text:
SynopsisBackgroundAlternative TitlesPictureAiring DatesProducersRelationsRatingDurationSourceBroadcast
Eps Seen: / 64
Synonyms: Hagane no Renkinjutsushi: Fullmetal Alchemist, Fullmetal Alchemist (2009), FMA, FMAB
Japanese: 鋼の錬金術師 FULLMETAL ALCHEMIST
English: Fullmetal Alchemist: Brotherhood
French: Fullmetal Alchemist Brotherhood
Aired: Apr 5, 2009 to Jul 4, 2010
Premiered: Spring 2009
Broadcast: Sundays at 17:00 (JST)
Producers: Aniplex, Square Enix, Mainichi Broadcasting System, Studio Moriken
Licensors: Funimation, Aniplex of America
Studios: Bones
Source: Manga
Genres: ActionAction, AdventureAdventure, DramaDrama, FantasyFantasy
Theme: MilitaryMilitary
Demographic: ShounenShounen
Score: 9.111 (scored by 19585921,958,592 users)
Ranked: #22
Popularity: #3
Favorites: 212,816
@hagaren_anime
Fullmetal Alchemist: Brotherho...
Ranked #2Popularity #3Members 3,079,985
Spring 2009TVBones
Episodes: /64
After a horrific alchemy experiment goes wrong in the Elric household, brothers Edward and Alphonse are left in a catastrophic new reality. Ignoring the alchemical principle banning human transmutation, the boys attempted to bring their recently deceased mother back to life. Instead, they suffered brutal personal loss: Alphonse's body disintegrated while Edward lost a leg and then sacrificed an arm to keep Alphonse's soul in the physical realm by binding it to a hulking suit of armor.
The brothers are rescued by their neighbor Pinako Rockbell and her granddaughter Winry. Known as a bio-mechanical engineering prodigy, Winry creates prosthetic limbs for Edward by utilizing "automail," a tough, versatile metal used in robots and combat armor. After years of training, the Elric brothers set off on a quest to restore their bodies by locating the Philosopher's Stone—a powerful gem that allows an alchemist to defy the traditional laws of Equivalent Exchange.
As Edward becomes an infamous alchemist and gains the nickname "Fullmetal," the boys' journey embroils them in a growing conspiracy that threatens the fate of the world.
Adaptation: Fullmetal Alchemist
Alternative version: Fullmetal Alchemist
Side story: Fullmetal Alchemist: Brotherhood Specials, Fullmetal Alchemist: The Sacred Star of Milos
Spin-off: Fullmetal Alchemist: Brotherhood - 4-Koma Theater
Elric, Edward
Park, Romi
Elric, Alphonse
Kugimiya, Rie
Mustang, Roy
Hughes, Maes
Fujiwara, Keiji
Hawkeye, Riza
Orikasa, Fumiko
Yao, Ling
Armstrong, Alex Louis
Utsumi, Kenji
Rockbell, Winry
Takamoto, Megumi
Armstrong, Olivier Mira
Soumi, Youko
Cook, Justin
Yonai, Noritomo
Irie, Yasuhiro
1: "again" by YUI (eps 1-14)
2: "Hologram (ホログラム)" by NICO Touches the Walls (eps 15-26)
3: "Golden Time Lover (ゴールデンタイムラバー)" by Sukima Switch (eps 27-38)
4: "Period" by Chemistry (eps 39-50)
5: "Rain (レイン)" by SID (eps 51-62)
1: "Uso (嘘)" by SID (eps 1-14)
2: "LET IT OUT" by Miho Fukuhara (eps 15-26)
3: "Tsunaida Te (つないだ手)" by Lil'B (eps 27-38)
4: "Shunkan Sentimental (瞬間センチメンタル)" by SCANDAL (eps 39-50)
5: "RAY OF LIGHT" by Nakagawa Shouko (eps 51-62)
6: "Rain (レイン)" by SID (eps 63)
7: "Hologram (ホログラム)" by NICO Touches the Walls (eps 64)
tazillo
First of all, I have seen the original FMA and although it was very popular and original, the pacing and conclusion did not sit too well with me. Brotherhood is meant to be a remake of the original, this time sticking to the manga all the way through, but there were people who thought it would spoil the franchise. That myth should be dispelled, as there's only one word to describe this series - EPIC.
I admit that as I've seen the original and read the manga, the pacing of Brotherhood seems to start off being VERY fast (I finally got used to the pacing after ... watching the first fifteen eps or so). Events that took up half a volume of the manga and had spread though a few episodes of the original anime were now shown in just a single episode. However, after trying to look at it from the perspective of someone who's new to FMA (not comparing it to the manga nor the original), I believe that the pacing works and it manages to tell an intriguing story effectively with little confusion. The plot is full of clever ideas and unpredictable twists that link various parts of the story together. By the final episode, all loose ends are neatly tied up and what's left is a hugely satisfying epilogue.
The animation in FMA Brotherhood is crisp and very well done (although it does sometimes dip a bit in quality). Compared to the original FMA it's a bit simpler but that's just because the original set a very high standard to follow. The facial emotions of the characters are also perfectly presented. The action scenes are brilliant and VERY well animated, with a variety of alchemy techniques and other talents being displayed nearly every episode. The various battles are consistently exciting to watch, but somehow get even better towards the end of the series.
The voice acting is of an excellent and consistent quality, and I think that pretty much all the characters have voice actors which suit their personalities. The majority of the openings/endings are a pleasure to watch due to fantastic animated sequences and theme songs. The background music which play during the episodes usually fit very well with the situation, although some tracks seem to be overused a little at first. This becomes less of a problem as the series progresses, with plenty of new music being introduced to support the story as it reaches the finale.
Moving on to the characters (best thing about this series), the original FMA focussed mainly on Ed and Al and on their struggles to regain their bodies, whereas Brotherhood also explores other characters to great detail at the same time. The majority of the spotlight is still on the two brothers, but it highlights their interactions with new characters which were not present in the original anime. New characters include a group of people from Xing (a neighbouring country), another person from the Armstrong family (who I think has become one of the coolest members of the supporting cast), and a new main antagonist. For me, the Xingese characters in particular (Ling Yao and Mei Chang among others) provide a new dimension to the FMA world, by showing us a different culture to the militaristic one we're familiar with. I think the new antagonist is an improvement on the original FMA, as this person has a much stronger and clever link to the Elric brothers' father. Returning characters from the original FMA, such as Mustang and Scar, are much more awesome and developed due to the fact that Brotherhood is 100% faithful to the manga. Plus, Winry Rockbell now has a much more active role in the story. I can say for sure that this anime has one of the best main/supporting casts I've ever seen, and you'd probably find it difficult to label any of the recurring characters (whether they are good or evil) as being either boring or unnecessary in terms of the storyline.
One of the many good things about this series is that there has been absolutely no filler at all (yes, I'm thinking of Naruto, Inuyasha, etc), which prevents the story from losing momentum. All the episodes are concise and every scene is important as part of the huge plot. The dialogue fully explains everything and is straight to the point. As multiple characters are explored there are lots of side stories, but these are all perfectly intertwined with the main story of the Elric brothers and more often than not directly influence their journey too. Like most anime series, there are things from the manga which have been left out, but these are usually just restricted to comedy moments. There has been one episode which shows a lot of flashbacks of events so far, but that's forgiven as it shows the most epic moments of the series, and also provided us with some history on the father of the Elric brothers.
FMA Brotherhood will be sorely missed now that it's finished. It is excellent in every aspect and has very little, if anything, that can be called a flaw (maybe rushed character development at first due to the fast pacing, but this quickly subsides). Each episode feels like it's too short, a testimony to how much it draws you in to the story and characters. There are moments which leave you smiling, laughing, sad and simply amazed. Try this anime, it's recommended for absolutely everyone, to newcomers and to those familiar with Fullmetal Alchemist.
Reviewer's Rating: 10
More reviews by tazillo (19)
ChrissyKay
Fullmetal Alchemist: Brotherhood gets an immense amount of praise in the MAL community. Now this is just the opinion of one guy. I'm certainly not the law of the land or anything. However, I personally feel as though calling FMA:B a masterpiece and the champion of all shows is a bit of a stretch. That's not to say that I didn't enjoy it or that it isn't a very solid addition to the ranks of notable shows; I really would like to preface this review by saying that I believe that FMA:B is a very good show and I wouldn't be nearly as harsh ... on it if it weren't for the God status the show has attained in America. I would happily remand "greatest show ever made" to "greatest long-running shonen ever made if you haven't seen the 2011 Hunter X Hunter"
I'm not a huge fan of the MAL categorical rating system, as I've mentioned in some of my previous reviews. I oftentimes outright ignore it. However, looking at the categories right now, I feel as though this is one instance where I can use it to talk about everything I want to so I'm going to use it.
STORY: 8
The FMA:B plot and world-building are some of its strongest aspects. The world that it creates is an immersive, full-feeling thing with many animate pieces that move even when you aren't looking at them. It's an extremely creative world as well, adopting its own set of universal laws including alchemy through equivalent exchange, mind-body duality and its own interpretation of a higher power, and it sticks by these laws. Never once does the story contradict its own rules, instead using them in creative ways to build off of each other. The plot is also one of the most engaging parts of the show, unveiling itself at just the right pace to keep you interested whilst still keeping a few major cards to play at the very end. The pieces fall into place in a way that is satisfying because it simultaneously mind-blowing and obvious, and that's one of the marks of strong storytelling.
While the FMA:B story is certainly one of the best I've seen, I find that I have to withhold my 10 score here on the grounds that its incredible direction and creativity are marred by some detrimental weaknesses. First of all, the exposition is handled extremely poorly. The first and third episodes feel like they're from some shitty cartoon network show, the show blatantly ignores the show-don't-tell rule in the entirety of its first chunk (with characters spelling out exactly what is happening and why it's happening) and its tendency to repeat important plot points over and over again quite frankly feels insulting to me as the audience as though the show is assuming I'm not able to pay attention or figure things out for myself and need to have the fact that Ed and Al committed the sin of human transmutation and lost their bodies told to me at least twenty-five times in the first two hours of show. Secondly, there's a period of time which I would probably refer to as the third fourth of the show (episodes 40-53ish) in which the show drags incredibly, adopting a typical battle-shonen approach of having characters engage in multiple-episode long one-on-one or two-on-one battles, giving them plenty of time to pose and stand off and monologue at each other. This isn't how fighting or war works, and these contrived battles really take away a lot of the climactic atmosphere. Finally, the show's ending is not nearly as satisfying as I wish it had been. The final few episodes are for the most part brilliant, but once the show plays all its cards and it's resolution time, it wraps itself up with cliches and in-your-face themes.
The art is absolutely astounding 80% of the time and absolutely horrid 20% of the time. Thus the 8 score. The action is all stunning, the openings gorgeous, the backgrounds consistent and unique, building a sense of a real lived-in world. The character designs are sometimes a little bland, but for the most part they are memorable and the homunculi look brilliant so I don't have any real complaints there.
What I have a problem with is the obnoxious number of times that the show goes "anime" - reducing its characters to shittily-drawn caricatures and its animation to blocky, looped motion. Usually this is used during the shows attempts at humor, which I'll talk about later, but most of the time it was just extremely cringe-inducing and distracting, ruining the sense of continuity and immersion in this world. The show obviously wants you to take it seriously (it sure loves its drama) and when Al is portrayed as a big grey mound with a squiggle for a mouth it makes this difficult. There's a difference between having your character goof around and having the show itself goof around. It almost feels like a laugh-track, telling the audience "this is the funny part!"
For the most part, however, the art is gorgeous. When it counts, it shines, and that's really what matters.
SOUND: 10
Undeniably the strongest aspect of the show. I have no complaints whatsoever. The soundtrack is never distracting but always effective, the voice-actors (especially for Bradley and Al) absolutely nailed it and the openings and endings... dear lord. It's been said before, but the openings and endings to FMA:B are some of the very best ever made, both in sound and visuals. They tell small stories of their own. They set the tone for the episode and for their section of the show as a whole. I especially loved 'Golden Time Lover' and 'Chemistry', but I have to give special mention to SID's 'Rain'. As far as I'm concerned, that opening could have been the end of the show. It single-handedly established a sense of finality, a long-endured struggle of these characters and their causes. Everyone is portrayed as exhausted, weak and full of both despair and determination: protagonist and antagonist alike, fighting under the rain. Not for glory, not for honor, but just for the one thing they care most for. Personally, it made me extremely hyped for the final stretch of the show. It wasn't quite what we got, but at least we got some of it.
I believe that there is an intense connection between a show's opening and the audience's willingness to appreciate it. It is very likely that the intensity of many fanbases is in part due to the ability that openings such as these have to maintain feelings in regards to the show, oftentimes perhaps even distorting or altering memories of the show itself into what the opening would have you believe the show was like rather than what it was actually like. Obvious examples that jump to mind are Sword Art Online's "Courage" and Guilty Crown's "My Dearest". Remember how those shows were absolutely nothing like that? No?? IT'S TOO LATE FOR YOU
CHARACTER: 6
I would definitely call out the show's characters on being the weakest link and the most undeserving of the praise that the show receives. For starters, the writing is often clunky and awkward, but that's not the main issue. It's because most of them are not really characters: they're plot devices with one or two distinguishing traits tacked on. They're entirely predictable, not because they feel like real people but because they do the same things over and over again. Al talks about what he'll do when he gets his body back. Ed talks about how they'll find a way and how they will atone for their mistakes and etc. It's not that it's melodrama: it's the fact that it's the SAME melodrama over and over again. It wasn't until sometime past episode 30 that Ed stopped sounding perpetually like a broken record and started to feel as though he were actually developing, but even then he was really just defined by his arc and not by any amount of complexity.
And that's the pitfall that so many of these characters fall into. If your character's only real traits beyond their development for the sake of the show are "hates being called short" and "hates milk" they're really more of a tool with some googly eyes stuck on to them. Other characters are even worse: Armstrong is manly. His sister is more manly. Mustang wants to be Fuhrer and avenge Hughes (he's even got this great relationship with Hawkeye that could have been seriously compelling if they ever had any real conversations about anything besides "we must overthrow the government" and "Hughes!" over and over again). Winry likes Ed and automail. Ling wants to be emperor. Now, FMA:B is a complex, busy show. I could understand if it didn't have the time to make these characters anything more than chess pieces for its grand and elaborate plot, giving them a few distinguishing traits because that's really all it can manage without dragging itself out immensely. But it DOES have the time: it has all the time it spends having Ed yell about being called short. It has all the time it spends having Armstrong pull of his shirt and yell about being manly. It has all the time it spends having Ed and Al talk about getting their goddamn bodies back over and fucking over again as though I would somehow manage to forget it. Ling passing out from lack of food. May fawning comically over Ed. Mustang is antisocial LOL. The same gags, over and over again, barely even rehashed in any original way. Not only do they become painful to watch, they devour all of the development that this shallow cast of characters could have had to make me actually invested in them. They're far too static, with most of them having a single change or revelation over the course of the show's 64 episodes in order to indicate that they have grown as a person. But a good character has so much more than that: what kind of music do these people listen to? Why? Who are their role models? Why? What books do they like? What are their favorite places to eat? What do they appreciate in the people they're close to?? What are their personal histories...
Oh wait, sorry! I didn't mean to ask that last one! Please, I take it back! NOOOOOOO...
Yeah so I forgot to mention something. Screw all that stuff about making these characters possess complex personalities, FMA:B has a better way to define them.
Everyone who's remotely relevant has a traumatic backstory. It's a harsh world, sure. I get that. Here's the issue: people are introduced and then defined through their trauma. Now this isn't Angel Beats bad, where horrible things happen to perfectly innocent people for no reason. Most of the tragedy is partially a result of the decisions of the characters involved, and their resulting struggle is a combination of having to cope with the consequences and with themselves and their mistakes. However, this cannot be used as a SUBSTITUTE for character development. A supplement, sure, but I still remember in episode four when Ed and Al meet a state alchemist who literally introduces himself with something along the lines of "my wife left me because we were too poor" before he even tells them his goddamn NAME. Here, come on in! Take a seat! Would you like some sorrow pie or tragic backstory cake? We have plenty! Ed and Al's dad left, then their mom died, then they f*cking ripped their bodies apart. Winry's parents were murdered in cold blood. Mustang had to kill lots of people. Armstrong had to kill lots of people. Everyone had to kill lots of people. Scar watched everyone he loved get killed, and then had to kill lots of people. These are always the first things we find out about people, and then for the rest of the show they are defined almost exclusively by them. If anyone is overly happy and wholesome, it means something horrid is going to happen to them. It's basic emotional manipulation. Look at this adorable little girl and her dog! Dead. Look at this smiling, picturesque family! Husband dead. Dead. Everyone innocuously happy has to die or lose someone close to them. The more broken and internally conflicted you are, the safer you are. There's no need to pile more grief on Scar, so he's relatively safe.
Yes, the characters suffer from repeatable and preventable problems. They exist mainly to function as morals-in-a-bottle with gags tacked on to them. They're difficult to relate to, because all we know about them is whatever themes they embody and one or two dumb jokes. Ikuhara writes characters more personable than this, and his stories don't make sense on PURPOSE. I did give the characters a 6 though, and there are reasons for that.
First off, despite their lack of humanization the characters complete their tasks of being walking themes with relative effectiveness. This isn't anywhere near Log Horizon S1 bad. These characters are here for a reason, they represent something, and they represent those things well. Sure, they could have easily been better, but they fulfill their purpose and for that alone they are not failures. I will also give special mention to Scar, who, while still actively defined by his trauma was executed far more impressively than the other characters. This is probably in part because the show actually viewed him as morally ambiguous as opposed to just making the character FEEL morally ambiguous when there was really no doubt that the show wanted you to think this was a 'good guy' (*cough* Mustang)
Second off, there are some exceptions to the rule. Most of my complaints thusfar have been leveled at the shows protagonists. They are the ones that suffer from dismal repetition and blatant violation of show-don't-tell. Where the show does excel is with its antagonists. There are seven homunculi in the show, incarnations of the seven deadly sins, and they so utterly clobber their "good-guy" counterparts in terms of being engaging, personable subtle characters that it isn't even funny. Their intensive backstories are never shoved in your face, their apparent contradictions are given plenty of time to be uncovered by the viewer, and the deliciously ironic conclusions to their arcs are done tactfully. Many times I found myself actively routing for them because they were just so much more interesting and well-executed. I would happily watch an "Adventures of the Homunculus" spinoff cataloging the several hundred years most of them lived before the start of the series.
ENJOYMENT: 7
I was constantly gripped by the plot. I actively looked forward to the openings and endings. The art was oftentimes orgasmic. The homunculi made me want to start looking for ingredients to make a philosopher's stone with. However, I was constantly frustrated by the show's apparent lack of respect for its viewers and by its absolutely abysmal humor. I've already said it, but I don't know if I've driven home just how infuriating it is to have exposition repeated to you over and f*cking over again and how cringe-inducing it is when somebody violates the show-don't-tell rule at extremely tense and crucial moments. It actively snapped me out of the experience whenever Ed and Al had a conversation about getting their bodies back after the 5th time it happened, and when God literally spelled out for Ed that he had discovered the meaning of life I facepalmed hard. That's not how you do themes, man. That just comes off as preachy. That's something the show suffered constantly from: it felt incredibly preachy. It's character's speeches about the answers they had found to their struggles felt much more pointed at the audience than at anyone in the show they were talking to, and that bothered the ever-loving crap out of me. And have I mentioned the humor? For every joke the show has that lands, it tries about five others that fall on their face. As I've already mentioned, they're repetitive and used as a substitute for meaningful character interactions and development. It seems as thought the show is trying to use them as a counterbalance for its immense amount of melodrama, but instead they end up just ripping apart the tone and stagnating the story. Despite these gripes, I did overall enjoy the experience and felt that the positives did inevitably outweigh the negatives so I will happily give it a 7 for enjoyment.
Fullmetal Alchemist: Brotherhood is not a masterpiece. It's a very respectable, unique, inspired and creative show and it's definitely a classic. I would happily recommend this to most people. However, don't go in with irrational expectations. It's enjoyable, it's engaging, it will definitely give you plenty to think about, but in my personal opinion it gets a little too much praise and a little too much hype. I probably would have enjoyed it more myself if I hadn't heard nothing but angelic worship for it before going into it. I formally apologize to any huge fans of the show that I may have offended: it's not by any means a bad show! I don't give out 7s all that lightly, believe me. This is merely an argument against FMA:B being the be-all-end-all of anime. Thanks for reading if you made it through that wall of text, and have a nice day!
More reviews by ChrissyKay (28)
Archaeon
Adaptations have long been a thorn in the side of anime viewers, but not because they are inherently bad. No, the main problem has been that many studios have regarded the original work almost as an afterthought, and there are a number of shows that could have been wonderful if the writers had simply stuck to the original story.
One of the issues at hand seems to be ownership as producers, writers and directors all seem to want the work to be reflective of their style and perception, and in order to stamp their mark on a show they will makes numerous unnecessary changes or additions. ... Admittedly there are times when the adaptation supersedes the original work, but more often than not the result is at best a decent anime, and at worst utter twaddle.
And then there's the other side of the coin, where the anime adaptation sticks to the storyline set out in the original work. Normally one would expect these to be superior works, but in a strange irony this is not always the case. The problem with these types of adaptations is that the original work may not have been very good, or even have a suitable narrative, to begin with, and turning them into anime only seems to exacerbate their inherent flaws.
Fortunately, the Full Metal Alchemist franchise manages to steer clear almost all of these pitfalls. The problem is, there are no other anime that have so evenly split the viewing public's opinion between the two versions of the series. Unlike the 2003 adaptation, Brotherhood is a faithful representation of Arakawa Hiromu's hit manga, and while many fans of the franchise laud it as the best thing since sliced bread, there are a number who consider the original anime version to be the superior tale.
But we'll get to that in a bit.
Many people will already be familiar with the particulars of the story, and in a very real sense the common perception is well formed. Unfortunately, one of the problems with liking something too much is that one becomes blinded to its flaws, and while Brotherhood has very few noticeable ones where the narrative is concerned, this also serves to make them stand out.
The story is told in a very straight forward, no nonsense manner that is kind of refreshing given the penchant for filler episodes. The issue though, is that the content of the tale is much lighter in tone, much more typically "shounen" in its essence, than that of the first adaptation. One of the reasons for this is because the undercurrent of obsession amongst the main characters peters out towards the end of the story - a stark contrast to the ending in the first adaptation. Instead, these obsessive behaviours are effectively "de-humanised" by pushing them on to the non human characters.
There is a very clear sense that the plot is geared towards a more typical shounen standpoint and mentality, and while the whole still works very well as a story, one does have to wonder if the writers for the first adaptation didn't steal a march on Arakawa. It's possible that she had to change her idea of how the tale should develop because the first anime version took a much darker path than most other shounen franchises.
That said, the ending allows for a degree of catharsis that was missing from the first adaptation, and although there are some broad similarities between the two versions at times, in truth they are as different as chalk and cheese. As an added bonus this series is far less dependent on random comedic moments, and the difference this makes to the flow of the plot is palpable when the two versions are directly compared.
One big advantage that Brotherhood has is that the seven year gap has allowed for improvements in various aspects of production, and it shows in a number of areas. The animation is more fluid than before, although admittedly the difference isn't really obvious at first and only really appears during large scale action set pieces. The character designs will be very familiar to any fan, but are subtly sharper and more defined than in the previous series.
Interestingly enough, one of the biggest plus points for Brotherhood is actually its wealth of interesting characters.
As one would expect, a number of the characters from the first adaptation appear in Brotherhood, but there are also several who are notable for their absence as they do no appear in the manga. Instead, a horde of new characters appear throughout the course of the series, many of whom have their own goals, ideals and personalities. Indeed the biggest difference between the two versions is the sheer number of people who all seem to have some impact on the story.
For much of the series Edward and Alphonse Elric behave in a manner that many who have watched the first adaptation will find familiar, and one of the nice things about this is that familiarity is used to very subtly develop the pair into very different characters. The change in their personas happens very gradually, but by the end of Brotherhood one can see just how much growth the pair has undergone.
Strangely enough, the most interesting additions to the series are actually Yao Ling and Olivier Mira Armstrong (Alex Louis Armstrong's older sister - but without all the muscle flexing), two of the supporting roles. Yao Ling presents a strange dichotomy for the series to tackle, and while he doesn't develop as much as he possibly could have, this is offset by the moral and ethical dilemmas inherent in his situation towards the end of the series. On the other Olivier Armstrong possesses some of the strongest characterisation in the whole story, and while she is without doubt a major player at certain points of the show, what makes her interesting is the fact that the viewer is never quite sure of her goals.
There are a number of very strong characterisations in the series, but one of the things that is a little strange is the difference between the two versions where the homunculi are concerned. Unlike the first adaptation the homunculi in Brotherhood have very different origins, even though they still deal with similar obsessions. This raises an interesting perspective on the series as a whole, and is one of the reasons why Brotherhood is far more of a shounen tale than the original adaptation. The plot takes on a subtly lighter tone, even though it may not seem that way, once their origins are understood, and the main reason for this is the "de-humanisation" I mentioned earlier. The viewer is aware that these characters, though human-like in form, are not linked to humans in any way, and this awareness acts as a buffer so the viewer is less likely to question the actions and behaviour of the homunculi. In essence one is subjected to the ethos that monsters are evil and do bad things, which raises some interesting issues where Kimblee, Greed and the military's generals are concerned.
The quality of the acting is possibly the main reason why Brotherhood is able to pull off its feat of developing not only the familiar characters, but also the new additions. Paku Romi and Kugimiya Rie reprise their roles as Edward and Alphonse Elric, but with the exception of a few roles, the remaining cast are very different from the first outing. Now normally one might consider this a recipe for disaster, but it's a testament to the quality of not only the actor's abilities, but also the scriptwriters, that this series easily stands shoulder to shoulder with the original.
The music is very well composed and produced, and the series has a surprisingly large number of opening and ending themes, especially for 64 episode series. That said, fans of Brotherhood may find themselves in a bit of a quandary, especially if they prefer the OPs and EDs from the first series. As for the sound effects, they are handled in a decidedly competent manner that makes one wonder why other shounen anime seem to have trouble in this department. Granted there are occasions when there's a bit of a cacophony, but in general the effects are clear, bold, and well choreographed.
Now unlike most viewers, I actually consider Brotherhood to be equal to the first series, and I don't really fall on one side or another. Like a number of fans my preference is for the much darker tone of the first series, however the cathartic ending of Brotherhood, as well as the improvements in production and animation, go some way to balancing the scales. Some people prefer the somewhat darker nature to Ed's character from the first adaptation, but in all honesty the rationale behind the two versions is very different, and while they're broadly the same character, that perception is only really valid until the last few episodes of either show. The same principle applies to Alphonse, Roy Mustang, in fact to most of the characters.
That said, Brotherhood is just as entertaining and involving as its predecessor, and it's a testament to Arakawa's skill as a mangaka that she has been able to produce a tale that, at the very least, rivals the original anime adaptation.Yes, Brotherhood is more typically shounen than the other version, but the nice thing about this is that fans are given two very good versions of the same story, and that is something rare in anime.
Now if only all remakes, revisions or reboots could be this good.
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North American Anime & Manga Releases for November
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Nov 5, 2018 2:27 PM by Sakana-san | Discuss (7 comments)
Interview: Live-Action 'Fullmetal Alchemist' at Anime Expo 2017
In May 2016, Warner Bros. Pictures Japan announced a live-action film based on the hit shounen battle manga series Fullmetal Alchemist by Hiromu Arakawa. The film o...read more
Feb 19, 2018 6:59 PM by arsonal | Discuss (9 comments)
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Black, White, and Gray: What Makes an Antihero Work
Antiheroes are often some of the most beloved and most talked about characters in their stories. The appeal of these characters can be high and their character brilliant, but what actually makes an antihero work?
by MAL_Articles
Can an OP Character Be a Good Main Character?
OP characters are a common trope in anime, if not a loved one. An often repeated criticism of leads, particularly in shounen titles, is that they were too powerful. Distinguishing between the pros and cons of OP heroes is important to be able to understand if an OP lead can be a great character.


Neil Pakey is a highly accomplished leader in the aviation sector, recognized internationally for his contributions to airport infrastructure, tourism and regional economies. As Chief Executive Officer of Nieuport Aviation, Neil brings more than 40 years of strategic management and operational experience, including in leading business growth, fostering stakeholder alignment, and delivering an exceptional customer experience.
During his career, Neil has served as the CEO of the Shannon Airport Group, the Peel Airports Group, and as Managing Director of Liverpool John Lennon Airport, where he led transformational projects and initiatives to grow passenger volumes and enhance the customer experience. Neil's experience includes working with two airlines: British Caledonian Airways where he served in ramp, cargo and passenger services, and Air Seychelles where he served as General Manager, Marketing. In addition, Mr. Pakey has held senior roles at the Vantage Airports Group and at Manchester Airport, and was seconded to the European Commission's air policy division for three years as a national expert in air transport policy.
Most recently, Neil served as the Chairman, Principal Advisor for The Regional and Business Airports Group where he negotiated air service contracts, liaised with governmental bodies to develop regional air transport strategies, and served in an advisory capacity to several aviation businesses.
Neil has received multiple awards recognizing his accomplishments, including the Institute of Directors Liverpool Director of the Year in 2006 and an Honorary Fellowship from the University of Central Lancashire for his airport's positive socioeconomic impact in 2008.
He has also held various board positions including Chairman of the UK Airport Operators Association (AOA) for a record three terms, Non-Executive Director of the Yorkshire Tourist Board, Chairman of Mersey Tourism. He also served on the board for Business Liverpool, and the UK's National Aviation Security Committee.
Neil holds a Bachelor of Arts (hons) in Politics and English from the University of Central Lancaster, and a Master of Science in Transport Planning and Management from the University of Westminster.
Peter Clermont is the Chief Financial Officer at Nieuport Aviation. Prior to Nieuport Aviation, Peter was a principal in a Toronto-based infrastructure investment firm, and was involved in all aspects of that business, including acquisitions, asset management and financial management. Peter has held a variety of senior financial roles in his career of over 20 years, in infrastructure businesses including power and utilities, investment management, health care and manufacturing.
Peter is responsible for many aspects of the Nieuport Aviation business, including financial reporting, tax compliance, risk management and contract management. Peter is a CPA and holds an MBA from the Schulich School of Business.
Jason Attard is the Commercial Director at Nieuport Aviation holding overall accountability for all commercial activities of the passenger terminal with a focus on generating revenue growth opportunities through new commercial initiatives and managing existing relationships.
Jason has over 20 years of diverse management experience including several with SNC Lavalin – one of Canada's largest global fully integrated professional services, project management and infrastructure investor companies. This included a five-year airport business development assignment in Europe representing the Company at its Malta International Airport investment during its privatization transition. Jason has worked on airport projects in both North America and Europe including several projects for Vienna International Airport. Adept at stakeholder management involving cross-cultural, government and private industry interests, Jason also brings with him experience in air service development (both passenger and cargo), airport land development, as well as an understanding in retail/food and beverage operations from both a planning and day-to-day management perspective. Jason is a graduate of the University of British Columbia Sauder School of Business.
Rebecca Thompson is the Director of Communications, Marketing and Government Relations at Nieuport Aviation. Rebecca is responsible for advancing strategic initiatives and planning passenger terminal communications in conjunction with the Billy Bishop City Airport community, stakeholder groups and government partners.
Rebecca has 17 years of communications leadership experience in government, media, corporate communications and stakeholder relations. Rebecca served as a senior aide to Canada's former Prime Minister managing stakeholder relations and government communications, and was Director of Communications to Canada's Transportation and Infrastructure Minister. Most recently she served as Deputy Chief of Staff to the province of Ontario's Leader of the Official Opposition. For several years, Rebecca was a broadcast journalist for a Canadian news network specializing in federal, provincial and municipal political and current affairs. She also led internal corporate communications for one of Canadian Tire's most significant acquisitions, and was an independent communications consultant specializing in private and public sector communications and marketing.
Ian Woods is the Director of Terminal Planning and Operations at Nieuport Aviation. He is responsible for overseeing the planning of all terminal facilities and the overall operation of the terminal.
Ian completed a 35-year career at the Greater Toronto Airports Authority, during which he held a variety of increasingly senior roles in the operations, planning, commercial and strategy functions. Ian was instrumental in the planning and development of Terminal One and in a number of major redevelopment efforts at Terminal Three at Toronto – Pearson. On the commercial/strategy front, Ian led the development of the GTAA's 'Global Hub' strategy, associated route development activities and the commercial negotiations leading to the 10-year rates and charges agreement with Air Canada. Prior to joining Nieuport Aviation, Ian worked as an associate for a number of large aviation consulting firms.
Michael Stern is General Counsel at Nieuport Aviation, responsible for overseeing the legal and corporate requirements of the business. Michael's legal career spans all aspects of business, ranging from developing major P3 infrastructure projects across Canada to leading one of Canada's largest renewable energy manufacturers. In the process, Michael has helped organisations from around the world navigate through M&A, finance, regulatory and other commercial matters. Michael is a member of the Law Society of Ontario and the Barreau du Québec.
Malcolm Christie is the Director of Construction and Facilities Management at Nieuport Aviation. Malcolm is responsible for project planning, facilitation and closing. In addition, Malcolm also carries responsibility for the implementation, maintenance and improvement of Nieuport's asset management program.
Malcolm has more than 20 years of experience leading large, diverse organizations with a consistent track record of improving outcomes and performance in a sustainable and ethical manner. Career highlights include delivery of an asset management program that leveraged business intelligence, lifecycle planning, cost/risk optimization, and collaborative decision making resulting in world class asset availability and recurring annual savings and working with the Indigenous Community Relations Team to enhance relationships, identify business opportunities, provide educational assistance and job opportunities for local communities. Most recently he served as the Primary Consultant for development and implementation of the asset management program at Edmonton Airports.


What do you want to achieve in grad school? In GradMAP, you will develop a personalized development plan so you can get the most out of your time in grad school and make use of campus resources. In this hands-on program, you will identify goals and make a plan to achieve them by developing advanced skills.
GradMAP is open to graduate students at any level, but it is especially useful for students in the first several years of their programs.


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Wedge Island kan syfta på:

Geografi

Australien

 Wedge Island (ö i Australien, South Australia),
 Wedge Island (ö i Australien, Western Australia, lat -30,83, long 115,19),
 Wedge Island (ö i Australien, Tasmanien),

Kanada

 Wedge Island, Nova Scotia, ö,

Robotskapade Australienförgreningar
Robotskapade Kanadaförgreningar

redpajama_set_name: RedPajamaWikipedia


tickets, but with them comes access to a number of different types of events: everything from exhibitions, lectures and workshops to sexually charged seminars. Johan Nyström Konceptbutik Also in the Mariatorget area, this roomy café has imc i malmö a collection of tea and coffee making it a great spot for a quick breakfast. In particular, the area around Nytorget park has many great restaurants and shops, plus its the place for people-watching during the summer months. Nobis Hotel, if youre going to splurge on a top-notch holiday, why not go all out with a 5-star hotel on a budget? Personlig sökhjälp, du måste vara inloggad, för att kunna spara som favorit eller dölja annonser så måste du vara inloggad som sökande. And the typical Swedish culture just adds to the allure of the city.
Viele Variationen: als senapsill, eingelegt in süß-saurer Senfsauce, glasmästarsill, mit Zwiebeln und Lorbeerblatt, oder gebraten. Dazu gibt's Rote Bete. Darunter auch: das berühmte schwedische smörgåsbord, ein üppiges Buffet voller kalter und warmer Köstlichkeiten, vor allem Fisch. TripAdvisor is a good place to check hotel reviews for additional recommendations, or for those looking to stay in a rented holiday apartment, AirBNB is still one of the best options with apartments available from 70 per night.
Wild Wednesdays are particularly fun. Get here early in the day before they sell out, though you can also buy pre-packaged meatballs for takeaway. If the front bar is too crowded, check in the back for the smaller bar in the corner. King Kong Stockholms best gay club, in my opinion.
Im bunt zusammengewürfelten Raum fühlt man sich sofort ein wenig wie nach Südamerika gebeamt. And the most picturesque if medieval, cobblestoned streets are your thing. There are beauty products and beard oils alongside retro kitchen appliances and tableware, with clothing racks of jeans and jackets in between. M Bus 1, 2, 55, 56: Stureplan Rote Linie: Östermalmstorg Rolfs kök Ewig moderner Restaurantklassiker, in dem die Stühle an den Wänden hängen. Grüne Linie: Skanstull Edsbacka Krog Schwedische Küche mit französischem Touch, perfekter Service, historisches Ambiente: Chefkoch Christer Lingström hat zwei Michelinsterne für sein Lokal in herrlicher Lage am Wasser errungen - als Einziger in ganz Schweden. Nur abends, So geschl. The local businesses of the area have also produced an incredibly useful map, available for free in many SoFo shops. Beyond Retro Straight out of Londons Shoreditch umeåmodellen hälsena neighborhood, this vintage fashion chain is one of my favorites. Mit Wandmalereien, vergoldeten Paneelen und Kristallleuchtern ist das richtige Ambiente für edlen Hochgenuss! Getting Around Stockholm The citys public transportation is convenient and easy.


Description: Uphill Rush 7 is the newest addition to the Uphill Rush series. Choose a vehicle and complete each of the fun and challenging tracks. This edition takes place in a Water Park, which you can visit during day time or at night. Go down the tracks at a dazzling speed, but make sure you don't fall out! Collect coins that you can spent on new bathing suits, or accessoires, such as a floating crocodile, a jetski, or even a dolphin.
Controls: Use up arrow key to accelerate, down arrow key to reverse, left and right arrow key to balance, and spacebar to jump / stunt.


A well rounded shot of espresso, creamy head and clean taste.
This is my new favorite. I was at the Castro Theater for a show and wanted an after-dinner coffee. I crammed into the little space and was hit by wonderful aroma. I bought a pound of Ultima on a whim -- so glad I did. I used to buy Peets; now I buy Ultima.


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KNAFO INTRODUCES ELECTRO-POP SHORT FILM FOR 'CHANGE TO LAST' LP
3rd March 2016 No Comments
Montreal-based multi-instrumentalist, singer, and songwriter, Knafo – aka Mickael Kanfi – presents a dazzling 15-Minute long, electro-pop film to accompany his album 'Change To Last'. The Cedric Conti-directed film, starring Helene Robbie and Knafo, it's "a very real and intimate story…"
All of the 'Change To Last' album sales are being donated to Rainbows For All Children Canada for their annual 'National Children's Grief Awareness Day' campaign.
What's the idea behind 'Change To Last' short film?
The short film is based on the theme of the album. It's a personal story. As I was writing the album, I was also going through a tough time in my relationship with my wife, which led to a separation, and thankfully we eventually got back together. Unlike my first album, this album now had a thread that connected all of the songs together.
So as I thought about fulfilling my dream of making a short film to my music, it started to make a lot of sense. The film takes that story and attempts to make it relevant to anyone who is in a relationship. We have all been through similar challenges at one point or another. So far, the feedback from the audience has been extremely positive and everyone seems to not only understand the story, but also relate to it in their own way.
Why did you decide to donate the sales of your album to Rainbows For All Children Canada ?
Music is my passion. I make music because I want to, not to put food on the table. Sure, I want as many people as possible to listen to it, but it's not about money or fame.
The truth is, people don't buy music anymore. My initial vision was to simply give it away. But as I worked on the film, I realized that there was an opportunity to tell a bigger story.
By connecting it to a charity, it made the impact of my experience deeper (by connecting it to the concerns I had for my children as they went through this experience as well) and hopefully this would raise a little awareness for the cause too. Rainbows For All Children Canada helps children who are going through grief, whether it be a death of a parent, or parents going through divorce.
Can you tell us 5 things we should know about Knafo?
Knafo is not a made up name. It's actually my original last name.
My father's family changed it when they left Morocco, so I felt like it was a good way to honour my roots.
I started an advertising agency when I was 22 and am still working there 16 years later.
My 10 year old daughter is more talented than me and actually sings on the album (song: Falling)
I have hundreds of unreleased songs that I have written over the years and keep writing more. I don't think I'm going to stop anytime soon.
I started off in music as a drummer in an indie Montreal band, but fell in love with the music production process as we recorded our last album in 2000. That's what made me decide to continue to explore writing and recording music on my own.
Could you briefly describe the music-making process?
My music-making process is ever-evolving. Many of my songs usually begin with some sort of "lick". A baseline or a chord progression, and then from there it's about manipulating and writing directly on the computer. However, there are other songs that are fully written before even starting to record them. I usually start those on the piano, work out a verse and a chorus, a melody for the vocals, and then move to the recording process. Lyrics always come last for some reason, probably because they really require me to dig deep into an emotional or experiential inspiration.
Who are your musical and non-musical influences?
My musical influences are very broad. I think they can be broken down into four categories:
1) artists that have a unique sound like Little Dragon, Radiohead or Massive Attack to name a few.
2) songwriters like Damon Albarn, Chet Faker and Pharell Williams.
3) house music in all shapes and forms.
4) the classics that I listened to when I grew up, like The Doors, Bob Marley, Lenny Kravitz and Depeche Mode.
Are you planning any live shows and what will they be like?
I am in the midst of planning a live show in Toronto. But I have been getting a lot of interest in Russia, so who knows? Since I play every instrument on the album and also sing, my live performances are a mix of both. But to me, sharing my music has always been through art. My first album was launched as a "vernissage" (art exhibition), where I had different artists each create a piece (painting, drawing or other) for each of the songs. This album was launched through the film. I think there's something magical that happens when music is connected to art.
If you could collaborate with anyone, who would it be?
That's a tough one. I think my top choice would be Little Dragon because I often sing harmonies along with their songs and really like how my voice sounds with hers. Similarly to how great The XX sound with their mix of male/female vocals, I really feel like Yukimi and I would sound great together 🙂
What do you have planned next?
I am already working on new music. I just can't stop writing. But I have also begun and plan on doing more collaborations with other artists. I have been making music alone for a very long time. I am looking to expand my horizons and share the music making process with other artists.
'Change To Last' on iTunes: iTunes
facebook.com/knafo
@mick_kanfi
knafo.ca
By Fabrizio Belluschi ©FM

redpajama_set_name: RedPajamaCommonCrawl


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New Orleans Saints quarterback Drew Brees (9) celebrates after the Saints converted a fourth-and-one play to run out the clock and beat the Los Angeles Rams 45-35 Sunday, Nov. 4, 2018, at the Mercedes-Benz Superdome in New Orleans.
Advocate staff photo by SCOTT THRELKELD
CAREER COMPLETIONS
Drew Brees set the mark against Week 3 against the Atlanta Falcons. He broke Brett Favre's record with career completion No. 6301, which went to wide receiver Michael Thomas in the second quarter.
The ball used to set to record has been put on display at the NFL Hall of Fame in Canton, Ohio (READ MORE)
We have received the game-used football that @Saints QB @drewbrees threw to WR @Cantguardmike on 9/23/18 to break the @NFL record for most pass completions in a career (Brees' 6,301st completion), eclipsing @BrettFavre's previous mark of 6,300. pic.twitter.com/Y8wLIpiy72
— Pro Football Hall of Fame (@ProFootballHOF) September 25, 2018
In his 18th NFL season, the Saints superstar QB will continue to build on his NFL record.
The top five consists of: Drew Brees*; Brett Favre; Peyton Manning; Tom Brady*; and Dan Marino
* = active player
STORY: As Drew Brees breaks NFL record for completions, Terron Armstead calls him the true 'greatest of all time'
Can't see video below? Click here.
Drew Brees nominated for 2 ESPY Awards
BY ROD WALKER | Staff writer
Jun 19, 2019 - 3:10 pm
Drew Brees already has four ESPY awards in his collection.
The Saints' quarterback could add a couple more.
Brees has been nominated for two ESPYs, which recognize achievements in sport. The nominees were announced on Wednesday.
Brees is nominated for Best NFL Player and Best Record-Breaking Performance.
The other nominees in the Best Player category are Kansas City Chiefs quarterback Patrick Mahomes, Los Angeles Rams defensive tackle Aaron Donald and Rams running back Todd Gurley.
The latter nomination is for Brees surpassing Peyton Manning's 71,940 career passing yards to move into first place on the NFL's all-time list. Brees also became the NFL's all-time leader in completions, eclipsing the old mark held by Brett Favre. Brees broke the career passing yards record in a game against the Washington Redskins and the completions record in a game against the Atlanta Falcons.
Other athletes in the record-breaking performance category are University of Oregon women's basketball player Sabrina Ionescu, Golden State Warriors guard Klay Thompson, and Texas high school track star Matthew Boling. Ionescu broke the NCAA record for most triple doubles (men or women) with 13. Thompson made 14 3-pointers in a game to set an NAB record. Boling ran the 100 meters in 9.98 seconds, becoming the first high school to run a time under 10 seconds.
Brees, entering his 19th NFL season, last won an ESPY in 2012. He won for Best Record Breaking Performance for eclipsing Dan Marino's record for passing yards in a season.
Brees won three ESPYs in 2010 after leading the Saints to a Super Bowl victory. He won for Best Championship Performance, Best NFL Player and Male Athlete of the Year.
Brees isn't the only athlete from Louisiana who has been nominated for an award.
Daniel Cormier of Lafayette is one of the nominees for Best MMA Fighter.
LSU's seven overtime football game against Texas A&M is nominated for Best Game.
The ESPYS will be broadcast live on ABC on July 10 at 7 p.m. from the Microsoft Theater in Los Angeles. Fans can vote at www.ESPYS.com.
Email Rod Walker at rwalker@theadvocate.com


Dress kids in their jammies for the car trip. One less thing to do when you arrive.
Serve a soothing dinner full of tryptophan. We do a car picnic for the ride to the campsite. (Sandwiches, fruit, chips, or Subway sandwiches if I just can't get it done.) De-emphasize sugar and emphasize protein and whole grains. In fact, a full Thanksgiving turkey dinner normally makes everyone want to sleep. Do this.
Bring a change of jammies because kids will get messy during the Thanksgiving car picnic. Nix the cranberry sauce next time.
Have the beds in the camper ready to slide into. There is usually a bike strapped to one of our beds. Put a helmet on your kid, put him to bed, and sort it out in the morning.
Have jobs for everyone to do upon arrival. Screaming and hanging out the window are not good jobs. My seven year old son is as good/better at directing the driver to back up the trailer in the dark as I am. But I don't want him to get accidentally run over so he screams and hangs out the window.
Forget the jobs. Pay extra for a pull-through site.
Pack favorite beer and wine. For the parents. This is glamping after all.
Glance at the map of the campground before your trip when you feel serene. Note your site and the location of the restrooms when no one really has to go!
After arriving, parking, and settling in, lights out! The longer you leave the lights on the wilder and more amped everyone gets (except the battery. It gets less amped). Turn them off!
Wear your own jammies on the car trip, because it is guaranteed you will just collapse into bed. Ouch! Was that a handlebar?
Sweet dreams. They'll be up at sunrise. Make sure your favorite coffee and tea are stocked.
Lights out! Maybe not quite yet?
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Archive | May 27, 2016
Live By The Team by Cindy Skaggs SalesBlitz & Rafflecopter giveaway 5/27/16
Book Title: Live By The Team (Team Fear 1)
Author: Cindy Skaggs
Hosted by: Book Enthusiast Promotions
Hot military romantic suspense. Fast paced, twists and turns with a side of steamy.
They created a monster. Trained by the Army, enhanced by medical experimentation, and tested in war. What happens to the creature when the war ends and the man awakens?
SSgt. Ryder was born, bred, and enhanced as a warrior, but when he returns home to his new wife–exiled from the army along with the rest of his disgraced team–he faces mounting anger and paranoia. When a fellow soldier does the unthinkable, Ryder disappears to protect his wife, but his departure leaves a vacuum filled with danger. Can he save her or will he lose himself to the beast and destroy what matters most?
Abandoned most of her life, Lauren Ryder married thinking she had finally found stability, until her new husband disappeared. He returns altered and secretive. Can she forgive him for crushing her dreams of picket fences and happily ever after? Will she survive what he has become?
Hot military romantic suspense. Fast paced, twists and turns with a side of steamy. Live By The Team is the first in the Team Fear series. The surviving members of Team Fear are out of the military and in a world of secrets, lies, and cover-ups in this new romantic suspense series by Cindy Skaggs.
"I don't want to hear it." She punctuated the words by stabbing a finger into his chest. "Damn you and the horse you rode in on, Ryder." Hysteria stole the force from her words. Tears shimmered so it was like looking through a storm cloud. "I thought you were dead."
He wrapped his hands around her hips and pulled her into his warmth, the tray clattering to the ground. She resisted, stood stiff with her palms braced against him, pushing away like an angry cat, her claws digging into his drool-worthy pecs. "I was dead without you," he said, his tone as rough as a dried-up creek bed. The texture of his voice put her in the mood for hot sex on a cold winter night.
Kill me now.
The man knew how to push her buttons with his practiced moves and smooth words and a deep voice that zipped desire straight to her underpants. Lauren's claws retracted and her body softened against his, even as her mind argued against forgiveness. "Love is an action word, Ryder. Your sweet words don't buy you a pass." Lauren shook her head to clear the emotional storm. "Not this time—"
"Yes." Raw need swelled in his gravelly voice, the sound hitting below the belt. He was a walking fantasy and she was all too familiar with his ability to blow her mind, but her wounded pride demanded she grow a pair.
Lauren twisted to leave—honest to God, her mind was made up—but it was like her boots were nailed to the floor. She couldn't step, slide, or scoot. Silence stretched. He waited, gave her time to get the hell out of Dodge.
The temperature in the hall flashed hot and his grip on her hips turned to fire. He lowered his head, inch by arrogant inch, until the day's growth of beard on his strong jaw, his tortured moan, and the smell of leather were all that mattered.
Lauren burrowed past the damn leather jacket and fisted a hand on the side of his t-shirt. Her knuckles brushed the warm skin underneath. She held tight to the thin cotton to keep her hands from straying. The second he lowered his head she was lost. Her heartbeat filled the pause, thundering with need and fear and desire. His breath brushed her lips and her heart whispered a soft welcome home.
Cindy Skaggs grew up on stories of mob bosses, horse thieves, cold-blooded killers, and the last honest man. Those mostly true stories gave her a lifelong love of storytelling and heroes. Her search for story took her around the world with the Air Force before returning to Colorado. As a single mom, she's turning her lifelong love of storytelling into the one thing she can't live without: writing. She has an MA in Creative Writing, three jobs, two kids, and more pets than she can possibly handle. When she's not writing, she can be found hiking in the Rocky Mountains.
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Home / General / Book Review: Alex Gourevitch: From Slavery to the Cooperative Commonwealth: Labor and Republican Liberty in the Nineteenth Century
Book Review: Alex Gourevitch: From Slavery to the Cooperative Commonwealth: Labor and Republican Liberty in the Nineteenth Century
By Erik Loomis
I don't read much, or really any, political theory at this point in my life. It's an important field but I have little background in it and the start-up cost of time and energy to read difficult texts is high. But political theorists can often add a great deal of context to the ideological framework of political movements. And so I was quite interested in reading Alex Gourevitch's From Slavery to Cooperative Commonwealth, which is an exploration of how the Knights of Labor and other workers' movements of the 19th century reframed ideas of republicanism in order to demand Independence from exploitative captialism.
Because of my lack of a background in political theory, I am writing this review in the context of how the book is useful for the U.S. historian. Framing his story with the biracial organizing of the Knights of Labor in Louisiana, which led to the Thibodaux Massacre, Gourevitch argues that the Knights created a rhetoric of freedom that could appeal to African-Americans because it was about not having masters of any kind. This brought together African-Americans' lived experiences and memories of slavery with working people of all races who had new demands for emancipation from their employers. Ideally, the Knights hoped workers could create cooperative institutions that would allow them to be truly independent and avoid the tyranny of capital altogether.
This master-slave language was a significant transition in the history of republican thought. The two key points for Gourevitch is a) republicanism had largely been an elite language in the past and b) slavery was a real live thing in the United States and when it was gone, workers could then use that language to serve their own purposes. On the first, 19th century workers appropriated this elite language around independence and virtue to describe the world of labor relations. Slavery and elite republicanism had been tied together from the Greeks and Romans to the Founding Fathers in Virginia. Life in the United States challenged this in a number of ways, creating not only working class definitions of it, but most prominently, abolitionists who tried to disconnect the need for chattel slavery from American republican thought. Abolitionists like William Lloyd Garrison completely rejected workers' claims to be slaves, often in vociferous terms, because workers were not unfree like slaves and therefore the comparison were not apt. Economic dependence was not unfreedom.
But the defeat of slavery then solved the abolitionist objection to worker use of this language, or at least made that appropriation less of a threat to their political project. With one form of slavery undone, workers sought to use republicanism to undo what was becoming a new and increasingly powerful form of unfreedom: the employer-employee relationship of the Gilded Age. The issue of independence was at the core of labor's critique of this new system. The changes in American work developing before the Civil War began to create widespread changes to workers' independence and freedom. If they labored for 12 hours but only made enough money to buy goods that took 4 hours to produce, that was 8 hours a day being stolen from them by their employer. And even if contracts were enforced fairly, the conditions of control had become so bad after the Civil War that workers were still oppressed. They didn't make enough money to withhold their labor from employers, so the system was already unequal. Then the contract ceded total control of the workplace to the employer. Ultimately, only cooperative workers organizations could allow workers to escape this system of capitalism and regain their independence. A cooperative republic would challenge the dominant system of production and give workers control over their lives again.
This book gets at another key issue in American history, which is how a Republican Party that ended slavery and sought rights for free blacks during Reconstruction could then turn around and not only crush workers movements, but talk about unions in apocalyptic terms. But these two things were not contradictory in the mindset of Republicans. Garrison himself could celebrate black freedom in terms of "independent laborers by voluntary contract." But what did "voluntary" mean? For mainstream Republicans, it was the conditions an employee agreed to when he (most likely) agreed to take a job. This construction of freedom did not have any room for other forms of compulsion like the need to eat or put a roof over your head. Freedom did not have to extend any farther than compulsory labor at the point of a lash. The Supreme Court itself roundly rejected the idea of alternative forms of tyranny in the Slaughterhouse Cases of 1873 when white New Orleans butchers said a new law forcing them to work at a single private institution violated the 14th Amendment by violating their economic independence and placing them in servitude. From there through Lochner, Gourevitch takes readers through how the courts routinely found that freedom of contract was true freedom, ignoring the increasingly unequal realities of Gilded Age society that led to the rise of the Knights in the 1870s and 1880s as a response.
Gourevitch also helps us understand the Knights' unfortunate position toward immigrants, especially the Chinese and eastern Europeans. Labor republicans held themselves and other workers to very high standards because they believed the cooperative republic would have to rest on the morality of its members. These standards could easily not be fulfilled. They would them blame workers for their own failings. Given the racial milieu of the late 19th century, blaming workers for their own problems could easily morph into racial characterization. However, Gourevitch doesn't really get into how the Knights managed to include African-Americans into this system when the Chinese and eastern Europeans could not be. That's a weakness of the book, but you can read Joseph Gerteis' Class and the Color Line for an understanding of that. Unfortunately, that book is not cited in Gourevitch's bibliography, even though it was published in 2007. Interestingly, the two books use the same image for their cover.
Gourevitch does not shy away from the modern implications of his study in the New Gilded Age, noting that "who is subject to whose will" is a key question today. (177) Like in the 19th century, employers are using unnecessary power against workers to hurt their lives, such as cracking down on bathroom breaks to use Gourevitch's example. He suggests the positives of using labor republicanism rhetoric and moving toward cooperative enterprises today. Personally, I'm really skeptical that cooperative enterprises can succeed on any large scale. But as I have argued before, one of the similarities between the two Gilded Ages is that in both cases, working people were smacked in the face by a radically transforming capitalism that left them figuring out just what the heck happened to their lives searching for any alternative to that system. So any alternative should be on the table today.
Ultimately, Gourevitch wrote a book that goes a long way to explaining some of the trickier and most often misunderstood intellectual trends in American history.
book reviews, Gilded Age, knights of labor, labor, new gilded age, slavery
On Saved Games and Best Practices
LGM Film Club, Part 113: Carter's Inaugural Address
The Great Awankening


text:
Oaks Hotels & Resorts expands network in Tropical North Queensland with acquisition of QT Port Douglas
Leading accommodation provider Oaks Hotels & Resorts, a division of Minor Hotels, is strengthening its presence in Tropical North Queensland, announcing it has acquired the freehold interest of the boutique resort QT Port Douglas and adjoining land.
In a deal brokered by CBRE, the 170-room resort – now called Oaks Resort Port Douglas – will present holidaymakers with Oaks Hotels & Resorts' smart simplicity and spacious apartment accommodation in a coveted coastal destination, which is touted as the jewel in Tropical North Queensland's crown.
Chief Operating Officer of Minor Hotels – Australia and New Zealand, Mr Craig Hooley, commented on the announcement.
"We are delighted to announce the successful acquisition of this quality asset, which will operate under the Oaks brand and forms part of our strategic direction to own and operate hotels that deliver a strong value proposition to both our guests and our investors."
"Port Douglas is a key domestic market for us, and while we already have a strong presence in the region with sister property Oaks Lagoons, we see the two properties as each having their own unique offer and providing guests with diverse accommodation options from which to explore the region.
"The addition of Oaks Resort Port Douglas will perfectly complement our existing brand portfolio of 56 hotels nationally and we look forward to welcoming guests to this vibrant resort under our new management."
Renowned for its laidback holiday charm, Oaks Resort Port Douglas is ideally positioned just a stone's throw from Four Mile Beach and the tourist town's most popular attractions.
Guests are just five minutes from Macrossan Street – Port Douglas' shopping, wining and dining hub, as well as the sparkling marina and award-winning golf courses – which can all be accessed on the historical Bally Hooley train, which stops off right in front of the Resort.
For adventure seekers, the Resort is also just 20 minutes from sheltered swimming holes and easy walking tracks at Mossman Gorge; and just over an hour from the world's oldest and heritage-listed rainforest, the Daintree. The Great Barrier Reef is easily accessible for snorkeling and diving enthusiasts, with a number of local operators departing from Port Douglas daily.
Boasting an ocean-inspired setting, the Resort has been designed to reflect a tropical paradise that sets the scene for leisurely days spent swimming, sipping, indulging and relaxing in the heart of Port Douglas.
Featuring a combination of hotel rooms and one and two-bedroom apartments, all of which offer garden or pool views, the Resort appeals to a broad range of travellers, including singles, couples, families, conferencing and wedding groups.
Offering the convenience of Oaks signature self-contained facilities, one and two-bedroom apartments are equipped with king-size beds, kitchenettes, private balconies or courtyards, spacious lounge areas and deluxe furnishings; the quintessential 'home away from home'.
Centred around a sprawling tropical lagoon pool with swim-up bar, the boutique resort property is a holidaymaker's heaven, complete with an array of premium leisure facilities, including an indulgent day spa. The Resort is also home to a dedicated events, conferencing and wedding precinct.
Dining at Oaks Resort Port Douglas is an experience in itself. The onsite marketplace-style restaurant offers a relaxed, alfresco setting for breakfast and dinner, bringing together international flavours of the world for a mouthwatering culinary adventure. The adjoining cocktail bar also presents as the perfect spot to chill out with a cool beverage in hand and soak up the cosmopolitan vibes of one of Australia's premier resort towns.
For more information please visit: https://www.oakshotels.com


text:
MDNA X Moschino travel kits – now available
Madame ❌ @madonna cozies up with our #MDNAxMOSCHINO travel kit. You should too. Tap to get yours on our site or at select @nordstrom and @barneysny! 💘
April 22, 2019 MDNA Skin, NEWSBy Kimberly
Madame ❌ was born when Madame ❌ broke the rules (teaser video)
April 22, 2019 Madame X, NEWS, VIDEOBy Kimberly
Four New Madonna Songs Will Be Released Before "Madame X" Drops; Find Out Which Ones…
Madonna may be currently rocketing up the charts with her Colombian influenced and Maluma assisted "Medellin" (premiering last week), she is taking a page from some of her current pop compatriots and dropping new music off of her much anticipated Madame X in a very interesting way. On May 3rd, Madonna will drop the single "I Rise", while…
April 22, 2019 Madame X, NEWSBy Kimberly
Madge (apparently) channels Frida and Pyotr
In a canny move, op superstar Madonna has been drip feeding images of her new album, Madame X, which is due for release 14 June. Fans of Madge worldwide are (obviously) frothing with excitement at the thought of the Material Girl's 14th studio album and are loving the first single Medellin, a duet with the…
Madonna gets married to Maluma in Medellin music video teaser and it's Wild West themed
Madonna has saddled up and headed to the Wild Wild West for her forthcoming Medellin music video – and it looks as though she's had a shotgun wedding. The 60-year-old popstar has dropped several teasers from the anticipated visuals for her collaboration with Latin star Maluma, and Madame X is in for a wild ride.…
The 30th #madonnafanparty Madame X London launch party – June 22
April 21, 2019 NEWSBy Kimberly
MADAME X OFFICIAL Sydney Launch Party
On Friday June 14th Madonna Icon Australia & Universal Music Presents The Official MADAME X Release Party. Lots of Giveaways on the night! Get Dressed up in your favourite Madonna Era and Dance to Non-Stop Madonna Music All Night Long. Material Girls and Toy Boys will Get Together to celebrate Madonna whilst Causing A Commotion. So…
April 21, 2019 Madame X, NEWS, VIDEOBy ddevries
Madonna and Maluma to perform new song at Billboard Awards
NEW YORK — Madonna and Colombian singer Maluma will bring their new collaboration to life when they perform at next month's Billboard Music Awards. NBC and dick clark productions announced Friday the duo will sing "Medellin" at the May 1 event in Las Vegas. The song, released on Wednesday, is from Madonna's 14th album "Madame…
Official! Madonna and Maluma will perform Medellin at Billboard Music Awards May 1
.@Madonna and @maluma are performing their worldwide TV premiere performance of "Medellín" at the #BBMAs. 🔥 Watch May 1 at 8/7c on NBC… trust me. pic.twitter.com/ASnltaC5fY
— Billboard Music Awards (@BBMAs) 19 april 2019
Madonna by J. Randy Taraborrelli U.K. release – WIN A COPY!
In the craziness of the release of Madonna's brand new single Medellin and upcoming new album Madame X, there is still some time to address other new releases. Madonna 'An Intimate Biography of an Icon at Sixty' by J. Randy Taraborrelli has just been released in the U.K. (read our review HERE). Want to try…
Vote for Medellin in the official Dutch tip parade
Please vote for Medellin now in the votinglist for the official Dutch Tip parade, please do so HERE
Madame X: Everything We Know About Madonna's New Album (W Magazine)
Madonna may have moved to Portugal to be a soccer mom, but it seems Madame X is anything but. She's a professor, a housekeeper, a head of state, an equestrian, etc., etc., etc. That we know from the teaser video and Instagram Madge released to officially announce her upcoming 14th studio album, but that doesn't really do much to…
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text:
SB2344 SD2 HD1 CD1
Measure Title: MAKING AN APPROPRIATION FOR THE HAWAII HEALTH AUTHORITY.
Report Title: Appropriation; Hawaii Health Authority ($)
Description: Makes an appropriation for the Hawaii health authority. (CD1)
Companion: HB2372
Current Referral: HLT, FIN
Introducer(s): IGE
1/20/2012 S Introduced.
1/23/2012 S Passed First Reading.
1/23/2012 S Referred to HTH, WAM.
1/24/2012 S The committee(s) on HTH has scheduled a public hearing on 01-27-12 2:45PM in conference room 229.
1/27/2012 S The committee(s) on HTH recommend(s) that the measure be PASSED, WITH AMENDMENTS. The votes in HTH were as follows: 5 Aye(s): Senator(s) Green, Nishihara, Baker, Chun Oakland, Wakai; Aye(s) with reservations: none ; 0 No(es): none; and 2 Excused: Senator(s) Shimabukuro, Slom.
2/15/2012 S Reported from HTH (Stand. Com. Rep. No. 2181) with recommendation of passage on Second Reading, as amended (SD 1) and referral to WAM.
2/15/2012 S Report adopted; Passed Second Reading, as amended (SD 1) and referred to WAM.
2/29/2012 S The committee(s) on WAM recommend(s) that the measure be PASSED, WITH AMENDMENTS. The votes in WAM were as follows: 11 Aye(s): Senator(s) Ige, Kidani, Chun Oakland, English, Espero, Fukunaga, Kouchi, Ryan, Tokuda, Wakai, Slom; Aye(s) with reservations: none ; 0 No(es): none; and 3 Excused: Senator(s) Dela Cruz, Kahele, Kim.
3/2/2012 S Reported from WAM (Stand. Com. Rep. No. 2652) with recommendation of passage on Third Reading, as amended (SD 2).
3/2/2012 S 48 Hrs. Notice 03-06-12.
3/6/2012 S Report adopted; Passed Third Reading, as amended (SD 2). Ayes, 25; Aye(s) with reservations: none . Noes, 0 (none). Excused, 0 (none). Transmitted to House.
3/6/2012 H Received from Senate (Sen. Com. No. 155) in amended form (SD 2).
3/8/2012 H Pass First Reading
3/8/2012 H Referred to HLT, FIN, referral sheet 41
3/13/2012 H Bill scheduled to be heard by HLT on Friday, 03-16-12 9:30AM in House conference room 329.
3/16/2012 H The committees on HLT recommend that the measure be PASSED, UNAMENDED. The votes were as follows: 7 Ayes: Yamane, Morikawa, Belatti, Hanohano, C. Lee, Mizuno, Wooley; Ayes with reservations: none; 0 Noes: none; and 3 Excused: Jordan, Ching, Pine.
3/20/2012 H Reported from HLT (Stand. Com. Rep. No. 1132-12), recommending passage on Second Reading and referral to FIN.
3/20/2012 H Passed Second Reading and referred to the committee(s) on FIN with none voting aye with reservations; none voting no (0) and Chang, Herkes, Nakashima, Pine, Tokioka excused (5).
3/27/2012 H Bill scheduled to be heard by FIN on Thursday, 03-29-12 10:00AM in House conference room 308.
3/29/2012 H The committees on FIN recommend that the measure be PASSED, WITH AMENDMENTS. The votes were as follows: 16 Ayes: Oshiro, M. Lee, Choy, Cullen, Giugni, Har, Hashem, Ichiyama, Jordan, Kawakami, Morikawa, Tokioka, Yamashita, Marumoto, Riviere, Ward; Ayes with reservations: none; 0 Noes: none; and 1 Excused: C. Lee.
4/5/2012 H Reported from FIN (Stand. Com. Rep. No. 1552-12) as amended in HD 1, recommending passage on Third Reading.
4/5/2012 H Forty-eight (48) hours notice Tuesday, 04-10-12.
4/10/2012 H Passed Third Reading as amended in HD 1 with none voting aye with reservations; none voting no (0) and none excused (0). Transmitted to Senate.
4/12/2012 S Received from House (Hse. Com. No. 438).
4/12/2012 S Senate disagrees with House amendments.
4/12/2012 H Received notice of disagreement (Sen. Com. No. 679).
4/16/2012 H House conferees appointed: Yamane, Morikawa Co-Chairs; M. Lee, Ching.
4/16/2012 S Senate Conferees appointed: Green, Chair; Chun Oakland, Kidani, Co-Chair(s); Slom.
4/16/2012 H Received notice of Senate conferees (Sen. Com. No. 755).
4/17/2012 S Received notice of appointment of House conferees (Hse. Com. No. 611).
4/18/2012 S Conference committee meeting scheduled for 04-19-12 3:00PM in conference room 229.
4/19/2012 S Conference committee meeting to reconvene on 04-23-12 3:00PM in conference room 229.
4/29/2012 H Bill scheduled for Conference Committee Meeting on Monday, 04-30-12 9:00AM in conference room 309.
4/30/2012 S Senator(s) Ige added as Co-Chair(s).
4/30/2012 H Received notice of change in Senate conferees (Sen. Com. No. 829).
4/30/2012 H The Conference Committee recommends that the measure be Passed, with Amendments. The votes were as follows: 4 Ayes: Representative(s) Yamane, Morikawa, M. Lee, Ching; Ayes with reservations: none; 0 Noes: none; and 0 Excused: none.
4/30/2012 S The Conference committee recommends that the measure be PASSED, WITH AMENDMENTS. The votes of the Senate Conference Managers were as follows: 4 Aye(s): Senator(s) Green, Chun Oakland, Kidani, Slom; Aye(s) with reservations: none ; 0 No(es): none; and 1 Excused: Senator(s) Ige.
5/1/2012 S Reported from Conference Committee as amended CD 1 (Conf. Com. Rep. No. 175-12).
5/1/2012 S 48 Hrs. Notice (as amended CD 1) 05-03-12.
5/1/2012 H Reported from Conference Committee (Conf Com. Rep. No. 175-12) as amended in (CD 1).
5/1/2012 H Forty-eight (48) hours notice Thursday, 05-03-12.
5/3/2012 S Passed Final Reading, as amended (CD 1). 22 Aye(s); Aye(s) with reservations: none . 1 No(es): Slom. 2 Excused: Dela Cruz, Hee.
5/3/2012 H Passed Final Reading as amended in CD 1 with none voting aye with reservations; none voting no (0) and Representative(s) Nishimoto excused (1).
5/4/2012 H Received notice of Final Reading (Sen. Com. No. 839).
5/4/2012 S Received notice of passage on Final Reading in House (Hse. Com. No. 728).
5/8/2012 S Enrolled to Governor.
7/10/2012 H Act 280, on 7/6/2012 (Gov. Msg. No. 1383).
7/10/2012 S Act 280, 7/6/2012 (Gov. Msg. No. 1383).
SB2344_SD2
SB2344_HD1
SB2344_CD1
SB2344_SD2_SSCR2652
SB2344_SD2_HSCR1132-12
SB2344_HD1_HSCR1552-12
SB2344_CD1_CCR175-12
HTH 229 1/27/2012 2:45 PM View
HLT 329 3/16/2012 9:30 AM View
FIN 308 3/29/2012 10:00 AM View
CONF 229 4/19/2012 3:00 PM View
CONF 309 4/30/2012 9:00 AM View


text:
require File.expand_path(File.dirname(__FILE__) + '/spec_helper')

describe '/admin/comments' do
  include_context 'admin login'

  before do
    @post = create(:post)
    @comment = create(:comment, entry: @post)
    create(:spam_comment, entry: @post)
  end

  after do
    Comment.destroy
    Post.destroy
  end

  context 'GET /admin/comments' do
    it 'should show index' do
      get '/admin/comments'
      last_response.should be_ok
    end
  end

  context 'GET /admin/comments/new' do
    it 'should show form for new comment' do
      get '/admin/comments/new'
      last_response.should be_ok
      last_response.body.should match('<form')
    end
  end

  context 'POST /admin/comments' do
    it 'should create a new comment' do
      Comment.destroy
      sample = attributes_for(:comment, entry_id: @post.id)
      post '/admin/comments', comment: sample
      last_response.should be_redirect
      Post(@post.id).comments.should have(1).item
    end
  end

  context 'GET /admin/comments/:id/edit' do
    it 'should show edit comment' do
      get "/admin/comments/#{@comment.id}/edit"
      last_response.body.should match('<form')
      last_response.body.should match('Test Comment')
    end
  end

  context 'PUT /admin/comments/:id' do
    it 'should update the comment"s body ' do
      put "/admin/comments/#{@comment.id}", comment: { body: 'updated' }
      last_response.should be_redirect
      Comment(@comment.id).body.should eq('updated')
    end
  end

  context 'DELETE /admin/comments/:id' do
    it 'should delete the comment' do
      delete "/admin/comments/#{@comment.id}"
      last_response.should be_redirect
      Comment(@comment.id).should be_nil
    end
  end

  context 'delete /admin/comments/spam' do
    it 'should delete spam comments' do
      delete '/admin/comments/spam'
      last_response.should be_redirect
      Comment.spam.size.should eq(0)
    end
  end

  context 'when the comment does not exist' do
    before { Comment.destroy }

    context 'GET' do
      before { get '/admin/comments/9999/edit' }
      it_behaves_like 'a not found page'
    end

    context 'PUT' do
      before { put '/admin/comments/9999' }
      it_behaves_like 'a not found page'
    end

    context 'DELETE' do
      before { delete '/admin/comments/9999' }
      it_behaves_like 'a not found page'
    end
  end

  context "When <xmp> tag is used in comment author's name" do
    before do
      @comment.update(name: '<xmp>')
    end

    context 'GET /admin/comments' do
      it 'should escape html tag' do
        get '/admin/comments'
        last_response.body.should match(/<xmp>/)
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


Five married men secretly share a loft where they can entertain their mistresses and latest conquests in style. An excellent arrangement, until one winter morning when they find the dead body of a young woman. None of them know who she is, where she comes from or how she ended up in a loft to which only the six of them have a key. The friends have no choice but to try and find out what happened and why but as suspicion creeps in, it becomes clear they don't know each other half as well as they thought.
Loft, an Erik Van Looy film, was the first Woestijnvis production and was released in the autumn of 2008. It was a smash hit: 1.2 million moviegoers made it the most successful Belgian film ever. In 2010 the three-part mini-series 'Loft' aired on public TV channel Eén. Also in 2010, Woestijnvis co-produced a Dutch remake of 'Loft' together with Millstreet Films and Pumpkin Film (directed by Antoinette Beumer).


text:
Q: Why am I getting call stack size exceeded - Firebase Auth Here's my code. I get this error semi-consistently when logging in, but if the login button is clicked twice it happens every time.
app.controller('login', ['$scope', '$state', '$rootScope', '$localStorage', '$location', 'userData', '$firebaseObject', 'firebase', '$timeout', function($scope, $state, $rootScope, $localStorage, $location, userData, $firebaseObject, firebase, $timeout) {
    var _ = firebase.database().ref()
    $scope.signin = function(user) {
        firebase.auth().signInWithEmailAndPassword(user.email, user.password).then(function(user) {
            $localStorage.currentUser = user
            $localStorage.me = $firebaseObject(_.child('user/' + $localStorage.currentUser.uid))
        }).catch(function(error) {
            console.log(error)
        });
    }
}]);

I don't see what could be triggering the error, and it must be on this page because as of yet, I'm not redirecting to anywhere else.

I thought this may have been my error: Error: Maximum call stack size exceeded on Angualr Ui Router State Change but if I understand it right, this is due to a redirection loop, I'm not doing any redirecting, just opening a Firebase Auth session correct?
UPDATE: After removing both $localStorage lines, the error does not occur, issue with my implementation or $localStorage?

A: Alright so I found a solution to this problem, it appears the issue occurs when writing the entire Firebase Auth user object to the $localStorage object. Not sure what limitations $localStorage has but there was an issue somewhere. My solution was to parse out only the needed data and save that to the $localStorage:
    $scope.signin = function(user) {
        firebase.auth().signInWithEmailAndPassword(user.email, user.password).then(function(user) {
            serializeUser(user)
        }).catch(function(error) {
            swal('Oops', 'There was an error: ' + error.message, 'error')
        });
    }

    var serializeUser = function(user) {
        var object = {
            email: user.email,
            uid: user.uid
        }
        $localStorage.currentUser = object
    }

redpajama_set_name: RedPajamaStackExchange


text:
Everything you always wanted to know about ballet
Ballet FAQs
Is being a ballet dancer a full-time job?
Very much so! Professional ballet dancers are like elite athletes – in constant training for the rigours of performance. Our dancers prepare for their careers from childhood, and work six days a week to polish technique, develop their artistry and hone their bodies to peak fitness. They have a short mid-year break and a longer break over the summer.
What does a dancer's working day look like?
Most of the dancers start their day with Pilates and body conditioning before moving on to morning class. Rehearsals take up the afternoon. If the company is in a performance period, there will be a short break before warm-up barre and the show.
How many times does The Australian Ballet perform each year?
Around 200 times! Apart from our annual seasons in Melbourne and Sydney (usually between five and six ballets in each city), the company travels to selected major cities like Adelaide, Brisbane and Perth, and regularly tours overseas. Our regional touring arm visits towns around the nation each year.
How many dancers are in The Australian Ballet?
We maintain a troupe of around 77 dancers. Young dancers fresh from training usually enter at the lowest rank, becoming part of the corps de ballet. They may then rise through the ranks, from coryphée to soloist to senior artist to principal artist. The top rank is reserved for dancers at the peak of their technical and artistic skill.
Why do the dancers wear such strange clothes in the studio – one leg warmer, tights over leotards, onesies, moon boots?
Away from the stage, the dancers are primarily concerned with comfort and keeping their muscles warm, which prevents injury. Dancers wearing one leg warmer are usually coddling a niggling injury in that leg. Moon boots are used to protect pointe shoes when the dancers are outside the studio. They also keep their feet warm and ready for the next rehearsal.
How long does it take to make a tutu?
A classical tutu requires the unique skills of cutters and costumiers, who work in close consultation to produce a costume. It can take up to two weeks of solid work to produce a single tutu.
How long does it take for a dancer to go en pointe?
Female dancers usually begin their training en pointe at the age of eleven or twelve, although this can vary. Before a dancer can begin pointe work, they must do extensive work to strengthen the feet and lower legs – otherwise they risk injury, possibly permanent.
How many pointe shoes do the dancers go through?
The Australian Ballet goes through 7,500 ballet shoes a year (including men's and women's flat slippers). Of those, 5,000 are pointe shoes. The ladies also use 350 pairs of tights a year.
Do men wear pointe shoes?
No. The only time a male dancer would ever wear pointe shoes is for a specialist character role (for instance the Ugly Sisters in some versions of Cinderella, or Bottom, who is transformed into a donkey in The Dream.
Why does The Australian Ballet have pianists?
Our pianists accompany the dancers in class and rehearsal. Rehearsal pianists have highly specialised skills – they must be able to provide music of the appropriate speed and rhythm for the exercises devised by the artistic staff during daily class, and they must master full piano "reductions" of complex orchestral scores in order to accompany rehearsals. Our pianists also play solo piano for performances of works like Ballet Imperial and Dyad 1929.
Who does the dancers' hair and make-up?
The dancers do it themselves! For specialist make-up (used for roles like Puck in The Dream and Carabosse in The Sleeping Beauty), the costume designer will often supply a drawing demonstrating how the make-up should be done, and the dancers will be given cosmetics to achieve that look. Usually, however, they buy their own make-up.
What does "chookas" mean?
It's the equivalent of "break a leg" – a way to wish performers a good show without transgressing the theatre taboo around saying "good luck". Where does it come from? No one really knows! It's specific to Australian dance culture.
Why are all the ballet terms in French?
Ballet was first codified as a system of movement in the 17th-century French courts, and the terms have been handed down over generations. Even if a dancer can't speak French, they know the universal terms for movements – so dancers are able to take morning class anywhere in the world and feel at home.
Can dancers have children and still have a career?
At The Australian Ballet, they can. We are one of the few companies in the world to offer full-time contracts to dancers – so they have access to leave, including parental leave. Several of our female dancers – including principal artists – have left the company to have children, and almost all have returned to the stage.
What happens when a dancer gets injured?
The Australian Ballet has a world-leading medical team that has worked wonders in injury prevention. However, just as in the highest levels of sport, sometimes injuries are unavoidable. Dancers are encouraged to report strains and niggles early, and to spend time away from performing if necessary. Dedicated rehabilitation specialists assist them to return safely to the stage.
When The Australian Ballet tours internationally, the dancers must travel on two planes, so that the precious artists of the company are not all in the sky at the one time.
The stage managers sometimes mop the specially sprung Tarkett floors on our stages with Coca Cola or a sugar-water solution to make them sticky so that the dancers' shoes will grip the floor, reducing the danger of slips.
Formaldehyde was used for many years to give tutus their characteristic stiffness. Since it was phased out, the costume department are in constant battle against "tutu droop" as they test less toxic solvents.
Go behind the curtain
Going to the ballet, a short history of the art form and FAQs