Navigating the world by leaps and bounds.
David Belle invented parkour in France. It has spread mainly by videos on the Internet, and has been embraced in Europe and the United States by thrill-seekers and martial-arts adepts.
Parkour, a made-up word, cousin to the French parcours, which means "route," is a quasi commando system of leaps, vaults, rolls, and landings designed to help a person avoid or surmount whatever lies in his path—a vocabulary, that is, to be employed in finding one's way among obstacles. Parkour goes over walls, not around them; it takes the stair rail, not the stairs. Spread mainly by videos on the Internet, it has been embraced in Europe and the United States by thrill seekers and martial-arts adepts, who regard it as part extreme sport—its founder would like to see it included in the Olympics—and part gruelling meditative pursuit. Movies like its daredevil qualities. A bracing parkour chase begins "Casino Royale," the recent James Bond movie. It includes jumps from the boom of one tower crane to that of another, but parkour's customary obstacles are walls, stairwells, fences, railings, and gaps between roofs—it is an urban rather than a pastoral pursuit. The movements are performed at a dead run. The more efficient and fluid the path they define, and the more difficult and harrowing the terrain they cross, the more elegant the performance is considered by the discipline's practitioners.
Parkour was created in Lisses, a medium prosperous suburb of Paris, in the early nineteen-nineties, by a reserved and restless teen-age boy named David Belle. His father, Raymond, who died in 1999, was an acrobat and a hero fireman. In 1969, he appeared in newspaper photographs hanging from a cable attached to a helicopter above Notre Dame. The night before, someone had hung a Vietcong flag on the cathedral's tower. Raymond was lowered like a spider on a thread, and he grabbed the flag. David Belle is now thirty-three. He has an older brother, Jeff, who is also a fireman; they have the same father but different mothers. (A third brother died a few years ago, of an overdose.) David was raised by his mother's father. On the few occasions when he tried to live with Raymond, their temperaments clashed. David's grandfather told him stories about Raymond that revolved around his exploits—"Spider-Man stories and Tarzan stories," David says—and left him wishing to emulate him. He wanted to be Spider-Man when he grew up.
The parkour scene in "Casino Royale" is performed by a childhood friend of Belle's named Sébastien Foucan, who has developed a parallel pursuit to parkour, called freerunning. Belle appears in two kinds of films, movies that show him performing parkour for its own sake, and movies and commercials in which he appears as an actor performing parkour. All of the films have the kind of vaudeville improbability of a video game. He leaps gaps between rooftops that it doesn't seem possible to cross. Or he jumps from a rooftop to one that is so much lower that he gets smaller and smaller, descending like a spike about to be driven into the ground. If parkour has a shrine, it is the climbing wall in Lisses, called the Dame du Lac, where Belle played as a teen-ager. The wall is about seventy-five feet high, and the films I like best show him fearlessly racing up and down it as if it had stairs. All are so steeped in risk that there are none I can watch without anxiety.
A young man who practices parkour is called a traceur; a woman is a traceuse. A traceur, Jeff Belle says, is someone "who traces David's footsteps, the way David traced our father's." Enthusiasts also say that a traceur is someone who goes fast. The video of Belle that traceurs seem to find most compelling, judging from how often they mention it, is one in which he crashes into a cement wall. I have found it on YouTube, using "David Belle fall" as the search term. Belle is attempting to leap over a double-wide ramp that leads to an underground parking garage. The ramp is enclosed by cinder-block walls, about three feet high. Belle arrives at a run from the left. He lowers his hands but they appear to miss the first wall entirely; he seems to be looking at where he means to land. Incredibly, while aloft, he turns, so that his shoulder, not his head, strikes the opposite wall. Ten feet beneath him, at the bottom of the ramp, a cameraman is lying on his back in order to shoot from below. Belle manages not to land on him. His first gesture is to see if the cameraman is all right. Then he begins walking briskly up the ramp. Toward the top, he turns and can be seen to be grinning.
Parkour has no explicit glossary, but traceurs typically describe the fundamental maneuvers as the cat leap, the precision jump, the roll, and the wall run. There is also the tic-tac, in which a nearly horizontal traceur takes at least one step and sometimes several steps along a wall and launches himself from it; and the underbar, in which a traceur dives feet first through a gap between fence rails, like a letter going through a slot, then grabs the upper rail as his shoulders pass under it. In addition, there are several vaults, including the lazy vault, the reverse vault, the turn vault, the speed vault, the dash vault, and the kong or monkey vault, in which a traceur runs straight at a wall or a railing, plants his hands on top, and brings his feet through his hands. All these moves link to one another, so that a traceur might say that he went cat to cat, or that he tic-taced a wall or konged it, then did a roll and a wall leap. The intention is to become so adept that the movements recede in one's awareness and can be performed without reflection. Jazz musicians occasionally say that a novice needs to learn all about his instrument, then he needs to learn all about music, then he needs to forget everything and learn how to play, which is a paradigm that also fits parkour, especially because both activities at their most proficient are improvised. A jazz musician wants to be comfortable in any key. Similarly, a traceur wants to be sufficiently fluent so that he can cross any terrain in flight without compromise.
A few weeks later, Toorock discovered a British Web site called Urban Freeflow, which had just started up. Toorock arranged to meet some of the people involved in a park, and they went around climbing walls and jumping over benches. After two years, Toorock was transferred back to the United States and ended up in Washington, where he began his Web site.
In 2005, Toorock organized a team of American traceurs—ten men and two women, who call themselves the Tribe—and when I asked him who among them was the most adept he said Ryan Ford, who is a sophomore at the University of Colorado at Boulder. Ford is five feet nine, and he weighs a hundred and forty-five pounds. His face is round, and his eyes are slightly slanted. He has Sioux and Navajo blood, and bristly dark-brown hair. Everyone in the Tribe has a nickname. Ford's is Demon, but, being earnest and unassuming, he's not very comfortable with it. He lives in an apartment in a rambling house with two roommates. We sat in the living room. Ford said that he discovered parkour on the Internet toward the end of his junior year in high school, in Golden, Colorado. He wanted to learn how to run up to a wall, plant his foot on it, and do a backflip. Looking for instructions, he found images of David Belle, among others. In the fall, he quit the football team, on which he was a wide receiver, to pursue parkour.
I asked how he had learned.
"I try to do something every day," he said. Then he frowned. "One thing we say is we do parkour, but a lot of the time we aren't; we're practicing for parkour. True parkour is hardly ever done. If I'm practicing a vault and I turn around and do it again, that's not parkour, because it's continuing a circle—it's not making a path. The videos on the Internet are spliced together, so that's not really parkour, either.
The next morning, I drove to Denver with Ford; his girlfriend, Kathryn Keller, who is brown-haired and petite and was a gymnast in high school but had to give it up when she hurt her back; and a tall, skinny high-school boy with freckles and a turban named Sat, whose full name is Sat Santokh Khalsa. Sat's American mother and father had converted to Sikhism, and when Sat was nine they sent him to a Sikh boarding school in India, called Miri Piri Academy. He had gone there for six years—he was now fifteen—and had just started Boulder High School. When he came home from India at the end of the school year, a friend had shown him a parkour video, and then he found Mark Toorock's Web site.
"Separated my shoulder," he said.
While we stood looking at the wall and the flower bed, another traceur, a high-school boy named Dan Mancini, came walking across the plaza. He was tall and thin, with brown hair, and wore a T-shirt and jeans. Ford clasped his hands above his head and stretched, then said, "Shall we hit some stuff on the fountain?" When Ford talks about people naturally gifted for parkour, one of the people he means is Nikita. We watched him pace off a ten-foot gap from the border to the fountain, then approach it at a run. The first time, he landed short of the wall, and the second time he cleared the gap but couldn't hold on to the wall and dropped to the bottom of the fountain.
Nikita said that he wanted to try one more time.
"You shouldn't tell me," Nikita said.
They grew tired of the fountain shortly and began hoisting themselves onto a railing a few feet above the ground and walking along it on all fours: a maneuver called a cat balance or a cat walk. The railing framed three sides of a rectangle. The longest section was about thirty feet. "Cat walking is very tiring," Ford said. "Your legs start to burn." Nikita went up one side of the railing and made the turn and passed us. "Your legs burning yet?" Ford asked. Nikita shook his head. He turned the second corner. "Now burning," he said.
After Nikita got off the railing, he paced out a cat leap from the plaza, over a gap of about eight feet, to a block in the fountain.
"The last guy who did that hit his face," Ford said.
"Bit through his lip," one of the others said.
We crossed the street to a ramp that led to an underground garage. The boys leaned over the walls on either side of the ramp and looked down soberly. At the deep end, the drop to the pavement was about fifteen feet, and the distance across about twelve.
"This is the smallest parking-garage ramp in Denver," one of them said.
"Yeah, we scouted it," another said.
They walked to the head of the ramp in a little pack. A few of them climbed up on the wall around the ramp and made tentative standing jumps to the pavement, landing at the far wall and grabbing the edge of it with their fingers, but no one wanted to try it for real. Embedded in the wall were pieces of gravel, making it rough to the touch. Nikita stood on a rail several inches above the wall, wobbling, as if on a branch. Through a window of the hotel, about ten floors up, a man watched him. Nikita bent his knees, thrust his arms forward, and leaped, his path making a little arc in the air. His fingers grasped the wall, but he landed hard and banged his shin. He lifted his pants leg to see if he'd cut himself. Then he said, "Let's get out of here," and everyone followed him across the street. His hands were scraped and bleeding. On a Velcro strap around his chest he had a zippered wallet from which he took some tape and wrapped his fingers.
A door at the top of a flight of stairs in the apartment building opened and a small, black-haired woman stepped out. "What are you doing climbing here?" she yelled. "Are you supposed to be up there? Get off. The stairs are for going up and down." She glared at them, and one by one they sheepishly climbed down. We took the stairs to the roof, which was connected to a walkway leading to a row of stores, all of them closed—it was Sunday. By one of the stores were two sulky girls and a boy dressed in black clothes.
"Are you guys some kind of youth group?" one of the girls asked.
"No, this is just us using the buildings to keep fit," someone said.
"She does not understand," Kathryn said.
I turned and saw Nikita climbing a drain pipe to the roof of one of the stores. While I was writing "Spider-Man" in my notebook, his shadow as he leaped from one roof to another passed over the page.
Jeff Belle has an office in Paris, where he handles fire-department business. To speak with him, I brought a translator, Susan Chace, an American novelist who lives in Paris. Belle, who is forty-five, is small and wiry. He has a round face, a sharp chin, dark eyes, and black, cropped hair with flecks of gray. He was wearing a fireman's uniform, a dark-blue garment like a jumpsuit. The legs ended just above the tops of his black combat boots. Over the uniform, he wore a long coat that had "Pompier de Paris" written on the back. We met at his office, then he took us to an empty, low-ceilinged room with a bar and an espresso machine and some tables stacked on top of each other. On the wall were photographs of firefighters.
David was briefly a fireman recruit, until he hurt his wrist. While he was recuperating, he started thinking things over and saw that the life of a fireman had too many rules, and not enough action, and he decided to join the Marines, but he didn't find the same values among them, the "traditional values." He left the Marines and went to India, where he stayed for six months. When he came back to Paris, he was twenty-four, and he didn't know what to do with himself.
It was 1997, and Jeff was involved in planning an annual ceremony in which recruits perform firefighting drills. He decided that David should put on a show. He told him to get a group together, so that he wouldn't look insignificant by himself. David collected two of his cousins and some other kids from the neighborhood, including Sébastien Foucan, with whom he ran around doing parkour. Jeff choreographed a routine for them. They dressed as ninjas and called themselves the Yamakasi. "It means 'strong spirit' in the language of Zaire," Jeff said, "but it sounded Asian." During the show, David climbed a tower and did a handstand at the top. He also scaled a fireman's ladder and did a backflip from it. After the demonstration, David began getting invitations to perform.
The next day, I took a taxi with Susan Chace to Lisses, about half an hour south of Paris. When we were under way, the driver asked why we were going there. Chace said, "To see David Belle." The driver nodded. Chace asked if he knew who Belle was, and the driver said, "Of course. Il est unique." We left the highway and, following Jeff's directions, went around a rotary and came to a collection of low, flat-roofed, two-story buildings, like shoeboxes, painted light brown. We stopped in front of Belle's building. Chace knocked, the door opened, and the driver said, "That's him!" Belle had his chin tucked slightly, like a man looking out from under the brim of a hat. He had dark hair cut short like a pelt and a thin, asymmetrical face, with a sharp chin and a hook nose. He was wearing a red fleece top and jeans. As I paid the driver, Jeff Belle drove up behind us. We went into the apartment. The kitchen was by the door, and there was a living room beyond it with a circular stairway leading up. In the living room was David's girlfriend, Dorine Sane. David had his fleece top zipped to his chin—he had a sore throat—and he seemed subdued. He had just come back from three weeks in the Czech Republic, where he was making "Babylon AD," which stars Vin Diesel, and is based on a French science-fiction novel. David plays the head of an Internet gang that does parkour, and he choreographed scenes for ten actors.
For a few minutes, my mind screened images of David in videos I had seen—running up and down the wall, doing a hair-raising handstand at the top—then we began walking back toward the apartment. We passed a low building with picture windows—a nursery school—and Jeff said that when David and his friends were young "they jumped over the bushes beside it to the roof. That was their first trick." While we were looking at a stairwell that appears as a prop in videos for a series of David's cat leaps, Jeff's cell phone rang, and it was David saying he was ready to talk.
He said that parkour hadn't changed much, since he started it, but his intention had become more specific. "When I was younger, I was playing, the way kids play at parkour, but now I ask the question 'Is this going to be useful for me to get to the other side?' The movement is simple. I don't do anything special, because I want to get to the other side. What I'm interested in for parkour is the utilitarian thing of getting to the other end, whether as a task or a challenge, but in film they like a little entertainment, so I do that, too, but it's not what I'm interested in.
I asked David why he had gone to India, and he said that he had friends there.
"I just kept training," he said. "I was training in the trees." Jeff handed me a scrapbook with a photograph of David leaping from the limb of one tree to another. He was stretched flat out, horizontal to the ground, like Superman.
He then showed us, on a computer, a documentary called "Warriors of the Monkey God." It was about a tribe of monkeys who live on the rooftops of Jodhpur. The people regard the monkeys as holy. We watched them leaping from rooftop to rooftop and through the trees. The scene that made David smile was one in which numbers of them leaped onto, then off, a piece of corrugated tin that was loosely attached as a roof to some stakes. Their landings made the tin shake. Some of the monkeys were leaping from the ground, turning on their sides in the air, landing on the stakes and shoving off from them—a tic-tac.
Watching the movie, which was about forty-five minutes long, took only about fifteen minutes, because David kept advancing it to scenes of the monkeys in flight, looking exactly like traceurs. When it was finished, he said that after coming home he had just continued perfecting what he had learned from the monkeys. He had plans, he said, to make a movie with them.
He said that he wanted to be able to feel the surfaces he was grabbing. He held his palms out for me to feel, and they were as hard and slick as linoleum.
Last fall, David said, he had discussions with Sam Raimi, the director of "Spider-Man," about playing the role of Spider-Man's double, but he decided he wasn't interested. "That was a childhood dream, to be in a Spider-Man costume," he said. "Now I'd rather appear on a poster with my own name, not as a character, saying, 'This is me performing.' " He was planning to tour the world doing parkour, he said. A French film company partly owned by the director Luc Besson paid his expenses to perform last winter in Madagascar, and David had also given exhibitions in Italy, Germany, and Portugal.
This article appears in the print edition of the April 16, 2007, issue.
From 2013: What caused a violent conflict between Sherpas and Western climbers?


Returning to school from winter break is similar to returning to school after the summer holiday. Students may still be thinking about vacation and they will have forgotten a few things about classroom behavior. To refocus their thoughts, you can approach their first days back in much the same way as you approached them in the fall—re-teaching with enthusiasm for the remainder of the year.
Review your attention signal and its meaning. Students should stop any activity and immediately focus on you as soon as they see or hear your signal.
Review your classroom Guidelines for Success (overall goals), your classroom rules, and if appropriate, your daily schedule.
Re-teach your expectations before each activity or transition begins.
Monitor student behavior by circulating and visually scanning.
Provide positive feedback during each activity and at the conclusion of each activity.
You may not need to spend as much time re-teaching your expectations as you did in the fall. However, by re-teaching as soon as you return from the holiday, you are letting your students know just how important these expectations are for success.
When re-teaching, monitor student behavior by circulating and scanning. When you can, circulate about the room in unpredictable patterns. When you cannot circulate easily, scan frequently. Visually scan for students who may have questions or need assistance, for students who need corrections for misbehaviors, and for students who are behaving responsibly. If a student is engaged in misbehavior, go to the student and issue a gentle reprimand or assign an appropriate consequence. If, on the other hand, you notice that a particular student is making a behavioral improvement, go to that student and give him or her age-appropriate positive feedback.
When students are meeting or have met your expectations for a particular activity or transition, give them positive, age-appropriate praise. You can do this with individual students and with the class. Give this feedback both during and after the activity or transition as appropriate. Positive feedback lets students know that they are behaving correctly and gives them adult attention when they are behaving responsibly.
When students are not meeting or have not met your expectations for a particular activity or transition, give them corrective feedback—calmly, immediately, and consistently. Corrective feedback lets students know that you are monitoring their behavior and communicates that you are serious (and will be consistent) about your expectations for student behavior. Once a correction has been made, be sure to acknowledge improvements with descriptive, positive feedback.


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Jack Cardiff
Jack Cardiff, OBE, BSC (18 September 1914 – 22 April 2009) was an English cinematographer, director and photographer.
Jack Cardiff in the 1970s
(1914-09-18)18 September 1914
Great Yarmouth, Norfolk, UK
Ely, Cambridgeshire, UK
Actor, cinematographer, director, photographer
His career spanned the development of cinema, from silent film, through early experiments in Technicolor to filmmaking more than half-a-century later. He was best known for his influential colour cinematography for directors such as Powell and Pressburger, Huston and Hitchcock.
In 2000 he was awarded an OBE and in 2001 he was awarded an Honorary Oscar for his contribution to the cinema.
Jack Cardiff's work is reviewed in the documentary film: Cameraman: The Life and Work of Jack Cardiff (2010).
Cardiff was born in Great Yarmouth, Norfolk, the son of Florence and John Joseph Cardiff, music hall entertainers.[1]
He worked as an actor from an early age, both in the music hall and in a number of silent films: My Son, My Son (1918), Billy's Rose (1922), The Loves of Mary, Queen of Scots (1923) and Tiptoes (1927). At 15, he began working as a camera assistant, clapper boy and production runner for British International Pictures, including Hitchcock's The Skin Game (1931).[citation needed]
CinematographyEdit
In 1935, Cardiff graduated to camera operator and occasional cinematographer, working mostly for London Films. He was the first to shoot a film in Britain in Technicolor: Wings of the Morning (1937). When the war began he worked as a cinematographer on public information films. He did a number of films on India where the British wanted to showcase the new capital city of Delhi.
The turning point in his career was as a 2nd unit cameraman on Powell & Pressburger's The Life and Death of Colonel Blimp (1943); they were sufficiently impressed to hire Cardiff as cinematographer on their post-war Technicolor A Matter of Life and Death (1946). Their collaboration continued with Black Narcissus (1947), which won Cardiff an Oscar and a Golden Globe, and The Red Shoes (1948). These films put Cardiff's talents in high demand, and a string of big-budget films followed.
In 1995, the British Society of Cinematographers conferred a lifetime achievement award on Cardiff.[2]
Directorial workEdit
In the late 1950s Cardiff began to direct, with two modest successes in Intent to Kill (1958) and Web of Evidence (1959). His version of D. H. Lawrence's novel Sons and Lovers (1960), starring Trevor Howard, Wendy Hiller and Dean Stockwell, was a hit, critically and at the box-office. It received seven Oscar nominations (including a Best Director nomination for Cardiff) and Freddie Francis won for Best Black-and-White Cinematography. Cardiff received a Golden Globe Award for Best Director.
After concentrating on direction in the 1960s, he returned to cinematography in the 1970s and 1980s, working on mainstream commercial films in the United States. One of the last films Cardiff photographed was at Pinewood Studios in 2004 when he lit veteran actor Sir John Mills in a short entitled Lights 2 (dir. Marcus Dillistone). The combined age of leading actor and cinematographer was a record 186 years. A feature-length documentary was made about Cardiff's life and career, Cameraman: The Life and Work of Jack Cardiff (2010) by Craig McCall.[3]
It took 17 years to make but wasn't completed or released until after Cardiff had died. As well as many interviews with Cardiff, it included tributes from Mills, Martin Scorsese, Thelma Schoonmaker, Kathleen Byron, Kim Hunter, Moira Shearer, Lauren Bacall, Charlton Heston and Kirk Douglas. It was selected for the official selection of Cannes Classics at the Festival de Cannes in 2010, as well as four other important film festivals that year.[4]
Cardiff died on 22 April 2009, aged 94,[5] the same day as Ken Annakin, with whom he had worked on The Fifth Musketeer (1979). He was survived by his wife and his four sons.[6]
LegacyEdit
Cameraman: The Life and Work of Jack Cardiff was shown as part of the Great Yarmouth Arts Festival 2014 along with some of his photographs, often taken as preliminaries to lighting the films. Further celebrations to mark his birth date took place in September – particularly at the Time and Tide Museum in Great Yarmouth.[citation needed]
CinematographerEdit
Jack Cardiff was the camera operator and then cinematographer for 73 films, documentaries and TV series between 1935 and 2007.[7] These are some of the main films:
Knight Without Armor (1937) camera operator; directed by Jacques Feyder
Delhi (1938) directed by Hans Nieter
The Great Mr. Handel (1942) directed by Norman Walker
A Matter of Life and Death (1946) directed by Powell and Pressburger
Black Narcissus (1947) directed by Powell and Pressburger
The Red Shoes (1948) directed by Powell and Pressburger
Under Capricorn (1949) directed by Alfred Hitchcock
The Black Rose (1950) starring Henry Hathaway
The Magic Box (1951) directed by John Boulting
Pandora and the Flying Dutchman (1951) directed by Albert Lewin
The African Queen (1951) directed by John Huston
The Barefoot Contessa (1954) directed by Joseph L. Mankiewicz
War and Peace (1956) directed by King Vidor
The Prince and the Showgirl (1957) directed by Laurence Olivier
Legend of the Lost (1957) directed by Henry Hathaway
The Vikings (1958) directed by Richard Fleischer
Fanny (1961) directed by Joshua Logan
Scalawag (1973) directed by Kirk Douglas
The Prince and the Pauper (1977) directed by Richard Fleischer
Death on the Nile (1978) directed by John Guillermin
The Fifth Musketeer (1979) directed by Ken Annakin
The Awakening (1980) directed by Mike Newell
Ghost Story (1981) directed by John Irvin
The Dogs of War (1981) directed by John Irvin
The Far Pavilions (1984) directed by Peter Duffell
Conan the Destroyer (1984) directed by Richard Fleischer
Cat's Eye (1985) directed by Lewis Teague
Rambo: First Blood Part II (1985) directed by George P. Cosmatos
Tai-Pan (1986) directed by Daryl Duke
Million Dollar Mystery (1987) directed by Richard Fleischer
DirectorEdit
The Story of William Tell (1953) (unfinished)
Intent to Kill (1958)
Web of Evidence (1959)
Scent of Mystery (1960) – the first production in Smell-o-vision
Sons and Lovers (1960)
My Geisha (1962)
The Lion (1962)
The Long Ships (1963)
Young Cassidy (1965)
The Liquidator (1965)
The Mercenaries (1968)
The Girl on a Motorcycle (1968) starring Marianne Faithfull
Penny Gold (1973)
The Mutations (1974) starring Donald Pleasence
Magic Hour (1996). Faber and Faber limited. ISBN 0-571-19274-2. Foreword by Martin Scorsese.
Conversations with Jack Cardiff: Art, Light and Direction in Cinema by Justin Bowyer (ISBN 0-7134-8855-7)
^ "Jack Cardiff biography". Film Reference. Advameg, Inc. Retrieved 12 December 2017.
^ "Jack Cardiff". The Daily Telegraph. Telegraph Media Group Limited. 24 April 2009. Retrieved 2 May 2009.
^ Adams, Mark (6 May 2010). "Cameraman: The Life and Work of Jack Cardiff". screendaily.com. Media Business Insight Limited. Retrieved 22 April 2011.
^ ""Documentary" Sunday at Cannes Classics". Festival de Cannes. 16 May 2010. Archived from the original on 6 April 2012. Retrieved 7 October 2011.
^ Martin, Douglas (24 April 2009). "Jack Cardiff, Film Director, Dies at 94". The New York Times. The New York Times Company. p. 19. Retrieved 27 April 2009.
^ "Film director Jack Cardiff dies". MSN Movies. Microsoft. 23 April 2009. Archived from the original on 25 April 2009. Retrieved 26 February 2018.
^ Jack Cardiff on IMDb
Jack Cardiff on IMDb
BFI: Jack Cardiff
Jack Cardiff biography and credits at the BFI's Screenonline
Jack Cardiff at the Powell & Pressburger pages
BBC Forum Interview (2001)
BBC Radio 4's The Film Programme special edition on Jack Cardiff
Jack Cardiff Prints
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jack_Cardiff&oldid=903857784"

redpajama_set_name: RedPajamaCommonCrawl


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Cracking Open the February Lootcrate
By JL Watkins • February 25, 2014 • Collectibles, Unboxing
I had originally planned to produce a video when cracking open my first Lootcrate, alongside my geek officemate Ryan who also subscribed. However, we ended up being so busy that we had scarcely enough time to even open the boxes and snap the following iPhone pics!
For the uninitiated, Lootcrate is a monthly subscription service, in which a box of geeky treausres, usually centered around a theme, show up on your doorstep each month. They're cleverly curated and whole online community has grown around people ("Looters") unboxing their Lootcrates. I'm glad we signed up when we did because they've recently been cutting off sign-ups due to selling through all their crates.
First impression: the crate is much smaller than I expected. I've seen the contents of previous crates, and since they included Funko Pop Vinyl figures, I naturally assumed the box would be slightly deeper.
This month's theme was "Warriors" which is a nod to Frederator's online series Bravest Warriors (sci-fi sibling to the popular Cartoon Network show Adventure Time).
Here's the spread, which is mainly lots of little items and a t-shirt. The Alpha Battle T-Shirt (Shirt Woot! & jameschho84) is pretty rad, so everything else in the box was pretty much a bonus. I also got a Bravest Warriors Bow Tie, Cinch Bag, Bacon Love Card (OpenMe), and a Bravest Warriors digital comic download.
The crate also contained a Kidrobot Dunny Sideshow blindbox figure, which added a nice element of randomness to the crate. I ended up getting a warrior monk figure while Ryan got a cool purple bat. Some Lootcrates contained a Kidrobot Bot figure as an alternate.
There was also a Lootcrate booklet and collector's button, upping the value and presentation of the subscription. Was it worth the $15 I spent this month? Totally. While I wasn't that thrilled at the theme (and maybe some of the items) the t-shirt and unboxing experience more than made it worthwhile. I'm totally looking forward to next month's Lootcrate – the them being "Titans" – and making an epic unboxing video for y'all to enjoy.
Bravest WarriorsLootcrate
Comic Book Wednesday - February 19
JL Watkins
JL Watkins is an Emmy and AP award winning reporter & photographer based in Portland, Oregon. He's worked for the national 'news' program, "The Daily Buzz", in addition to NBC, FOX, and CNN news outlets. He writes about geeky freelance stuff all over the internet, and throughout time and space.


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Home/Category: art
Reasons Why Government Should Ban Smoking in Public Places
May 4, 2021 Arden Alitaart, closure of toy store, Government, Health, News, Safety
As more places think of banning smoking in public areas, Kentucky, as one of the more difficult tobacco-using states, will surely proceed to discuss the advantages and disadvantages of this matter with significant fervor. As someone in the health and fitness industry, I feel the obligation to weigh this concern. There are plenty of reasons why smoking must be banned. Here are some:
No. 1: Secondhand smoke has severe adverse health impacts even if its a Let's RELX vape. I especially don't mind what you do to your own body, although the educator in me would suggest you to resign for your own good. I do care that your behavior influences the health of others.
No. 2: Litter decrease. Cigarette butts equates for thousands of pieces of litter annually and detracts from a location's aesthetic. If smokers would get rid of their waste correctly when they're in public areas, this might may not be a big deal, but unfortunately, they don't. The proof is there, dirtying clean buildings and the neighboring landscape with cigarette trash. A smoking ban would lessen litter. Although not a main argument in assistance of a public smoking ban, it is still a reliable one.
No. 3: The lingering smell of stale cigarettes. In bars and restaurants and other institutions that permit smoking, several patrons find the scent of cigarettes to be uncomfortable and irritating. Cigarette smoke does stick on people's clothes and hair and takes longer to disappear even after the person smoking has left. Clothes used to a smoky bar may still smell like smoke after a few days.
No. 4: The power to a good workplace. It is the burden of the employer to give a safe and healthy atmosphere for its workers. While a to of workers prefer to work in workplaces that allow smoking, others may choose not to be around smoke but continue to do so since they need the work. A smoking ban opponent may just say, "work somewhere without smoke," yet I would say that your determination to smoke in public is not as essential as that employee's health and livelihood.
Changes in the Art of Government
Feb 16, 2021 Chauncey Irwinart, government art
Today's political practice, which Foucault describes with the clumsy-sounding word governmentality, has only established itself in the last few centuries. However, it arises from a religious and political attitude that originates from the oriental empires of antiquity and that Christianity takes up. Foucault says in the first volume about security, territory and population.
How is politics made?
The idea that it is primarily the task of politics to look after the well-being of the population, that the goal of politics is not to increase the power of the state, such a development has only been on the way for about three centuries. Conversely, the power of the state today owes itself primarily to the well-being of the population: if they are productive and earn a lot, they can also pay high taxes. Therefore, politically and state-wise, it is primarily a matter of securing supplies for the population, increasing their prosperity, but also nurturing and caring for the population themselves.
In the modern age, on the other hand, politicians orientate themselves towards a rationality, the core of which consists of economic thinking, which in the age of liberalism, albeit it is in very different variants. Since then, politics has served the economy to improve the well-being of the population.
In addition to the orientation towards the population and the resulting political economy, concern for security is the third constitutive element for governmentality or modern governance. Since the 18th century, a police administration has developed, which initially made the big cities necessary to have. From there, this police concern for security extends to the entire country.
Foucault describes the biopolitics that go hand in hand with liberalism as follows:
"The development of the medical police, hygiene publique or social medicine , which began in the second half of the 18th century, had to be placed in the framework of a new 'biopolitics', which in the' Population 'saw an ensemble of living beings with specific biological and pathological characteristics, for which specific areas of knowledge and techniques were responsible. "
The governmentality, due to its pastoral background, results in a policy of comprehensive population care, which, with the scientific revolution, expanded into various areas and brought about the human sciences. Biopolitics means, in the service of the population and thus supposedly in the service of each individual, to control population development. Governmentality uses biopolitics as a government practice to control the population by means of health care, hygiene, the birth rate, lifespan, but also through racial politics.
The tighter the social budget, the more disciplinary the politics, while the liberal element of freedom is more distributed according to income like custom paint by number its easy to learn as an art, so one could learn a lot from Foucault's analysis for current debates.


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text:
Johnson v. State
Court of Appeals of Indiana
Michael D. Johnson, Appellant-Defendant,
State of Indiana, Appellee-Plaintiff.
Appeal from the Madison Circuit Court The Honorable Angela G. Warner Sims, Judge Trial Court Cause No. 48C01-1602-F5-402
Attorney for Appellant Paul J. Podlejski Anderson, Indiana
Attorneys for Appellee Curtis T. Hill, Jr. Attorney General of Indiana Courtney L. Staton Deputy Attorney General Indianapolis, Indiana
Bailey, Judge.
[¶1] Michael D. Johnson ("Johnson") appeals his conviction for Dealing in a Look- a-like Substance, as a Level 5 felony.[1] Johnson presents the sole issue of whether the trial court abused its discretion in admitting evidence obtained in violation of his Fourth Amendment right to be free from an unreasonable search and seizure.[2] We reverse.
Facts and Procedural History
[¶2] On November 8, 2015, Brett Eversole ("Eversole") was a gambling patron at the Hoosier Park Casino in Anderson, Indiana. Eversole reported to a security officer that a black male wearing a white hat had approached him at a gambling machine and asked if he "wanted to buy white girl." (Tr. Vol. II, pg. 89.) Eversole assumed "white girl" meant cocaine. The security officer notified shift supervisor Matt Miller ("Miller"), who notified Gaming Enforcement Agent Zach Wilkinson ("Agent Wilkinson").[3] Miller also requested video surveillance of the gaming floor.
[¶3] Agent Wilkinson reviewed surveillance footage, without audio, and "confirmed the interaction" of approximately thirty seconds between Eversole and a black male wearing a white hat. Id. at 106. He located Johnson, a black male wearing a white hat, and asked that he come to the gaming enforcement interview room. When they reached the interview room, Agent Wilkinson advised Johnson that he would "need a pat down." Id. at 111. Agent Wilkinson detected and removed from Johnson's pocket an object that "felt like a ball of drugs." Id. at 113. He placed Johnson in handcuffs and provided a Miranda [4] warning.
[¶4] An Indiana State Police chemist tested the white powder; she identified no drug but detected a chemical possibly derived from baking soda. On February 29, 2016, the State charged Johnson with Dealing in a Look-a-like Substance. On April 5, 2017, Johnson filed a motion to suppress the evidence obtained as a result of the warrantless search of his pocket. On April 24, 2017, the trial court conducted a hearing on the motion to suppress and the parties agreed to submit briefs regarding their respective positions on admissibility. On October 4, 2017, the trial court denied Johnson's motion to suppress.
[¶5] Johnson was brought to trial before a jury on January 23, 2019, and he objected to the admission of evidence garnered in the search of his pocket. Agent Wilkinson testified as follows: Johnson "voluntarily came back" to the interview room; Agent Wilkinson informed Johnson that he would need to submit to a pat-down; Johnson was "free to leave" when he submitted to the pat-down; Agent Wilkinson detected a bulge "likely some type of drug;" he "knew it wasn't a weapon;" and he handcuffed Johnson after removing the item. (Tr. Vol. II, pgs. 128-29.) Johnson took the position that law enforcement had unlawfully exceeded the scope of a pat-down. The State argued that Agent Wilkinson had probable cause to make an arrest when he removed the ball of powder from Johnson's pocket. The trial court agreed with the State that what had transpired was "a search incident to arrest." Id. at 148.
[¶6] Johnson was convicted as charged and sentenced to four years imprisonment, with three years suspended to probation. Johnson now appeals.
Discussion and Decision
         [¶7] The trial court has broad discretion to rule on the admissibility of evidence. Thomas v. State, 81 N.E.3d 621, 624 (Ind. 2017). Generally, evidentiary rulings are reviewed for an abuse of discretion and reversed when admission is clearly against the logic and effect of the facts and circumstances. Id. However, when a challenge to an evidentiary ruling is predicated on the constitutionality of a search or seizure of evidence, it raises a question of law that is reviewed de novo. Id. The State has the burden to demonstrate that the measures it used to seize information or evidence were constitutional. State v. Roger, 883 N.E.2d 136, 139 (Ind.Ct.App. 2008). "When a search is conducted without ...


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text:
Attention taxpayers: Your chances of getting audited have fallen significantly
Published Wed, Jan 8 20208:55 AM EST Updated Wed, Jan 8 20201:46 PM EST
Greg Iacurci@GregIacurci
The IRS audited roughly 1 out of every 220 individual taxpayers last year. A decade ago, those odds were closer to 1 in 90.
The drop in audits correlates to budget and personnel reductions at the tax agency.
Wealthy Americans are much more likely to be audited than low- and middle-income taxpayers.
Women meeting in business office
MoMo Productions
As the adage goes, the only sure things in life are death and taxes.
But tax audits are another thing entirely.
A taxpayer's chances of getting audited by the IRS have fallen significantly over the past decade.
The agency audited 0.45% of individual tax returns in fiscal 2019, which ran through Sept. 30, 2019. That figure is down from 0.59% in 2018, and down by more than half from what it was in 2010, when 1.11% of taxpayers were audited.
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In other words, roughly 1 out of every 220 taxpayers were audited last year. A decade ago, those odds were closer to 1 in 90.
"Very few people get audited," said Steve Rosenthal, a senior fellow at the Urban-Brookings Tax Policy Center.
The dip in audits over the past decade is largely due to budget and personnel reductions over that time period.
The IRS budget of $11.4 billion in 2018 was about 20% less than it was in 2010, when adjusted for inflation, according to the Congressional Budget Office.
Why some say the IRS should collect what its owed rather than raise taxes
Since 2010 — the year the IRS had its biggest budget over the past two decades — the agency's largest budget cuts have been in funding for enforcement, which includes audits, the CBO said.
The IRS also said in a report published Monday that the agency lost nearly 30,000 full-time job positions, including among enforcement personnel, between fiscal 2010 and 2019. The IRS employed about 78,000 people last year.
The losses "directly correlate" with the steady decline in the number of individual audits over that time period, according to the report.
And, compounding problems, the IRS expects 31% of its current workforce to retire within the next five years.
Very few people get audited.
Steve Rosenthal
senior fellow at the Urban-Brookings Tax Policy Center
The odds of being audited are greater for wealthier Americans than low- and middle-income taxpayers.
For example, the IRS audited 0.54% of tax returns in 2018 for individuals with an adjusted gross income between $50,000 and $75,000. However, it examined 6.66% of returns filed by those with income over $10 million, according to agency data.
There are certain red flags that could increase the odds the IRS will come knocking.
For example, taxpayers commonly misreport certain income, such as dividend income or distributions from an individual retirement account, on their 1040 tax forms, Rosenthal said.
Because third parties have increasingly been reporting this information to the IRS as well as to taxpayers, any inconsistencies are a surefire way to get audited, according to Rosenthal.
If the IRS catches a mistake during an audit, a taxpayer will owe interest, depending on the when the tax was due and when the tax was ultimately paid, Rosenthal said.
There's also an accuracy-related penalty of 20% on an underpayment of tax due to negligence or disregard of rules. The penalty for fraud is 75% of an underpayment. There are additional penalties for undisclosed financial accounts and tax shelters, for example, he said.
Government taxation and revenue


Dorset Local Nature Partnership has worked with LNPs across the South West, and colleagues from both the environment and health sectors to develop a Health and Nature Charter with the aim of gaining endorsement from Local Nature Partnerships, Health and Wellbeing Boards and individual stakeholder organisations.
The Health and Nature Charter sets out a set of guiding principles for working together on nature-based health solutions.
Dorset Local Nature Partnership endorsed the Charter in March 2018 and Dorset Health and Wellbeing Board endorsed the Charter in June 2018.
A list of other partnerships / organisations will be added here as they endorse the Charter. If your organisation would like to endorse the Charter please contact info@dorsetlnp.org.uk.


Bloomsbury Professional Launches New Online Tax Law Service With Market-Beating Price.
October 21 saw a most interesting and perhaps game-changing development in professional publishing with the launch in the UK of Bloomsbury Professional's new online tax law service, www.bloomsburytax.com.
What makes the new service worth noting is not rocket science technology or really cutting-edge functionality but price and simplicity, combined with an unashamed resemblance to the book idiom in its presentation – a smart move, it might be suggested, in an e-book era.
The publisher, formerly Tottel Publishing, itself and, by implication, its content having roots and established credibility derived from LexisNexis origins, boasts that the key features of the service are its low price – from as little as GB£195 a year – combined with the assertion that it is the only UK tax law service to be integrated with social networking sites. Bloomsbury Professional believes that the service will be affordable for even the smallest firms. They say that the new tax law service is being launched in response to demand from mid-tier firms for a competitively priced reference service that more accurately reflects the value those firms actually derive from that information.
The core tax service includes 15 highly respected titles, which cover all the main UK taxes. Five add-on modules providing detailed coverage of specialist topics including Employment Tax, Family and Owner-Managed Companies, High Net-Worth Individuals, Property Tax and Trusts and Estates are also available.
The service uses a custom-built platform based on the Lucene search engine. The new platform, which was developed for by iFactory of Boston, Mass.(www.ifactorycom), provides Google-style autocomplete of search terms and delivers lightning-fast results which will significantly enhance the productivity of practitioners using the service.
Bloomsbury's UK Tax Service will, it is claimed, be the only service in the market which is fully integrated with social networking sites. Subscribers will be able to share access to live documents with their clients and also share documents and search results via Linkedin, Facebook and Twitter.
Furthermore, individual users within a firm are also able to build their own personalised collections of frequently used documents and searches.
We also thought it was important to integrate social networking capabilities directly into the platform. We know it won't be for everyone, but we also know that many of our customers are already using Linkedin, Twitter and Facebook for marketing and communication. Now that we've made it possible to share a reference to technical document through those sites, I'm confident that proactive firms will use that function to take full advantage of the benefits that active social networking brings……If you're only accessing your current online reference service occasionally – as most smaller firms do – spending several thousand pounds on it is a luxury you really can't afford. So if you're a mid-tier or smaller firm fed up at the very high cost of online tax information with pricing structures that are hard to comprehend, you should take a serious look at Bloomsbury. Our service provides a great breadth of content, is transparently priced, and offers unbeatable value-for-money.
It will be fascinating to watch the extent to which Bloomsbury Professional continues to grow and eat into the markets dominated by the major professional information providers and challenging their notions on appropriate pricing for online content. Though recently linked by way of a content licensing deal with the more technically advanced Practical Law Company (PLC). Bloomsbury Professional has no embarrassment in describing itself as "a traditional, but cutting-edge publisher of high quality books and information services for lawyers, accountants and business professionals". In tough times, with smaller firms having to work ever harder to maintain competitive advantage, the new service might be exactly what they require.
The downward pressure on pricing continues to characterize legal and tax publishing as high quality content becomes available from reputable sources at competitive prices.
The days of old, when the president of a leading tax publisher could say that he had a licence to print money, have passed into history. Now you have to work hard to earn it.
Maybe I'll change it; maybe I won't.


text:
Projects Services
News About
Materials Contacts
Sport IT Business centers Moscow Office interior
Projects Services News About Materials Contacts
Main / Projects / Total
TOTAL SQUARE 4 718 sq m
CLIENT Total
ADDRESS 69/71, Bolshaya Gruzinskaya St., Four Winds Plaza
DESIGN 2007 – 2008
From the beginning of the design, the architect had to create an atmosphere in which employees would not only work comfortably, but also would like to come back to.
Total office was designed by the principle of open space, which provides maximum employee interaction. In addition to its functionality, such planning strengthens team spirit. According to the specifics of their work, top managers have separate office rooms. These are arranged around the core of the building, while the working spaces «open space» spread around the glazed facade, which provides employees with the maximum amount of natural light.
The rest of the office is functionally divided into the traditional areas: meeting rooms, executive offices and recreation areas.
The shape of the reception desk was inspired by the famous Total red barrel. Red - one of the corporate colors of the company - appears as accents around the office space: in the reception area, as upholstered furniture and reception desk, in negotiation rooms, as red chairs and in the open space, as pin boards. The use of bright details in the interior lifts up the general mood.
Total pays a great attention to helping in saving the environment, so the choice of finishing for the new offices were not the usual, but instead artificially synthesised materials.
Center of Financial Technologies
CFT develops software for banking institutions, and conducts trainings to work with them.
Chaika Office building
The building is located in the southern part of Moscow, between one of the main highways, Warsaw highway, and Novodanilovskaya embankment of the Moscow river, on a plot of 4.99 hectares that is a part of a rehabilitated industrial zone.
Business Center "Romanov Dvor" where Christie's office is placed, is 3-storey building with a pitched roof and attic, it is located in the heart of Moscow.
ABD architects in social networks :
Copyright © 2022 ABD architects. All rights reserved.
Website creation –


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text:
Iron Fist Season 2 Hopes: Conflict, Characters & Villains
Author: Britney Monae 2 Comments Share:
This article was a collaborative work between Britney Monae and John Robinson.
When Iron Fist premiered this weekend it introduced the final Defender: Danny Rand. Danny returned home after 15 years to a world that was completely changed. His parents were dead, his childhood friends were running the company that was his birthright, and the enemy he swore to defeat — The Hand — was in New York. Over the course of Season 1, Danny met Colleen Wing, he uncovered some of The Hand's plans in New York, and he defeated the man who killed his parents, Harold Meachum. So many things were hinted at during season one that we would like to see resolved or explored more including new villains, deeper plot developments, and new characters like Wu Ao-Shi, Bei Beng-Wen, and Orson Randall.
What's the first thought that comes to mind when we think about what we want in Season 2? Powerful villains! This isn't power in the sense that these people are disassembling universes with their minds. What we want are villains that have a powerful presence. We want to see Danny face a villain like Wilson Fisk, Mariah Dillard, Kilgrave — villains who are complex, who have us nodding our heads when they make their points, even though they are maleficent little bastards.
Davos as the Steel Serpent
Season one did a fantastic job in establishing that Danny and Davos grew up together in K'un L'un and formed a brother-like bond. Season one also put their relationship to the test, especially since Davos thought Danny was undeserving of being the Iron Fist. In season two, we'd like to see that tension go even further and Davos become the Steel Serpent, just like he is in the comics. This would create a formidable antagonist for Danny/Iron Fist. If Davos became the mantle holder of the Steel Serpent, then the Iron Fist would not be the only immortal weapon that existed.
Zhou Cheng
The second villain we'd like to see rise more prominently in season two is Zhou Cheng. Played Lewis Tan, Cheng had an incredible fight scene with Danny in China. In the comics, Zhou Cheng is the eater of the Iron Fist; he is the only person who can successfully kill an Iron Fist. This was hinted at during their fight scene outside Gao's drug factory. The history of Zhou Cheng and the Iron Fist are deeply interwoven. That rivalry would make for a powerful narrative in season two. With exploring Zhou's history it would also have to explore the history of previous Iron Fists just like in the Immortal Iron Fist comic book run. This would create the much-needed focus on Asian heroes who are immersed in the culture that surrounds Iron Fist.
The first half of season two should follow Danny and Davos' struggles together. Their fights could be on even footing, with Danny even losing to Davos a few times. The second half of the season should feature Zhou Cheng brutally beating Danny, with Danny surviving only due to some interference, perhaps by Orson Randall? (more on him in a few).
This would prompt Danny to look for a means to combat Cheng. He could turn to the Book of Iron Fists (as established in the comics), which could give us glimpses of previous Iron Fists and their legacies. If this is done correctly, we could get some amazing historical stories and Asian features. It's even possible that we could see the characters as astral spirits of past Iron Fists, teaching Danny different ways of using his chi to perform advanced feats. Eventually, Davos and Danny could come to a final confrontation. We would like to see them reconcile and make amends before the final 13th episode, where together, they could face the might of Zhou Cheng — the eater of Iron Fists.
In addition this idea, we'd like to see more flashbacks of how Danny became the Iron Fist. Let's see young Danny training with other boys of K'un L'un all wanting to be the Iron Fist. Let's see more scene with Lei Kung and Danny. Let's see Lei Kung becoming Danny's surrogate father in K'un L'un. It would be lovely to see that bond form and Danny then feeling guilt for leaving his post in the current day.
Everyone wants to actually see Danny fight against Shou-Lao; so it would be wonderful to actually see that scene play out. It would also be cool if we get to see Yu-Ti and Lord Tu-An; two other very important residents of K'un L'un who have a great deal to do with Danny's upbringing in K'un L'un, that were mentioned in season one of Iron Fist.
Continue the theme of Danny's chi needing fixing. Or make it appear that's what's going on, when it's something else entirely. It's always compelling in the comics when Danny is at a crossroads and can't harness his chi, because it makes him vulnerable in fights. Maybe this would fit much better in a second half season two, especially if Zhou Cheng returned.
For Colleen, it would be nice to see her trying to rediscover who she is. What is her life without the Hand? How will she move on from that? Will she try to rescue Darryl and others from the Hand? Is she waiting for Bakuto to come back? These are all questions for Colleen that should be answered in a season two. Not to mention it would be nice for us to get a cameo with her interacting with Misty Knight, should this season happen after Defenders.
Joy and Ward Meachum returning is a must. In most of season one of Iron Fist, Joy cares deeply about Danny and even tries to convince her own brother to take Danny's side. However, based on the last events of season one, especially her last scene, I would love to see Joy become an antagonist to not only Danny, but Ward as well.
We think that Ward's journey would in a way mirror Joy's, and eventually cause Ward to slowly cross to Danny's side, maybe even mending their broken friendship. This would in turn, create a rift between Joy and Ward. Also, in season one, Ward was dealing with some pretty heavy emotions, so it would be nice to see him work through those as well.
The need for Zhou Cheng to defeat and take Danny's life force should be an extremely powerful driving force behind his character, since it would have likely been over 100 years since he last killed an Iron Fist (due to of one of them having survived due to trickery). Zhou needs the life force of the Iron Fist to stay strong, young, and attractive. Zhou having a scar on his face in season one could possibly be his body needing to feed upon an Iron Fist. With the lack of chi, Zhou might have turned to alcohol, which would explain why Danny had an easier time defeating Zhou (because we all know how that should have gone). Now that Zhou is aware an Iron Fist is in his reach, he has a new inspiration to continue the cycle that previously sustained his long life.
New Characters
Introduce Orson Randall. Orson was the Iron Fist before Danny, and it's assumed that Orson is dead. The reason being is because Danny has been taught that all previous Iron Fists have died. And the only way for the mantle of Iron Fist to be passed down is for the previous mantle holder to die. However, in the comics, Danny ends up discovering that Orson is still alive and that's why his chi has been difficult to harness. In the Immortal Iron Fist, Orson reveals that he's been using drugs to weaken his chi to a point where it tricks the whole system into thinking that he is dead. Remember how Danny in season one of Iron Fist couldn't harness his chi while he was under drugs in the mental hospital? That's exactly what Orson was doing, but he was purposely doing it to himself. This is how Shou-Lao was reborn, and that is how Danny was able to become the next Iron Fist despite Orson still being alive.
Orson and Danny end up working together for sometime, and Orson teaches Danny a thing or two about being the Iron Fist. In the comics, Orson was an adoptive father of Wendell Rand (Danny's father), but with what was established on season one of Iron Fist, we aren't so sure if this is a storyline that could work. Either way, introducing Orson Randall would be pretty awesome!
In addition, we need to see robust scenes featuring some of the greatest past Iron Fists, namely, Wu Ao-Shi and Bei Beng-Wen, among others. These characters wouldn't have to be in every episode, but could be spiritual guides to help guide Danny on his quest to master control of his chi.
Another group we want to see are the Immortal Weapons — there are six in addition to Danny. We've already seen The Bride of Nine Spiders — she fought Danny in Gao's trial in Season 1, Episode 6. We only saw a glimpse of her and we'd like to see more. Our vote is to also see Li Hua, Tiger's Beautiful Daughter, Fat Cobra, and the Prince of Orphans, all of whom are featured in The Immortal Iron Fist comic book.
Season one did have some shining moments, and set up a lot of good ground work for a season two of Iron Fist. However there was issues with the writing and pacing. We as fans of the source material and the Netflix MCU shows, only want to see the shows be as epic as possible. We think Finn Jones and company could deliver a great season two, if the writing is more focused and concise. We're very much looking forward to what Marco Ramirez and his writing staff will do with Danny Rand and all of the other characters in The Defenders.
Tags: Iron Fist, Iron Fist Season 2, tv
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Everyday ends in "Y". Explore the days, weeks, months, and seasons of the year with this interactive..
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Masato Harada, M.D.; Chieko Okuda, Ph.D.; Teiji Sawa, M.D.; Tsuyoshi Murakami, M.D.
Masato Harada, Chieko Okuda, Teiji Sawa, Tsuyoshi Murakami; Cerebral Extracellular Glucose and Lactate Concentrations during and after Moderate Hypoxia in Glucose-and Saline-infused Rats. Anesthesiology 1992;77(4):728-734.


The national nonprofit organization CancerCare has announced the publication of a comprehensive report on experiences, perceptions, and needs of people who are living with and beyond a cancer diagnosis. The 2016 CancerCare Patient Access and Engagement Report is a compilation of results from six distinct surveys with input from more than 3,000 individuals at varying stages of cancer, from newly diagnosed to post-treatment. Those surveyed were selected from a random sampling of individuals with cancer across the United States who were not affiliated with CancerCare.
Patricia J. Goldsmith, CancerCare's Chief Executive Officer, who joined the organization in 2014, and Ellen Miller Sonet, JD, MBA, Chief Strategy and Alliance Officer of CancerCare, explained the impetus for the study in an interview with The ASCO Post.
"CancerCare has a 73-year history of serving patients, and although we touch nearly 200,000 clients annually, there is much we want to know about how people experience life with and beyond cancer. We needed a better understanding of the specific needs of a broad range of patients throughout their continuum of care," Ms. Goldsmith said.
"Part of the mission of these surveys was to identify how patients engage, what that actually means, and how we [CancerCare] might help them better engage, since engaged patients often have better outcomes and higher quality of life, with lower health-care costs," added Ms. Sonet.
CancerCare worked with the advisory board to create a comprehensive set of surveys.
The six questionnaires addressed patients' understanding of their diagnosis; treatment planning and participation; communication with the clinical care team; the impact of finances and insurance on access to care and quality of life; symptom management and quality of life; and survivorship. Each survey was completed by 500 or more unique individuals.
The report provides an extraordinary needs assessment on a broad level and allows us to identify gaps where CancerCare's many programs can offer help and support.
The report findings suggest that people with cancer need more information to effectively share decisions with their care teams and make the best treatment choices for them. From the time of diagnosis through to survivorship, some patients said they were inadequately informed about their illness, treatment options, risks, clinical trials, insurance coverage, and how to find emotional, financial, and practical support.
The findings are discussed in detail in the 2016 report, which will be available at ASCO's upcoming Annual Meeting in Chicago (visit CancerCare at booth 3005) and can be downloaded through CancerCare (cancercare.org).
Survey responses point to other significant patient needs as well. The 'costs' of cancer, including physical, emotional, financial, and social impacts, take their toll in a variety of ways, some of which are debilitating and cause long-lasting distress for patients and families.
The report also notes that two-thirds of respondents in active treatment considered their primary care physicians to be part of their care team and that patients were more likely to be referred for financial and emotional support by their primary care physicians than their oncologists.
The surveys revealed significant differences in experiences based on age. The report details findings regarding younger patients who experienced significantly greater information needs, dissatisfaction with their care and care teams, and distress—both financial and emotional—than their older counterparts.
Part of the mission of these surveys was to identify how patients engage, what that actually means, and how we [CancerCare] might help them better engage, since engaged patients often have better outcomes and higher quality of life, with lower health-care costs.
One of the surveys probed the activities that patients engaged in within 2 months of learning about their cancer diagnosis. Response data show that African American and white patients in the 25- to 54-year-old segment behaved very differently. African Americans were significantly more likely than whites to connect with other cancer patients and cancer organizations, speak with a spiritual advisor and a professional about emotional issues, look for information on complementary therapies and watch/listen to webcasts about their cancer.
Another interesting takeaway relates to clinical trials. "I was really surprised and disappointed that more than 80% of respondents indicated not having enough information on clinical trial opportunities.… That's a problem," Ms. Sonet commented.
Ms. Goldsmith and Ms. Sonet said the surveys have highlighted many areas where cancer patients' needs are unmet, especially regarding information about their disease, its treatment, and supportive services. "The report provides an extraordinary needs assessment on a broad level and allows us to identify gaps where CancerCare's many programs can offer help and support," said Ms. Goldsmith.
CancerCare is a national nonprofit organization dedicated to providing free, professional support services to anyone affected by cancer.
Disclosure: Ms. Goldsmith is CEO of CancerCare, and Ms. Sonet is Chief Strategy and Alliance Officer of CancerCare.


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Anthony Andranik Moumjian
The New York Times has a lot to Answer for
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Senator Rick Scott Unironically Calls out Big Tech for Wrongful Right-Wing Censorship
"You allow murderous dictators all around the world to freely use your platform" — On October 28, 2020, Rick Scott comfortably sat in on his Zoom call to swing his pole of justice down on big tech censorship policies. "Politifact is clearly a liberal media group." He said. "You allow dangerous dictators on your platform."
Published in The Bigger Picture
Armenia Desperately Needs Your Help as It Faces a Potential Second Genocide
Surrounded by almost a hundred million people between two countries, landlocked, a fight for what is left of a homeland; explaining #ArtsakhStrong — An ancestral homeland is threatened. The human rights of an ancient, indigenous people are being violated in real-time. Artsakh, also known as Nagorno-Karabagh, is a disputed landmass between Armenia and Azerbaijan. I sit here, today, on a gloomy evening in my home, writing about the kids younger than myself who…
Buying a Used Car? These are the Things you Should Always Look for.
What you'll always avoid when going used. — Looking for the right car at the right price for the right reasons is an atypical prospect. The qualifiers for good or bad are hardly objective in an industry that has price points across the entire board. Here are the things to look for in avoiding when going for a…
Will Cyberpunk 2077 Live up to the Hype?
After a full playthrough, a quick overview — It's a good game. It's not an incredible game. For anybody thinking it's mind-blowingly good, or is thinking it is going to be mind-blowingly good, you'll be disappointed. CD Projekt Red took a lot of great ideas from Rockstar. In a lot of ways, Cyberpunk feels like a futuristic, dystopian…
Why is Mastercard and The New York Times Pretending that Nobody Knows About Rape and Child Pornography on Pornhub?
The internet story leaps decades at a time before major publications decide to write about them. Then they stop to wonder why their audience is shrinking because their journalism is terrible. — Nicholas Kristof calls it "The Children of Pornhub" as if it is some sort of revelation that the internet porn giants make money off the exploitation, trafficking, and assault of the men and women and boys and girls on the platforms.
Real Investing Always Ignores Volatility
Why the conflation of day-trading, risk, and volatility with "investing" is going to kill true value. — Here is a definition for risk: a situation involving exposure to danger. Here is a definition for volatility: liability to change rapidly and unpredictably, especially for the worse. The definitions can't be accepted, primarily because they differ depending on where you look. We can find those definitions on Investopedia, too.
Can a Pyromaniac Burn a Billion Dollars Faster Than it can be Invested, on Average?
How burning away all your money can teach you about proportionality (don't do this at home) — This is going to be fun. Alright, let's say I'm a pyromaniac, and to feed my love of fires, I use my money to burn in my fireplace instead of logs. Now, I have a billion dollars, so let's say I'm burning cash — literally — every single day. I'm…
Kayleigh McEnany, Trump's Press Secretary, Spreads Lies in Exchange for Airtime
America's healing begins with dissociating Trump and all his associations from any political faction. — In a time before Kayleigh McEnany was the White House press secretary, she was a paid commentator who would sometimes appear on CNN and Fox Business. She has publicly called Trump a "showman" who is "inauthentic". But something happened in McEnany's trajectory that landed her in the White House for…
Exit Strategies are the new Gilded Age, Build Value Instead
Real growth is often slow, boring, and non-obvious. — An exit strategy is a poor benchmark to create meaningful value, for both yourself and anybody involved with you. Exit strategies also involve venture capital or outside cash that want to either inflate valuation. (so they make more money) find more investors to provide capital for additional funding rounds. …
UC Berkeley, mathematics. Los Angeles. Long-time runner. Top writer on Quora, 100M+ total content views. New to Medium. Inquiries: Moumj@berkeley.edu
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INTJs are "rare" (but of course!) especially females.
INTJs are among the most independent of the sixteen types.
As with other NTs, this independence often gives them an aura of arrogance that makes in-depth relationships develop slowly.
For INTJs, such behavior is simply the result of their attempt to stimulate the world around them.
At both work and play they can often seem aloof and sometimes argumentative.
They can be stunned, even appear hurt, when others accuse them of being distant and seemingly uncaring, but it is, ironically, the INTJs' caring that has been the source of the provocation.
They may even seem surprised at others' taking offense when their motivation was fostering improvement.
Again, as with other NTs, INTJs learn by arguing, part of their continuing quest to understand the universe.
The problem is that an INTJ's "friendly discussion" may be seen by others as hostile, even obnoxious behavior.
Statistically, there are more male INTJs than female.
Not surprisingly, the INTJ female's independence, intellectual aloofness, and arguementative style may result in her feeling somewhat out of step with those attributes more traditionally associated with femininity.
For an INTJ female to be true to herself may put her out of step with the mainstream.
What is it about liberals and their stomachs?