plano pertenecía a la Fuerza Aérea Española y fue utilizado de nuevo más tarde en la película para las secuencias de Afganistán, esta vez con marcas "rusas". Durante este capítulo posterior, una pelea estalla en la rampa abierta del avión en vuelo entre Bond y Necros, antes de que Necros caiga y muera. Aunque la trama y las tomas anteriores sugieren que la aeronave es un C-130, la foto de Necros que se desprende de la aeronave muestra un avión de carga bimotor, un C-123 Provider. Worth y Lombard también duplicaron para Bond y Necros en las escenas donde están colgando en una bolsa en la puerta de carga abierta de un avión.

La prensa no conocería a Dalton y d'Abo hasta el 5 de octubre de 1986, cuando la unidad principal viajó a Viena. Casi dos semanas después de la segunda filmación en Gibraltar, la primera unidad comenzó a rodar con Andreas Wisniewski y el hombre de acrobacias Bill Weston. Durante los tres días que tomó para filmar esta pelea, Weston se fracturó un dedo y Wisniewski lo derribó una vez. Al día siguiente encontró a la tripulación en el lugar de Stonor House, doblando para la casa segura de Bladen, la primera escena que Jeroen Krabbé filmó.

Vehículos

La película volvió a reunir a Bond con el fabricante de automóviles británico Aston Martin. Después del uso de Bond del Aston Martin DBS en On Her Majesty's Secret Service, los cineastas se volvieron al nuevo Lotus Esprit en 1977 con The Spy Who Loved Me, que reapareció cuatro años más tarde en For Your Eyes Only. A pesar del estatus icónico del Lotus sumergible, el Aston Martin DB5 de Bond es reconocido como el más famoso de sus vehículos. Como consecuencia, Aston Martin regresó con su V8 Vantage.

Dos diferentes modelos de Aston Martin fueron utilizados en la filmación: un V8 Volante convertible, y más tarde para las escenas de Checoslovaquia, un Volante V8 de techo rígido. El Volante era un modelo de producción propiedad del presidente de Aston Martin Lagonda, Victor Gauntlett.

Música

The Living Daylights fue la última película de Bond cuya banda sonora corrió a cargo del compositor John Barry. La banda sonora se destaca por la introducción de pistas de ritmo electrónico secuenciadas sobrepuestas con la orquesta —en ese momento, una innovación relativamente nueva—.

La canción principal de la película, "The Living Daylights", fue coescrita con Paul Waaktaar-Savoy del grupo de música noruego A-ha y grabado por la banda. El grupo y Barry no colaboraron bien, resultando en dos versiones de la canción. La versión de Barry de la canción se escucha en la banda sonora (y en el álbum de grandes éxitos de A-ha, Headlines and Deadlines). La versión preferida por la banda se puede escuchar en el álbum de A-ha de 1988 Stay on These Roads. Sin embargo, en 2006, Paul Waaktaar-Savoy felicitó a Barry por sus contribuciones: "Me encantó el material que añadió a la pista, quiero decir que le dio este arreglo de cuerda genial, que es cuando, para mí, empezó a sonar como algo totalmente Bond". La canción del título es una de las pocas canciones principales de 007 que no se realiza ni se escribe por un músico británico o americano.

A diferencia de películas anteriores de Bond, The Living Daylights fue la primera en usar diferentes canciones en los créditos de apertura y fin. La canción que se escuchó sobre los créditos finales, "If There Was a Man", fue una de las dos canciones realizadas para la película por Chrissie Hynde de The Pretenders. La otra canción, "Where Has Everybody Gone?", se escucha desde el walkman de Necros en la película. The Pretenders fueron considerados originalmente para realizar la canción del título de la película. Sin embargo, los productores se mostraron satisfechos con el éxito comercial de "A View to a Kill" de Duran Duran, y sintieron que A-ha tendría más probabilidades de tener un impacto en las listas.

La versión original de la banda sonora fue lanzada en LP y CD por Warner Bros. y contó con sólo doce temas. Las reediciones posteriores de Rykodisc y EMI agregaron nueve pistas adicionales, incluyendo música instrumental de créditos finales alternativos. La versión de Rykodisc incluía el cañón y la secuencia de apertura de la película, así como la secuencia de jailbreak y el bombardeo del puente.

Además, la película ofreció una serie de piezas de música clásica, ya que la principal chica de Bond, Kara Milovy, es violonchelista. La 40.ª Sinfonía de Mozart en sol menor (primer movimiento) es interpretada por la orquesta en el Conservatorio de Bratislava cuando Koskov huye. Como Moneypenny le dice a Bond, Kara tiene previsto interpretar el Cuarteto de cuerdas en do mayor de Alexander Borodin, y el final del Acto II de Mozart El matrimonio de Figaro, en Viena. Antes de que Bond sea drogado por Kara, ella estaba interpretando el solo del violonchelo del primer movimiento del concierto para violonchelo de Dvořák en B menor. Al final de la película, Kara y una orquesta (realizada en pantalla por John Barry) interpretan las Variaciones Rococó de Tchaikovsky con aplausos exaltados.

Estreno y acogida
El Príncipe y la Princesa de Gales asistieron al estreno de la película el 27 de junio de 1987 en el Odeon Leicester Square en Londres. The Living Daylights recaudó el equivalente a 191,2 millones de dólares en todo el mundo. En los Estados Unidos recaudó $51.185.000, incluyendo el fin de semana del estreno con $11.051.284, superando los cinco millones recaudados por The Lost Boys que fue estrenada el mismo día.

En la película, Koskov y Whitaker utilizan repetidamente vehículos y paquetes de medicamentos marcados con la Cruz Roja. Esta acción enojó a varias Sociedades de la Cruz Roja, que enviaron cartas de protesta en relación con la película. Además, la Cruz Roja Británica intentó procesar a los cineastas y distribuidores. Sin embargo no tomaron ninguna acción legal contra ello. Como resultado, se agregó un descargo de responsabilidad al comienzo de la película y algunos lanzamientos de DVD.

Rita Kempley, comentando para The Washington Post, elogió la actuación de Dalton y lo nombró «el mejor Bond de todos los tiempos. Es tan elegante como el esmoquin característico, tan elegante como el Aston Martin. Al igual que el famoso martini de Bond, las mujeres que encuentran su buena apariencia de granito tallado como mezclado, no agitado». Además, elogió la película como "un ritmo gracioso, aunque sobredimensionado, por lo que algunos cambios de asiento se establecen en unos 30 minutos antes del final". Janet Maslin de The New York Times elogió la actuación de Dalton como «suficiente presencia, apariencia elegante, adecuada y el tipo de energía que la serie Bond ha estado fallando últimamente». Mientras elogiaba a los personajes secundarios, criticó la duración y señaló que «la dirección, de John Glen, tiene el estilo colorido pero superficial que va con el territorio, y es adecuado si no está inspirado».

The Living Daylights tiene una puntuación «Fresh» del 70% en Rotten Tomatoes basado en 50 críticas especializadas. El Washington Post dijo incluso que Dalton interpretó «al mejor Bond de la historia». Roger Ebert del Chicago Sun-Times criticó la falta de humor en el protagonista, mientras Jay Scott de The Globe and Mail escribió que el Bond de Dalton "da la sensación de que en sus noches, podría acurrucarse con el Reader's Digest y ver un episodio de Moonlighting".

El propio Dalton ha dicho que prefiere The Living Daylights a License to Kill. El predecesor de Dalton, Roger Moore, al discutir la serie Bond en 2012, calificó la película como una «muy buena película». IGN elogió la película por devolver el realismo y el espionaje a la serie de películas y mostrar el lado oscuro de James Bond. El sitio web de agregación de reseñas Rotten Tomatoes otorga a la película una calificación de aprobación del 74% con base en 54 reseñas y una calificación promedio de 6,4 sobre 10. El consenso crítico del sitio web establece: «El recién llegado Timothy Dalton interpreta a James Bond con más seriedad que las entregas anteriores el resultado es emocionante y colorido, pero en ocasiones sin humor». En Metacritic tiene una puntuación del 60% según las reseñas de 18 críticos, lo que indica "reseñas mixtas o promedio". Las audiencias encuestadas por CinemaScore le dieron a la película una calificación "A" en la escala de la A a la F.

Filtración
La película antes de su estreno se filtro por la venta de video casete, era una huella de trabajo sin editar de la película se vendió en VHS de muy baja calidad con algunos cambios como la banda sonora que en esta ocasión se recicla canciones de anteriores películas de la saga y la escena del cañón que es totalmente distinto al oficial se dieron cárteles y anuncios oficiales advirtiendo sobre esta filtración y esperar al estreno de la película aunque no afectó de manera significativa a la recaudación de la película.

Estrenos internacionales

Doblaje

Traducciones
"The living daylights" es una expresión típica de los países de habla inglesa que es regularmente usada cuando alguien está en una situación de miedo o de peligro (I scared the living daylights out of her!). Debido a que no existe una traducción precisa para dicha expresión, en los países de habla no inglesa se optó por utilizar nombres de características necrofílicas. En Hispanoamérica la película se nombró Su Nombre Es Peligro y en España se nombró 007: Alta Tensión, mientras que en otros países del mundo se nombró como 007: El aliento de la muerte (Alemania) y 007: Zona De Peligro (Italia).

Premios

International Film Music Critics Award (IFMCA)

Referencias

Bibliografía

Enlaces externos

 MGM's official The Living Daylights website
 The Living Daylights review in 007 Magazine
 Living On The Edge-A review of The Living Daylights and Timothy Dalton's performance at CommanderBond.net
 Inside The Living Daylights Documentary
 Archivo 007: Alta Tensión
 Ficha personal de Timothy Dalton en 007Spain

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