Here's the tutorial for the Patio Placemats that I showed you in the previous post!
1. Cut out your pieces.
2. Fold the pocket fabric piece in half lengthwise and top stitch 1/4" from the fold. Place the pocket on top of one piece of main body fabric, aligning all the raw edges on the bottom. Pin in place and baste 1/8"-1/4" from the edge along the three outer sides of the pocket.
3. Use a pencil or fabric marker to draw a line 4 1/2" from the right side of the pocket and stitch straight down over the line to split the pocket in two.
5. Pin and then stitch the sandwich together, 1/4" from the edge, leaving an approximately 6" opening on the top edge of the place mat.
6. Clip the corners and trip any excess batting. Turn the place mat right side out, pushing out the corners with a chopstick. Tuck the edges of the opening inside and give it a good pressing all over.
7. Top stitch 1/4" from the edge all around the place mat.
Load it with your paper goods and enjoy!
Again, if you make yourself some place mats using this tutorial -- or any of my tutorials! -- be sure to add some photos to my Flickr group. I'd love to see what you're making!
What a fabulous idea to keep paper plates and napkins from blowing off the picnic table. Must do! Thanks for sharing!
Love your fabric selections. Great idea.
What an intelligent idea!Looks good too.
These are really cute, as well as being a great idea!
Really cute and functional. Great tutorial. Thank you for sharing.
Awesome idea and tutorial! Thanks!!
what a fantastic idea!!! thanks so much for the tutorial!
Great idea! Would it be okay if I pinned this to my Sewing board on Pinterest? Thanks so much.
Saw this on Pinterest...ingenious! We love to eat on the deck but its always windy so this will really come in handy! Love finding new blogs to follow!
This is awesome! very nice DIY idea! i've share it on my FB page because i love this kind of thing.
love this project. Looking for picnic ideas. TFS!!!
thank you for solving my dilemma of what to make my MIL for her birthday in two weeks. I think that I am going to make them out of plastic table cloths so they can be wiped down and sew some washers in the corners to help weigh it down just a bit more. She loves to camp but usually next to lakes where it can be a bit windy.
No wonder why you receive countless of feedbacks.
Great idea, thanks for sharing this tutorial, I will try this using dress fabrics I have.
I am going to make these for dinner trays. Fingers crossed. Thank you for this great idea.
I am so making this for my son and his wife! I will add a matching runner. They love to eat outdoors and it will be a great addition.
Aren't you the sweetest!! Thanks for making my day by leaving a comment!


"I'm going to compare these genetics to a road system…" Steve Hixon is a seed cleaner, a vocation that has been nearly wiped since the introduction of GMO proprietary seed. Seed cleaners played an important role in helping farmers save their seed for the next years planting, by conditioning and grading the seed crop. Cleaners, because of their close relationships with farmers and seeds, are frequently followed and surveilled in their daily work. Steve talks about this and the appropriation and patenting of seed germ plasm from the public universities.
Testimony from Monsanto Hearings held in Carbondale, IL January 28, 2012. This story continues.


Preliminary excavation work is underway on Arabian Canal – the US$11 billion, 75km man-made waterway being managed by Limitless.
Preliminary work on the canal – the largest, most complex civil engineering project ever undertaken in the Middle East – began this week and is expected to take approximately three months.
Arabian Canal will be 150 metres wide and six metres deep, and will flow inland from Dubai Waterfront, passing to the east of the new Dubai World Central International Airport before turning back towards Palm Jumeirah.
Limitless is also master planning its biggest mixed-use development yet as part of the Arabian Canal project. The US$50 billion waterfront development will span up to 20,000 hectares and stretch for 33km along the inland section of the waterway, east of the new international airport.
Investors interested in the development are reminded that the project has not yet been launched for sale, despite claims by some that they have been appointed as sales agents by Limitless.


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Maintaining Social Licence for Government Use of False Social Media Personas
Authors: Cleaver, O. & Nicklin, G.
The article aims to find a way to manage the significant pressures of establishing policy along with enabling practitioners to use SOCMINT in their day to day work. It also questions the interactions of the state and private companies in line with the interest of society, business, and the imperatives of security.23 It states that the lack of a regulatory framework intensifies complexities.
There is limited academic research about New Zealand perspectives of SOCMINT, and what there is derives from government agencies. The Office of the Privacy Commissioner (OPC) provides insights into public perceptions about privacy in a 2011 study. It reveals the public's willingness to use social media is based on their having autonomy and control over who sees their data.24 This need for control suggests government agencies may have difficulty in implementing policies if they do not meet public expectations. In 2018, the OPC conducted a survey about perspectives of privacy in a general sense.25 The study showed that people are concerned about their privacy and feel vulnerable when sharing personal information over social media. However, there remain gaps in understanding what this means for practices of agencies undertaking SOCMINT collections. Media and political discourse further indicate an appetite for a better understanding of SOCMINT and covert social media use by government agencies.26 The public scrutiny surrounding social media intelligence suggests a need for further research and understanding of the topic.
In an interview in 2018, in response to the SSC inquiry about the Thompson and Clarke case, the Privacy Commissioner (John Edwards) expressed a hope that there will be an improvement in SOCMINT type activities across government, noting an apparent lack of oversight for policy in government agencies.27 Edwards also states that when agencies step across the line into pre-emptive intelligence gathering on citizens who are exercising their democratic right to freedom of expression, there is a need for a "brighter light". In other words, more public scrutiny is required to shine a light on gathering information from open and free areas. Edwards' comments exemplify the gaps in the regulatory framework to help guide government policy outside the Privacy Act 1993, and the need for this gap to be filled.
The literature makes clear that there is limited understanding of how SOCMINT should be governed, partially driven from difficulties in defining whether social media information is sourced from a private or a public sphere. Inconsistent and underdeveloped structures for SOCMINT policy and legislation point to gaps in SOCMINT knowledge, opening up governments to intensified scrutiny from media and the public. A key gap is that there is no true understanding of public expectations of social media intelligence use, most likely because social media is a new tool. The lack of research into public expectations of and perspectives about government SOCMINT use suggests they have been undervalued as a means to influence future governance practices.

redpajama_set_name: RedPajamaCommonCrawl


text:
Physical exam:
Patient Information:
Patient: X, Age: 15 years old, Sex: Male, Race: Black
CC (chief complaint): patient came for a dull pain in both knees.
HPI: Mr X a 15-year-old, black male who came in for a dull pain in the knee. He said sometimes one or both knees click, with a catching sensation under the patella. I will if the pain is limiting joint movement, the onset of the pain, is the pain intermittent or constant. The pain started having the pain a month ago while he climbed the stairs at home. Slight swelling no redness which sometimes affects both knees which has interrupted with his daily activities. The joint looks good. The patient said pain is experienced with movement and worse with climbing or ascending a flight of stairs as such it most felt during the day while he is active and relieved with rest. His mom applied ice to the knees and gave 500mg of Tylenol which relieved the pain. Mom also applied icy hot rub to help with the pain. The cause is unknown to the patient, but he says he is soccer player and has had contacts with friends in the field while playing so he feels it could be from the trauma in contact sports.
Location: knee- bilateral at times
Onset: insidious
Duration: started a month ago
Character: dull knee pain with one or both knees having a click sensation, with a catching sensation under the patella
Associated signs and symptoms: no fever, no nausea, no vomiting, limited movement, swelling of the knee
Timing: while climbing a flight of stairs or with strenuous activity, or movement.
Exacerbating/ relieving factors: pain is worse with climbing and movement, relieved with rest. Mom applied an ice pack to the knees, used icy hot rub and gave him 500 mg of Tylenol which he said helped. He has been using them for a week now.
Severity: 8/10 pain scale with movement, 3/10 while at rest
Current Medications:
Tylenol 500 mg 1 tab x 2/ day
Ice packs were used as needed
Icy hot- twice daily
Allergies: patient's mom said he had no food of drug allergies and that he has never had an allergic reaction. The patient also confirmed he has no allergies.
PMHx: up to date with all immunizations. He has never been hospitalized and has had no surgeries. He was born at term with no abnormalities or deformities, patient denies any autoimmune condition.
Soc Hx: Patient is in high school and plays soccer but has been remote leaning and so has not played in about 3 months buts jogs daily around the neighborhood. He lives with his mom and dad and has 2 siblings in their single-family home. Patient has health insurance through his parents and good access to healthcare. His hobby is doing sports; running sprinting and soccer which have been limited with the pain in his knee. He can perform his activities of daily living but unable to complete activities like climbing and bending while performing house chores. He says he gained some weight from staying more at home lately but weight but normal for his age. He eats a balanced diet with fruits and vegetable and Powerade while exercising especially with the morning sun for vitamin D. He rarely drinks sodas. He says he never smoked and does not drink alcohol. He is to club activities in school to keep focused and out of bad companionship. His parents are involved in life to make he succeeds.
Fam Hx: Mom has osteoporosis and has had a knee replacement surgery, Dad is healthy. No medical problems with siblings. Maternal died at 75years from stroke, maternal grand mom is still living. She is 77years and takes just vitamins. Both paternal grandparents are of late, not sure of the cause of death.
ROS:
GENERAL: no fever, no chills, knee pain, no weight loss.
HEENT: Eyes: patient has impaired vision and wear glasses. Hearing is intact, patent nostrils and mouth is pink and moist. No sores in the throat.
SKIN: No rash or itching, skin is intact
CARDIOVASCULAR: patient denies chest pain, no palpitation, he has strong pulses on all extremities.
RESPIRATORY: No shortness of breath, no cough
GASTROINTESTINAL: denies nausea, vomiting and diarrhea. No pain in the stomach
GENITOURINARY: he voids normally and able to control stream
NEUROLOGICAL: No headache, dizziness, syncope, paralysis, ataxia, numbness or tingling in the extremities. No change in bowel or bladder control.
MUSCULOSKELETAL: pain in the joint and muscles of the knee, no stiffness, click sound heard with movement, swelling
HEMATOLOGIC: No anemia, bleeding or bruising.
LYMPHATICS: No enlarged nodes.
PSYCHIATRIC: patient says he has never been depressed but he is anxious about what is going on with his knee.
ENDOCRINOLOGIC: No reports of sweating, cold or heat intolerance. No polyuria or polydipsia.
General: Mr X is a 15-year-old, black and a male who came in accompanied by his mom for a dull knee pain. His dressing is appropriate for weather, alert, oriented, and cooperative with care answering all his questions.
Vital signs: BP 120/70 pulse 65 respiration 20 and regular temperature 97.8F and weighs 110 pounds, height 5'7"
HEENT: head is normocephalic, pupils are equal and reactive to light and accommodation, he wears glasses. No bleeding or drainage from the nares, patent bilaterally, septum in midline position, buccal cavity is pink and moist, no redness with the oropharynx, gums are pink, no inflammation.
NECK: supple, full range of motion, no thyromegaly, no carotid bruits, no masses. Trachea in midline
RESPIRATORY: clear breath sounds in all lung fields, symmetric chest movement.
CARDIOVASCULAR: regular heart sounds and rhythm, distal pulses are +3, no murmur
BREAST: no masses, normal for gender
ABDOMEN: soft, flat, and non-tender, no dullness on percussion, no guarding, active bowel sounds in all 4 quadrants.
RECTAL: non tender, not enlarged prostate- fully developed for age, good anal sphincter tone.
MUSKULOSKELETAL:
Inspection: no erythema, slight swelling, no bruising, knees were symmetrical.
Palpation: the patella felt smooth and firm, a little swelling below the patellar, pain felt with touching, flexion, and extension. With ballottement, no fluid in the joint, with the bulge sign. McMurray test revealed a click, pain and limitations in extension and flexion both lateral and medial. Varus and valgus test revealed no deformity. Spine is straight, no masses.
Range of motion and strength testing: Patient was unable to complete task there is limited range of motion.
NEUROVASCULAR: patient is alert and oriented x 4, behavior is appropriate for situation, motor, sensory and deep tendon reflexes 2+ bilaterally for the patellar and Achilles tendons
Diagnostic results:
Plain x-ray to determine if any problem with the kneecap, and the location of the patella (anteroposterior view, lateral view, and Merchant's view).
Ultrasound of the knee to evaluate mechanical complaints such as 'clicking' through palpation with an ultrasound transducer.
MRI- to view soft tissues around the knee and it is used when surgery is indicated (Orthoinfo, (n.d.)).
Lab- to check inflammation such as the erythrocyte sedimentation rate, C-reactive protein and complete blood count if infection is suspected (Bunt & Jonas, 2018).
Differential Diagnoses:
Osgood-Schlatter disease (tibial apophysitis)
This is an insidious onset of knee pain in growing adolescent during their growth with concomitant overuse. It is an inflammation of the area below the knee where patellar tendons attach to the tibia and occurs during growth spurts when the bones and surrounding tissue are rapidly changing forms compounded by the stress but on them by strenuous activities. A common condition in kids who are athletics (Orthoinfo, 2020).
Quadriceps or patellar tendinopathy (Jumper's knee)
It is an overuse injury that can be painful during activity with pain being the main symptom. The pain is usually below the kneecap and worse with activity like climbing, squatting, and running. Indeed, the pain is with any strenuous activity and persists even after activity (Children's healthcare of Atlanta, n.d.). This is an anterior pain affecting the patellar tendons (Bunt & Jonas, 2018).
Tendonitis (Tenosynovitis)
It is pain in the front of the knee made worse with climbing. Inflammation of the synovium sheath around the tendon as a result of repeated actions associated with sports or other strenuous knee activity which can result in rheumatoid arthritis. It could also affect the shoulder, wrist, or heel. The patient manifests with pain and tenderness over the involved tendon with movement and some limitation of the affected joint.
Medial collateral ligament (MCL) sprains
According to the Children's healthcare of Atlanta (n.d.), it is a sprained medial or lateral collateral ligament (MCL) is a common soccer injury due to direct hit on the knee during a soccer game. There may be "popping" sound in the knee at the time of injury, followed by knee pain on the inner side of the knee. Swelling and knee weakness is possible.
This can be due to excessive stretching o forceful contraction beyond functional capacity. Given that the patient is a soccer player, it could be from improper exercise too or previous injury from contact in the field of play. It is associated with muscle pain, spasms, and contusion or temporal muscle weakness (Ball, et al., 2019).
Ball, J. W., Dains, J. E., Flynn, J. A., Solomon, B. S., & Stewart, R. W. (2019). Seidel's guide to physical examination: An interprofessional approach (9th ed.). St. Louis, MO: Elsevier Mosby.
Bunt, C.W.& Jonas, C.E. (2018). Knee Pain in Adults and Adolescents: The Initial Evaluation. Am Fam Physician,98(9), p 576-585. https://www.aafp.org/afp/2018/1101/p576.html
Chronic knee pain. https://www.healthline.com/health/chronic-knee-pain
Children's healthcare of Atlanta (n.d.). https://www.choa.org/en/medical-services/orthopaedics/injury-finder/knee/overuse-injuries#D7E3980D-DD48-452C-83B7-1050D525793A
Orthoinfo (n.d.). Adolescent Anterior Knee Pain. https://orthoinfo.aaos.org/en/diseases–conditions/adolescent-anterior-knee-pain/
Orthoinfo (2020). Osgood-Schlatter Disease (Knee Pain). https://orthoinfo.aaos.org/en/diseases–conditions/osgood-schlatter-disease-knee-pain/
Sullivan, D. D. (2019). Guide to clinical documentation (3rd ed.). Philadelphia, PA: F. A. Davis.
https://essaysglobe.com/wp-content/uploads/2020/06/logo-EG.png 0 0 Cherop https://essaysglobe.com/wp-content/uploads/2020/06/logo-EG.png Cherop2021-03-25 13:42:242021-03-25 13:44:38Physical exam:
Addresses an area Selective Abortion and IVF


Just as a matter of interest: the spines are the leaves and the green parts which look like leaves, are the stems. Applies to all cacti even the what-used-to-be-called Zygocactus that soft rainforest cactus which flowers in winter. They have no spines but the flat 'leaves' must be stems since flowers don't happen on the ends of leaves.
The Nopales tasted rather 'lemony' (to be kind) aka 'acidic' and had enough spines to make it mandatory to remove them before eating.
Easiest way to cook some for the first time is to slice it bean like and fry it up with your bacon and eggs.
Very pleasant tangy slightly lemony taste. The mucilaginous aspect is fried out.
yes that is how we cook ours - bacon eggs and fried beans yum !
I have a fairly good collection of opuntia, including the only variety ever produced by Luther burbanks for fruit quality ( the others were bred as cattle fodder, and are spineless).
I have O. Engelmanii, O. Linguiformis, O. Gigantea, as well as the burbanks and torrance 1.
The Americans have bred a yellow fruiting variety that is seedless.
In Mexico, the fruit are known as Tuna and are graded by colour ( Tuna blanca, Tuna Verde, Tuna Roja). The green fleshed types are rated the highest. They are all considered inferior to columnar cereus fruits, especially Stenocereus queretaroensis and Stencoereus gummosus. Cereus peruvianus is a good fruit too, I rate it over prickly pear. Have never tried nopales, supposedly they taste like green beans mixed with asparagus.
Your collection is more for the fruit DM? They would be interesting to try.
The one I grow is a (mainly) thornless Nopales for pad eating. The fruit proved worthless.
I know the fruits are grown commercially for the Melbourne market and have been for decades.
I suspect that it was the Southern Italians who embraced the fruits' delights (as they are also invasive in Italy)and before gentrification the inner city suburbs of Carlton, Fitzroy, et al all had many Prickly Pear rising above their fence lines...as well as figs and grape vines. They are a Italian backyard garden standard.
you can also see the same around Brisbane...New Farm, for instance.
But the Nopales weren't sold or -- as far as I recall -- eaten.
Example: Lizio's Prickly Pear and Cherry Orchard.
Priced around $1 each for fruits.
They're not a fresh eating out of hand fruit. The seeds are insanely hard, you could probably fill shotgun shells with then. People have been hospitalised with constipation from eating too many prickly pear seeds.
The best way to deal with them is by using a chef's blow torch. Just cook off all the hairs ( glochids) while the fruit is still on the plant.
They're best made into syrups/jellies/candies.
Prickly Pear fruit jam is sensational. It has so much pectin it's tough to spread and kind of rolls up chasing the knife.
opuntia is probably the most useful plant in existence....it's actually amazing how many uses there are for opuntia. You can even purify water with the pads.
They are spectacularly invasive in Australia and were an ecological disaster until the introduction of the cactoblastis cactorum moth, which sounds like a spell from the Harry Potter films, but absolutely decimated the Australian population of opuntia.
Ccatoblastis cactorum will kill your dragonfruit, too.
I was driving clients around Kenmore today and saw a big stand of cactus. As in Opuntia. Bit surprising in suburbia these days.
Since I now have around 10 Prickly Pears growing in a soon-to-be succulent forest, I am appreciating the ready harvest and the increasing number of opportunities to experiment in the kitchen.
Last night i made avery quick Nopal and Choko salsa which I enjoyed immensely.
Equal quantities of Nopales (Prickly pear paddles) and very young chokoes.
Chop raw Nopales into short narrow lengths and score the chokoes with a fork before doing the same.
Toss with apple cider vinegar; chopped spring onions, smashed garlic and chilli (if you like) and a slurp of olive oil (if your preference). Dash of salt and fresh ground pepper.
This refreshing salsa offers a crisp tasty lemony hit. You could add herbs if you want...but simple works.
Nopales are one of very low calorie vegetables. 100 g of fresh leaves carry just 16 calories. Nonetheless, its modified leaves (paddles) have many vital phytochemicals, fiber, anti-oxidants, vitamins, and minerals that can immensely benefit health.
The succulent paddles are rich sources of dietary fiber, especially non-carbohydrate polysaccharides, such aspectin, mucilage and hemicellulose. Together, these substances help bring reduction in body weight, LDL-cholesterol, and blood sugar levels. This rich fiber and mucilaginous content in cactus pads aid in smooth passage of digested food particles through the gut and help relieve constipation problems.
In addition, the juice extracted from the noples has been suggested to have immune-booster, and anti-inflammatory properties.
Cactus pads feature moderate amounts of vitamin A with 100 g fresh pads carrying about 457 IU of vitamin A, and 250 µg of ß-carotene. ß-carotene converted into vitamin-A inside the body. Studies found that vitamin A and flavonoid compounds in vegetables help protect from skin, lung and oral cavity cancers.
Further, nopal pads contain small levels of B-complex group of vitamins such as thiamin, riboflavin, niacin, vitamin B-6 (pyridoxine), and pantothenic acid. These vitamins are essential for optimum cellular enzymatic and metabolic functions inside the human body.
Fresh pads contain average levels of vitamin-C. 100 g provides 9.3 mg or 15% of this vitamin. Vitamin C is a water-soluble, natural anti-oxidant, which helps the body protect from scurvy and offer resistance against infectious agents (boost immunity), and help scavenge harmful, pro-inflammatory free radicals from the body.
Why do you prick your choko before cutting Dave?


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: 2 min
Safran Nacelles' growing presence in China for state-of-the-art jet engine nacelles
Safran Nacelles is a world leader for the development, production and support of aircraft nacelles.
One of Safran Nacelles' leading products is the nacelle system on Airbus' best-selling A320neo (New Engine Option) single-aisle jetliner powered by LEAP-1A turbofan engines from CFM International, a 50/50 joint company between Safran Aircraft Engines and GE.
From design to engine integration, Safran Nacelles also has complete responsibility for nacelles on the A330neo, whose maiden flight with the A330-800 version occurred two days ago.
The A330neo (New Engine Option) nacelles benefit from the Safran Nacelles' experience in proven large-sized nacelle systems. Features of the A330neo nacelle include the extensive use of composite materials for lighter weight, enhanced performance through the optimization of its aerodynamics, and lower noise with the application of improved acoustic treatment.
With the A330neo's nacelle sized at an external diameter of 3.65 meters, it ranks as one of the world's largest – and is in the similar very large category as the company-built nacelles used on the double-deck Airbus A380.
To provide top-level support for its nacelles in operation, Safran Nacelles has developed the NacelleLifeTM service offering, providing tailorable nacelle services to the requirements of airlines, involving any or all steps from preparations for a jetliner's service entry through its retirements from operation.
On the industrial side, Safran Nacelles already has established relationships with China's aviation sector. This includes SAVI Nacelles – the 50/50 joint venture with AVIC Aircraft Company, a subsidiary of AVIC group. Located in the Chinese city of Xi'an, SAVI Nacelles has been producing all blocker doors for Safran Nacelles' thrust reversers that equip the CFM International CFM56-5A/5B engines on Airbus A318, A319, A320 and A321 aircraft in the CEO (current engine option) version.
Another China relationship is via Safran Nacelles' Nexcelle joint venture company with Middle River Aircraft Systems (MRAS), which is supplying the nacelle system for the Chinese-built COMAC single-aisle C919 jetliner. This nacelle system incorporates Safran Nacelles' innovative one-piece composite O-Duct thrust reverser configuration, which results in increased thrust reverser efficiency, improved fuel consumption and facilitated maintenance.
The C919 program will include the future involvement of SAVI Nacelles as well, with the Xian-based company expected to produce components for the jetliner's nacelle system as a follow-on to its current CFM56 work.
Safran to provide thrust reverser maintenance and technical support for the French Corsair airline's A330ceo jetliners
Avianca Holdings S.A. chooses Safran services for its A320neo family jetliner nacelles
Safran Nacelles delivered its 1,000th nacelle for the Airbus A320neo to TAP Air Portugal
Discover the new Safran Nacelles site in Hamburg (Germany)
JetLife, a mobile application to manage the Service Bulletins


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City of Arlington » News » MyArlingtonTX » News Archive » 2018 Archived News » September 2018 » Entertainment District Parking Ordinance Aims to Protect Neighborhoods
Earlier this year, the Arlington City Council adopted an Entertainment District Parking Ordinance designed to protect neighborhoods within the Entertainment District from cut-through traffic and other nuisances that stem from special event guests who park on neighborhood streets instead of in designated paid parking lots.
The ordinance, which the City will begin enforcing starting Saturday, Sept. 15, will prohibit on-street parking in three residential areas only during select AT&T Stadium events listed on the City's Entertainment District Special Events Parking webpage. The City Council approved the City's ability to establish these temporary No Parking zones in response to residents' concerns about the ability for emergency vehicles to easily get in and out of their neighborhoods.
"We strive to protect and maintain neighborhood integrity while ensuring our Entertainment District visitors have a great experience," Deputy Chief Leland Strickland said. "If fans choose not to park in designated event parking lots, their vehicles are not properly protected, and they could be towed."
The Arlington Police Department held neighborhood meetings in June, July and August to answer questions from affected property owners.
The City of Arlington has established the Entertainment District Special Event Parking webpage to provide residents and visitors with information about which stadium events the Entertainment District No Parking zones will be in effect. Questions can be sent to eventparking@arlingtontx.gov.
The temporary No Parking zones will be activated during all Dallas Cowboys home games as well as select concerts, sporting events and other high-profile activities at the stadium, which can hold up to 110,000 fans. The Arlington Police Department has identified these events based on factors that include projected attendance and previous neighborhood integrity concerns.
Residents who live in the identified zones are encouraged to sign up through Nixle, an alert notification system, to receive Arlington Police Department notifications by text and/or email regarding the special events times and dates when on-street parking will be prohibited. (Please see instructions on how to sign up for Nixle in the bulleted list below).
The City has installed folding No Parking signs, which are flipped open to be visible when on-street parking is not permitted. Signs will be flipped open to be visible 24 hours prior to the special event. The City plans to begin enforcement, at a minimum, three hours before the stadium event is under way.
What residents and visitors should know:
Three Entertainment District No Parking Zones have been established. These areas are generally identified as:
Stadium West Zone: This area is directly west of AT&T Stadium and is roughly bounded by Slaughter Street to the north, Collins Street to the east, North Street to the south and Mesquite Street to the west.
Roosevelt Zone: This area is northwest of AT&T Stadium and is roughly bounded by Andrews Street to the north, Collins Street to the east, Randol Mill Road to the south and Mesquite Street to the west.
Woodbrook Zone: This area is north of AT&T Stadium and is roughly bounded by Road to Six Flags Street to the north, Willowbrook Street to the east, Woodbrook Street to the south and Collins Street to the west.
During Dallas Cowboys home games and other marquee events, "No Parking" signs may be activated in any or all of the zones. When the signs are activated, all on-street parking is prohibited
The on-street parking prohibition applies to all public streets where No Parking signs are activated.
All vehicles parked on-street where No Parking signs are visible are subject to removal via towing.
Exceptions to the ordinance include vehicles stopped to make deliveries, drop off passengers to the residences, or to provide maintenance, repair or lawn service to a residence within the Entertainment District No Parking Zone.
Residents who live in the designated zones are encouraged to sign-up through Nixle to receive text and email alerts from the Arlington Police Department for event times and dates when the Entertainment District Parking Ordinance is in effect by texting STADIUM to 888-777.
Residents can also follow Arlington Police Department news through Nixle by texting FOLLOWAPD to 888-777.
Champion Great Neighborhoods
Headlines, News, Police, Public Safety


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About Our Graduate Programs
Established in 2008, this doctoral program is the first to be offered in public sociology. The program was specifically conceived to address an unmet need throughout the region for sociologists with advanced training in substantive and methodological fields to directly engage problems confronting decision makers and the public. The program combines training in the theoretical and methodological foundations of sociology, with practicum opportunities to link empirical inquiry with policy and practice outside the university. Students in the PhD program choose from among two general areas of concentration, both central to public sociologists, and at least one additional area of specialization.
Concentrations/Specializations:
Institutions and Inequality
The Institutions and Inequality track is focused on identifying disparities in the distribution of opportunities and resources within various social institutions, including work, family, health, nutrition, and education. This track is useful to students pursuing careers within applied organizational settings in a variety of sectors, including for-profit corporations and governmental or human service organizations at municipal, county, or federal levels.
The Sociology of Globalization track offers study of transnational social structures and processes. We recognize that business, government, nongovernmental, and academic careers today require individuals with theoretical understanding of globalization, deep knowledge of real-world global issues and debates, strong empirical and methodological skills to investigate particular transnational processes, as well as innovative and contextually appropriate analytical strategies for assessing the implications and impacts of changing relations and practices operating on a variety of scales, from local to global. In addition to preparing PhD students for academic careers, this track provides a strong foundation for students electing to pursue nonacademic U.S. and international careers, whether in human rights, environmental, or other social movement organizations, international nongovernmental organizations, financial organizations promoting public transparency, social responsibility, and entrepreneurship, or government entities engaged in social and institutional development.


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Алфонс Горбах (; Имст, 2. септембар 1898 — Грац, 31. јул 1972) је био аустријски политичар Аустријске народне партије, а служио је као канцелар Аустрије од 1961–1964.

Биографија

Политичка каријера до Другог светског рата

Горбах је био син аустријског свештеника и потицао је из традициналне хришћанске породице. Његова породица се преселила у Штајерску због очевог посла. Он је завршио гимназију у Грацу, а ишао је и у верску школу јер су родитељи хтели да и он буде свештеник. У октобру 1917, са 19 година је регрутован је у Првом светском рату у војску Аустроугарске, а учествовао је у бици за Бовец, где је тешко рањен у ногу. Када је Аустија постала независна учланио се у Хришћанску социјалну партију. Од 1929. до 1932. је био у окружном савету у Грацу. Учланио се у Отаџбински фронт која је била једина активна странка током диктатуре Енгелберта Долфуса. Од 1937. па до Аншлуса 1938. је био члан покрајинске владе Штајерске.

1. априла 1938. је био међу првима које су нацисти ухапсили и послали у концентрациони логор Дахау, где је остао до 10. новембар 1942, када је привремено пуштен. Док је био на слободи радио је као заваривач у фабрици у Грацу. После неуспелог атентата на Хитлера 20. јула 1944, поново је ухапшен као један од многобројних осумњичених за организовање јулске завере и послат је у концентрациони логор Флосенбург у Баварској, где је остао до савезничког ослобођења у априлу 1945.

Политичка каријера после Другог светског рата

После Другог светског рата Горбах се поново почео бавити политиком. Придружио се аустријској народној странци и био је један од њених кандидата на парламентарним изборима 1945., па је изабран за председника Националног већа Аустрије. На тој позицији је био до 1953, и поново од 1956 — 1961.

На аустријским парламентарним изборима 1959. када је његова странка претрпела значајан пад гласова, почела је стратегијска дискусија унутар партије. Одлучено је да остарели Јулијус Раб (у том тренутку канцелар) не може више да води странку. Горбах је изабран за председника странке 12. фебруара 1960, али је Раб остао канцелар до 11. априла 1961. када га је Горбах наследио. Водио је странку на парламентарним изборима 1962. када је његова странка освојила више гласова него на претходним изборима, али то ипак није било довољно за апсолутну већину, па је Горбах био канцелар и у другој коалицији с социјалдемократама. Пошто је на председничким изборима 1963. Аустријска народна партија претрпела тежак пораз, Јозеф Клаус је изабран за новог председника странке, а наследио је Горбаха и на месту канцелара 2. априла 1964. када је морао да поднесе оставку због притисака из сопстевене странке. Након оставке из његове странке су му понудили да оде у пензију, али је он одбио. После тога је био изабран да буде канидидат Аустријске народне странке на председничким изборима 1965. који су одржани јер је тадашњи председник Шерф умро. на тим изборима га је поразио Франц Јонас. После тог пораза отишао је у пензију, али је остао је члан националног савета све до 1970. године.

Умро је 31. јула 1972. у Грацу када је имао 72 године.

Види још
 Канцелар Аустрије

Извори

Спољашње везе

 Биографија Алфонса Горбаха
 Алфонс Гопрбах на званичном сајту парламента Аустрије
 Алфонс Горбах на сајту националне немачке библиотеке

Рођени 1898.
Умрли 1962.
Канцелари Аустрије
Аустријски политичари
Преживели из концентрационог логора Дахау

redpajama_set_name: RedPajamaWikipedia


text:
Category: english
How to solve every Actorle in less than 3 Tries
This is as big as the logo gets on the site.
Of all the Wordle-derived internet puzzles, Actorle has turned out to be my favourite. Unlike Heardle or Framed, which strongly depend on you really knowing the song or movie the puzzle is looking for, with no chances of simply guessing it, Actorle – much like the original Wordle – relies on a lot of context clues that can lead you to an answer, even if you don't know every actor that ever lived. (To be honest, Actorle doesn't even care about most actors that worked before 1975, so you don't even have to know that many actors, anyway.)
If you have never played Actorle, the puzzle is looking for an actor every day. As hints, it provides you with a list of films the actor has appeared in, with Xs where the letters of the title should be. It also lists the genres of those movies and the average IMDB score. Once you guess an actor, it tells you how old that actor is and if the actor the puzzle is looking for is much or a little older or younger. It also reveals the titles of all the films the guessed actor has appeared in.
This means that the best way to solve Actorle is actually identifying one or more of the films in the list and then finding the actor that appeared in all of them. This might sound obvious, but it's worth stating nevertheless.
So, what is the best way to identify the films? I mostly look at the IMDB scores first. Scores above 8 are often films that were either box office successes, won awards or became cult hits. In other words: These are the films you are most likely to know, so look at them first. (This has gotten more difficult since Actorle changed its listening criteria to be independent of IMDB scores, recently.)
This will have to do. The title is probably "The something of the something".
The second thing I look at, are the genres. If you look at the genres across all the listed films, you will get a general sense of what kind of actor you are looking for. For a character actor, the list will mostly display tags like "drama", "history" or "romance". Typical mainstream actors of the 21st century will probably will have lots of "fantasy" and "science-fiction", because those are used for all the franchise movies that dominate screens in our era. Keep an eye out for less frequent tags like "sport", "war" or "horror". There are often not that many films of these genres in a given year, which will make it easier to identify them.
Now, what could this be?
Finally, look at the titles. More precisely, look at their punctuation. Especially if you're looking for an actor who has appeared in some franchise movies, there will be colons, dashes and repeating patterns of Xs that make movies fairly easy to identify.
It wasn't very good, but typographers were satisfied.
Once you are quite certain that you have identified at least one film in the list, have one last look at the year of the first film listed. This is probably the first major role the actor played. Most actors get their first major part somehere between the age of 18 and 25, so the release date of the first film in the list might clue you in on the age of the actor you are looking for.
We're close.
Is the first-billed in the right age range? Then it's probably them. It's not unusual to solve Actorle on your first try. If you didn't solve it, but you guessed at least one movie correctly, you should have enough clues to find the right answer within the next two tries. Good luck!
Did you remember he was in a Tomb Raider movie?
Posted on 16/06/2022 Author AlexCategories english, Film, InternetTags Actorle1 Comment on How to solve every Actorle in less than 3 Tries
Annihilation's VFX prove the Beauty of Glitches
Alex Garland's Annihilation just eked into my Top 10 for 2018, not least because of its idiosyncratic look. Reading the article about the film in Cinefex 159, I especially liked one section, in which VFX Supervisor Andrew Whitehurst talks about the serendipitous nature of the crystal trees that Lena (Natalie Portman) encounters on her way to the lighthouse:
"Originally, the objects on the beach were human-like sculptures based on reference the art department found of underwater divers with bubbles trailing behind them. The thought was to invert that image, creating blobby human forms of sand and salt crystals busting from the beach. The art department made a beautiful maquette, build gray bucks and placed them on the beach. We created digital versions (…) and started placing them into shots. (…) We had lidar data of Natalie walking through an evergreen forest, and raw data of the trees had created some visual artifacts. Wherever the lidar lost resolution in smaller leaves it took on a sculptural quality. Alex agreed the artifacts had a beauty to them, It also reminded us of a beautiful piece of reference photography from preproduction, where we had been photographing the characters entering the forest and the trees had contained thousands of spiders weaving webs. They almost felt like crystal trees. And so, instead of the beach shapes being made out of sand whe ended up making them out of crystal."
Read the whole article in Cinefex 159
Posted on 04/01/2019 08/01/2019 Author AlexCategories english, FilmTags Visual Effects1 Comment on Annihilation's VFX prove the Beauty of Glitches
Marvel Studios' Global Pipeline
Ever wonder how Marvel manages to deliver their movies on time despite tight schedules and 2.500+ effects shots? Executive producer Victoria Alonso explains:
We've had anywhere from 12 vendors to 24 vendors, which is madness. It's a challenge, but when you have that many shots, you have to divide the work among many different teams. If we relied on one vendor, we would choke that vendor. And by having visual effects teams from around the world, in different time zones, we essentially get a 36-hour day. That extra time allows us to constantly feed the beast.
VFX Supervisor Jake Morrison goes into more detail in a different interview:
On Thor: Ragnarök we had 18 vendors, so our day would start with calls to Germany and then sweep right across the planet chasing the sun until we finished in Australia. The tools that have been built to allow for all this data to slosh around the world on a nightly basis are breathtaking.
Both interviews can be found in Cinefex issue 158.
Posted on 06/10/2018 Author AlexCategories english, Externes, FilmTags Cinefex, Jake Morrison, Marvel Cinematic Universe, Marvel Studios, Quotes of Quotes, Victoria Alonso, Visual EffectsLeave a comment on Marvel Studios' Global Pipeline
What it means to be a Vorthos
I've become obsessed again with the trading card game Magic: The Gathering. One of the fascinating things about the game is the way it relays a story through and around its cards in what I think is a textbook example of transmedia storytelling.
Since I've not paid attention to the development of the game for over a decade, in which more than 10,000 new cards have been released, I was looking for a guide to lead me through the forest of lore, materials and fandom that has sprung up over this time. I found him in Jay Annelli, who is a "Vorthos Writer" for the site Gathering Magic and one of the hosts of The Vorthos Cast. He explained a lot of things to me I had not fully grasped so far, and he also put into perspective some of my gushing from my last article about the online communication of Magic's company Wizards of the Coast.
To make this interview interesting for folks who don't play the game, I have tried to annotate Jay's answers in italics where I thought necessary.
So I turn my back on Magic for just 17 years and when I come back, there is this whole community of people who call themselves Vorthoses. What is a Vorthos and what do they do?
The term 'Vorthos' only became part of the zeitgeist about 13 years ago. Back in 2005, Matt Cavotta began an article series called 'Taste the Magic'. Around that time, Wizards had made public their psychographic profiles for Magic players: Timmy, Johnny, and Spike. Later that year, Matt published Snack Time with Vorthos, which introduced a new profile that wasn't tied to a specific way to play the game, but instead was all about people who enjoyed the worldbuilding. People who like Magic's lore, story, art, and flavor began calling themselves Vorthos. There were story fans before, but they didn't have a unique name until then. Because almost all of Magic's story was confined to novels at the time, only die-hard enthusiasts were really engaged in the Magic community. That all changed in the last few years, when short fiction started being published weekly to the web, and the cancellation of the novel line eventually led to the entire story being available for free on the Magic website. The Vorthos community has exploded since then, as it's now more accessible than it has ever been. This is a pretty broad overview, as the community has had its ups and downs over the years as different storytelling models were tried.
Jay's colleague Sam Keeper has recently published a three-part series of articles on "Gathering Magic" that explain how Wizards went from novels and comics only vaguely tied in to the release of new trading card sets, to closely linked novels and ebooks to short fiction written in-house and published online. It is well worth the read as a chronicle of trial and error. The most recent model that was in place when I re-entered the game last fall worked great for the story but took its toll on Wizards employees. For its next set, "Dominaria", Wizards has kept the release model but hired a freelance writer again.
Magic is a phenomenal arena for transmedia storytelling. There are, of course, the cards themselves that tell a vague story through art and flavor text and card names, but there are also many other texts. Can you give me a quick breakdown of the sources you consult to assemble your knowledge of Magic's worldbuilding and story?
I started out as a forum goer on MTG Salvation (MTGS), reading the latest story, but I was lucky enough to start during Magic's soft reboot known as 'The Mending', which depowered planeswalkers from god-like beings.
Magic takes place on a potentially infinite number of fantastical planes. Since the cards represent spells and creatures to be summoned, the players assume the role of "planeswalkers", able to collect and work magic from all over this multiverse. Accordingly, the first planeswalkers in the stories surrounding the game, were pretty much all-powerful. The depowering of planeswalkers through story event "The Mending" allowed Wizards to introduce Planeswalkers as relatable characters into the game and marketing. The first planeswalkers promoted this way were the Lorwyn Five, with each character representing one of the five colors of Magic.
I've been following this new crew from the start. The most helpful source of information I had at the time was MTGS's associated Wiki which has a ton of information for a casual fan who wants to know more. But the wiki's greatest weakness is that it's written by fans, so it can often be misleading or outright false, especially when looking back at older lore. That I've also read basically everything story-related published since 2008 helps, too. I've compiled all the critical story sources into a Magic Storyline Resources thread over at MTGS.
With this many texts, written by a host of different people, how consistent is the continuity? How do people decide what's canon and what's not?
Continuity is fairly consistent, thanks to Wizards having a centralized creative team (or continuity manager) for most of the last two decades. The novels or short fiction are the final word in most cases for canon, followed closely by the cards themselves (art and flavor), although it's important to remember with a visual medium not everything is going to be literal. With things like character bios, video games, marketing materials, etc., I generally relegate them to lower priority as it's not clear who is writing them or even if the creative team had any input into them.
How did this evolve over time? Have there been many retcons? I noticed that even bizarre side projects like 90s videogames have apparently been integrated successfully into the narrative.
Most people don't realize this, but almost the entirety of Magic's current story is built on foundation of massive retcons. Magic's story wasn't developed in-house until about five years into the game's life, and so when Wizards of the Coast took over, the policy was that all that old stuff is still canon, unless contradicted. And a bunch of it has been contradicted, from the nature of a planeswalker to the time frames that those events happen in. That old lore is generally referred to as pre-revisionist continuity.
Modern continuity has been much more streamlined, but that's not to say there haven't been continuity errors or the dreaded retcon since then. Magic Origins, a set released in 2015, retold the origin stories of the main characters and changed a number of details, but other than fairly minor details, there isn't much that has been retconned out of existence in Magic. People make a bigger deal of retcons than is warranted, I think.
The 90's video games are technically canon, but it's unclear how much they'll ever be referenced. The name of the new Card "Time of Ice" was taken from an in-universe work named in the Battlemage video game, though, and credit to Wizards for going deep on our first return to Dominaria in a decade.
Dominaria is the name of Magic's "home plane" where many of the early expansions were set. As Magic is coming up on its 25th anniversary this year, it is returning to the plane and catching up with the story and the history of the game there.
What's the state of affairs now? I noticed that Wizards employees keep a good rapport with fans on social media. How would you describe the relationship between the canon givers and the Vorthos community?
It's a mixed bag. The Creative Team has always tried very hard to engage with the community. Years ago that meant authors or members of the creative team posting on the story forums. Doug Beyer ran a popular blog on Tumblr called A Voice for Vorthos, which he's hasn't had much time for since Magic Origins. More recently, the best way to reach them is through Twitter. They're always open to community feedback … but the mixed bag part is that the community can be very bad at giving constructive criticism.
What about the fans among themselves? Is it a large community? Are you working together or are there factions that emphasize different aspects of Vorthosdom? (Unlike in other fandoms, I have not found a lot of fans reshaping the fandom in their own image, through fanfic and other aspects of "participatory culture", yet.)
The closest things to factions you'll find in the Vorthos Community are where people prefer to interact. You've got Reddit, Twitter, Tumblr, MTGS and a host of smaller forums, various Discord servers. There was a pretty big divide in the fan base around Future Sight in 2007, when the Mending happened. There was a pretty big split in the fan base back then.
There are also groups that emphasize art, you'd want to follow someone like Mike Linnemann for art, and there are groups dedicated to buying, selling, and trading original magic art.
Since I sent the questions to Jay, I have also noticed that there is quite a cosplay community during Magic's weekend events.
In your podcast The Vorthos Cast you and your co-hosts Cary and Andrew analyze and reproduce Magic's storytelling. What is your primary goal? To educate? Or just to talk about something you love?
I can't speak to Andrew or Cary's goals, but mine is to have fun while educating. It's also much easier to talk about a topic than write about, and people have apparently been enjoying it.
The Vorthos Cast is still pretty new. How did you meet your co-hosts and what made you decide to start a podcast?
Andrew and Cary were the first people I started following seriously on Twitter. We became friends and eventually started chatting together as a group, I don't know how long ago. We've talked about a podcast for a long time now, but it's finally a possibility in our schedules.
The episodes are regularly linked to on the "Mothership", the Wizards of the Coast website. How does that make you feel?
I'm glad our work is popular. Our friends over at the Loregoyfs podcast are an excellent resource as well, but we have different approaches.
Although the crew of The Vorthos Cast crack some jokes every now and again, it really feels more like an educational resource to help people keep up with the vast lore accumulated over the years. The Loregoyfs are generally more playful and silly, but of course listeners need a baseline knowledge of the lore to be in on the jokes.
How much work do you put into a typical episode, both in preparation and in production?
We actually do very little preparation. We might re-read something if it's not familiar, but generally over the week between recording sessions we add to an agenda for us to talk about. We usually reserve about an hour and a half, because we talk before the episode proper. To edit the podcast usually takes 2-3 times as long, but as we've gotten better at editing and public speaking, it's gotten easier. We actually did three practice podcasts to get our rhythm and rapport down before deciding to do our first 'real' podcast for Dominaria.
What does being a Vorthos mean for you, personally? Why is it fun to practice this sort of forensic fandom and where do you hope it will lead?
I don't think there's any special meaning to it other than being a fan. My son was born right around when the Magic Origins paradigm shift was happening, and there were a lot of new fans who wanted to know more about the plane Zendikar for Battle for Zendikar. Talking about lore has always been fun for me, it's my favorite part of any content I consume, and I found I could do my writing in the times my son was napping. I didn't have time for much in the way of Video Games anymore, so it was just kind of serendipity. I'm just hoping people continue to enjoy it for a while, I'm not really interested in a job at Wizards of the Coast, so I'm not looking to parlay this into employment.
What is something you don't like about Magic's worldbuilding and story at the moment?
Magic is in a state of transition right now, as they have brought on a Narrative Designer who is working with professional authors brought in from the outside. I'm not sure how that's going to shake out just yet, so I'll withhold judgment until I've seen.
Dominaria, the next expansion to be released, is promising to round up and reflect on 25 years of Magic history. Do you think they are doing a good job so far?
Definitely. Time Spiral block, the last one set on Dominaria in 2006/2007, was too full of in-references. By treating Dominaria as 'history' world, I think it's a lot more accessible for fans new and old alike. And the references have been on point.
What are you most excited about?
I want to know who the Raven Man is! And also my favorite character in Magic, Jodah, just got a card!
Thanks to Jay for taking the time to answer my questions! Check out The Vorthos Cast wherever you get your podcasts.
Posted on 08/04/2018 09/04/2018 Author AlexCategories english, Internet, Interview, MedienTags Jay Anelli, Magic: The Gathering, The Vorthos Cast, VorthosLeave a comment on What it means to be a Vorthos
Why the Battle of New York Might Still Be the Best Superhero Fight Sequence We've Seen so Far
Very soon, Infinity War is promising to bring the whole Marvel Cinematic Universe (MCU) together for one big fight. But do you remember what it was like when the idea of superheroes from several movies teaming up for a crossover event first became a reality? Film critic Matt Singer is currently rewatching all the MCU films and when he got to 2012's The Avengers, he noticed something in his "What holds up" section:
The final 30 minutes of the film is one enormous multitiered set-piece. Even though The Avengers is the biggest Marvel film to date, I'm not sure its final battle, in and over the streets of New York City, has gotten the full credit its due. It is one of the great sustained pieces of cinematic action of the 21st century, weaving together the activities of six different Marvel heroes (…). You're lucky if a movie has two or three iconic moments. The Avengers' Battle of New York sequence has half a dozen all by itself (…).
Singer is right, of course. The "Battle of New York", as it will be called in-universe after the events of The Avengers, is basically what started Marvel's whole "third act problem". While the MCU films that came before it all had characters battling single opponents in the final confrontation of the story, Avengers and its director Joss Whedon raised the stakes and introduced the concept of a group of characters fighting against an army of faceless goons with basically the whole world at risk.
So, why is the Battle of New York still so effective? That is what I want to show today. For the first time in years, I have dusted off my David Bordwell hat and actually analyzed a single cinematic sequence closely, instead of just looking at big picture stuff. I believe the sequence's success boils down to two things: location and dramatic structure.
Set up the perimeter
Even though the Avengers are fighting for the fate of the world, their radius of action is actually pretty small. About 90 Percent of the Battle of New York take place within four blocks of New York City's Grand Central Terminal and the MetLife Building, which is where Stark Tower is located in the movies. Instead of spreading the battle war zone across the whole city, Whedon reinforces again and again that it is in everybody's best interest to contain the fighting to a few square miles to hurt as few civilians as possible. Whether it's Captain America telling the police to set up a perimeter "all the way back to 39th street" or Iron Man quipping "I'm bringing the party to you", viewers are constantly reminded that the fight is actually very controlled and centered on the main characters.
This, of course, had a big impact on production. No part of the battle was actually shot in New York. Most of the street scenes with the police and civilians were shot in Cleveland. The production also built part of the viaduct leading from Grand Central Terminal into Park Avenue, where Cap and Black Widow are doing most of the fighting, as a green screen set. But Industrial Light and Magic shot 275,000 images of the actual New York blocks where the fighting was going to take place and stitched them together to recreate the location of the fight in the computer.
What all this ultimately means, is that Whedon is able to situate us quite clearly in space, no matter how chaotic the fight gets, often opting for vertical instead of horizontal axes of action. He reinforces this several times during the sequence with characters turning around and returning to the hub of the battle. The most notable instance, of course, is the long shot that connects all the Avengers and their individual fights into a greater whole. Its trajectory can be precisely placed on a map: it goes up Park Avenue, two blocks down West 42nd Street, almost until the New York Public Library, and then takes a hard right turn to continue up 5th Avenue for another four blocks. This sort of spatial clarity is very rare for a modern blockbuster and it's a big part of the effectiveness of the sequence.
Dramatic Structure
The problem of many superhero fight sequences, especially those that involve many characters, is that they don't really evolve. Characters fight, maybe they move from location to location, maybe there is a ticking clock or a maguffin quest that needs to be solved during the fight, but at some point the fight is simply over. For The Avengers, Whedon has famously said that he structured his fight into "five acts, with a prologue" on 15 pages of script so the previz team had something to work with. But this structure also gives the fight an evolution that pulls us along as viewers.
The classic five-act structure, as formulated by Gustav Freytag, divides a drama into five parts that, if you diagram them, form a sort of pyramid shape. The first act (exposition) serves as an introduction to the characters and the situation. The second act (rising action) then sees these characters get deep into a conflict, with the third act (climax) showing this conflict at its peak. Then follows a reversal of what we have learned so far (falling action) with the final act (denouement) resolving the conflict either in a hopeful or tragic way.
When you look closely at the Battle of New York, the stretch between minutes 102 and 130 of the movie's runtime, it's actually amazing how easily it falls apart and into this structure.
The prologue to the battle starts as soon as the portal opens after Iron Man's time-buying dialogue scene with Loki. The first Chitauri enter through the portal and wreak havoc. People hide. Loki and Thor fight on top of Stark tower. Finally, the Quinjet crashes on Park Avenue. Now, everyone (except for Bruce Banner) is on the scene.
The real threat, the first of the Chitauri Leviathans, is introduced. Loki leaves Stark Tower and joins the Chitauri. Hawkeye, Black Widow and Cap are trying to decide what to do. Cap talks to the police and establishes the conflict (Civilians might get hurt), the location (set up a perimeter to 39th street) and the role of the Avengers in the fight. Bruce Banner finally shows up, hulks out and kills the first Leviathan with a single well-placed punch. It is now clear that the Avengers have a real chance of winning this battle, if they work together. This is reinforced by a triumphant fanfare of the Avengers theme in the score and the iconic shot of the team assembling in a circle (the header image for this post).
"Send the rest", Loki snarls, and two more Leviathans come through the portal. Cap now lays out precisely what the goal of the upcoming fight is going to be, and which part every character is supposed to play:
Alright, listen up. Until we can close that portal, our priority's containment. Barton, I want you on that roof, eyes on everything. Call out patterns and strays. Stark, you got the perimeter. Anything gets more than three blocks out, you turn it back or you turn it to ash. (…) Thor, you gotta try and bottleneck that portal. Slow 'em down. You got the lightning. Light the bastards up. You [Black Widow] and me, we stay here on the ground, keep the fighting here. And Hulk? Smash!
As viewers, we now know exactly what we should be looking out for. Moreover, Cap – who cannot fly, is not indestructible and has no other visible powers – has shown us what his role is: he is the leader the Avengers need if they want to work as a team. With the individual goals set, we see a few successful fights as the battle gets underway, but Cap ultimately has to see that his plan won't work in the long run. Together with Black Widow, he redefines the goal: the portal must be closed. Black Widow takes off.
At this point of the battle, we get to see our heroes winning. It starts with the long shot mentioned earlier that shows the Avengers working together like a well-oiled machine. It also has the most moments of levity, with Hulk both punching Thor out of frame after they brought down another Leviathan and later giving Loki the headache of a lifetime in the "puny god" scene.
What's more, Cap finally gets to rescue some civilians from a bank, like he wanted to do the whole time. And Erik Selvig finally wakes up and tells Natasha that he should be able to close the portal. "You know what?", we're saying to ourselves, "this might just work!"
Even Avengers have limited stamina. A series of shots shows the toll the battle is taking on our heroes. Iron Man crashes. Hawkeye is out of arrows and has to hide in a building. Hulk is under a constant fire from the Chitauri he can't escape. Even Cap gets hit. But Whedon really turns the tables by introducing an outside threat nobody saw coming. Nick Fury's council of secret world leaders wants to nuke New York and nobody can stop them. Not even Fury himself, not even with a bazooka. Now, the Avengers are in a bind. They might close the portal, but that won't save Manhattan from nuclear destruction. What are they going to do?
Denouement
In the final act of the Battle of New York, the film recenters the fight on the action of one person. Tony Stark, who has been accused of only thinking about himself most of the time, gets the chance to redeem himself through sacrifice. He catches the missile and transports it into the portal with everyone watching. The nuke explodes and conveniently kills all the Chitauri, who don't seem to possess a will of their own. Now, Black Widow can close the portal. Tony falls, gets caught by the Hulk and lands on the exact same spot the fight started. "We won." The final beat shows Loki waking up with the Avengers towering over him. Only after this does the film move on to the actual aftermath of the battle.
Notice how every act slightly shifts the goal of the overall fight. At first, it's just the Leviathan, then it's the containment of the battle, then it's the closing of the portal, and finally it's getting rid of the nuke, which also serves to end the fight as a whole. Every Avenger gets their chance to shine during this, whether it's Hawkeye picking off Chitauri chasing Iron Man or Thor calling down lightning to the Chrysler building. However, the metanarrative, which is also the metanarrative of the whole film, stays the same throughout: Avengers. Together. Strong.
Tying all of these qualities together is something that many other superhero battles lack. The airport fight in Civil War is contained to one (rather boring) location and it twists and turns dramatically, but while it should be telling the story of the film in miniature (two factions of superheroes believing in different solutions to the same problem), it is hard to tell who is on which side and why. The final fight scene in Black Panther reinforces the central conflict between T'Challa and Killmonger, but it has to give everyone else something to do as well, so it spreads out the battle to several different locations and several distinct personal conflicts.
When we look to Infinity War, we can at least see that we have a central promising villain in Thanos. There is also a good chance that the metaplot will be similar to the one in The Avengers – heroes have to put aside their differences to vanquish a foe that's more powerful than each of their factions. But already the trailer and title hint at an actual war, which means a battle fought simultaneously on several geographically separate fronts. So maybe, we will never get another Battle of New York. But now at least we know how it's done.
Posted on 02/04/2018 09/04/2018 Author AlexCategories english, Feature, FilmTags English, Filmanalyse, Marvel Cinematic Universe, The Avengers1 Comment on Why the Battle of New York Might Still Be the Best Superhero Fight Sequence We've Seen so Far
There's this one thing about Invisibilia that really bothers me
NPR's hit podcast Invisibilia about the "invisible forces that control human nature" has just completed its third season. The self-professed "concept album" of seven episodes released over four weeks dealt a lot with constructivist ideas. Do emotions, does reality just happen to us or do we make them first? While not as good as season 2, which seemed more politically relevant to me, season 3 again delivered some aha moments that got me thinking. It also repeated something it has been doing since the beginning, which I find both terribly annoying and journalistically questionable.
Invisibilia belongs to the school of storytelling podcasts made popular by This American Life. It strings together interviews and sound documents with explanatory narration to inform you about a topic and tell a compelling story a the same time. Different shows have different sonic profiles to support the storytelling, especially in their use of music and sound design. Radiolab, for example, often "visualises" (for lack of a better word) microscopic processes with synthesized sounds, making it easier to follow the explanation. Invisibilia's signature technique is to represent thoughts and feelings through single sentences from interviews and weave them into the narration whenever they become relevant again, like flashback images in a movie.
The sonic flashback
For example, the first episode of season three, Emotions, Part One, tells the story of a man, Tommy, traumatised by an accident he was involved in. The man recounts how he got out of his truck and approached the car he collided with. The driver is unconscious, the passenger, Miss Jones, is dazed. Tommy says: "Miss Jones says something about 'the other child' and I say 'what other child'? That's when I see Michaela's arm, hanging there." This is the original recording, but the phrase uttered by Tommy that describes the trauma is repeated throughout the episode as a shorthand for the whole image. For example:
Alix Spiegel: The day after the accident, after a tortured night in a motel room, Tommy's trucking company put him on a plane to go home. He got in his seat, fastened his seatbelt. Would you like something to drink, sir?
Tommy: Her little arm, hanging out of the car.
I personally don't like this "sonic flashback" technique. I find it clumsy and I just don't like listening to it, but there is nothing badly wrong with it. It does, however, speak to the liberty Invisibilia takes with their recorded interviews, using phrases like these to illustrate thoughts and placing them in contexts where they were not originally uttered.
Unwarranted confirmation
The show does the same with other, shorter phrases, and there, I find, it crosses a line of good journalism. It is customary in the storytelling format to summarise longer interview bits that contain explanations a bit too long for the format. You will normally hear the first few sentences of the explanation, and then the narrator will take over and summarise the rest. Radiolab or This American Life often even fade down the original tape and lets it play in the background, while the narration talks over it, saying something like: "John explains, that …".
But Invisibilia goes one step further. It will summarise a bit of tape and then it will insert a sound bite that confirms the summary, something I want to call "unwarranted confirmation". Take this example from the final episode, "True You":
Mindy: And so in life he became polite and reserved and embarrassed, …
Lulu Miller: This is his wife, Mindy, …
Mindy: … I mean that in a good way.
Lulu Miller: … who says that wile Chad is six foot five, he will always try to appear smaller.
Mindy: Whenever we're in a crowd, like, when we're at a concert, he's trying to get out of the way.
Chad: Yeah.
Lulu Miller: And then one day, in his mid-thirties, a very different side of him appeared.
Chad: Yes.
Both the "Yeah" and the "Yes" are spliced into the narration from contexts we as listeners don't know about. Chad was probably not interviewed at the same time as Mindy, but the producers see it necessary to insert his confirmation of Mindy's statement about concerts by splicing in a "Yeah". Well, maybe they asked him afterwards if the story was true and he actually did say "Yeah" and corroborated it.
Intransparent and condescending
The second example is worse. "One day, a very different side of him appeared" is not a statement that needs affirmation or denial. It is simply a justified assertion, an observation made by the storyteller. Why does Chad need to say "Yes" afterwards? It sounds like the producers are getting his blessing for what they just said, even though 1) what they said does not need a blessing and 2) we don't know what context the blessing comes from. It could be any "Yes" from hours of tape. We have no idea what it originally pertained to.
Invisibila will do this all the time. They insert "Yes", "Yeah", "No", "That's right", "Uh-huh" and other short phrases into their narration to confirm their own statements in a way that's both non-transparent and often unnecessary. It's like a sonic tic the show has been cultivating since its very first episode. And while it seems to be something Alix Spiegel, Hanna Rosin and their producers employ to shape the show's profile, it's also journalistically questionable and condescending in exactly the way NPR is often accused of being, degrading interview subjects to deliver sound bites for the self-aggrandisement of a manipulative storyteller.
Posted on 25/06/2017 Author AlexCategories english, MedienTags Invisibilia, PodcastLeave a comment on There's this one thing about Invisibilia that really bothers me
Quotes of Quotes (XXVI) – Markus and McFeely on "Agent Carter" within the MCU
How much of the bigger Marvel Universe are you weaving in?
[Screenwriter/Co-Creator Christopher] McFeely: We can't help but weave in the Marvel Universe. We've been at this for a few years now. All of our reference points are within the universe. We need a scientist character. We didn't go very far to come up with Anton Vanko, just as a very small part scientist character. If you know what he is, or what he goes on to be, that's interesting. If not, he's the Russian scientist.
[Screenwriter/Co-Creator Stephen] Markus: Also, working in the past where you already know the future — obviously, we saw ninety-something old Peggy — there are references being made, whether you do them on purpose or not. We know Hydra eventually took over S.H.I.E.L.D. When somebody says something hopeful about the future in Agent Carter, that is going to be tinged with the fact we know the future didn't work out that well. There are plenty of little indicators of the future going forward, and the legacy of both the S.S.R. and Howard's technology that will have ramifications later.
It's almost like the M. Night Shyamalan curse, though. Viewers always expect some crazy twist in his movies. With Marvel, people anticipate all these tie-ins to other projects.
McFeely: I suppose it has the red box on the front. It's a Marvel project, so they are going to expect something. But we've really tried to make the best show, about an interesting character in a world where there are some glowing objects and where a superhero has died.
Markus: We are also slightly freed up from that interconnection by the period. On "Agents of S.H.I.E.L.D.," Captain America and Iron Man and everybody are running around in that same world and same time period. They could theoretically show up at the door. There's nobody around during "Agent Carter." You can't have an end-of-the-credits tag where Nick Fury shows up and talks to Peggy. He hasn't been conceived yet. We're a little cocooned.
– from an Interview at Comicbookresources.com
(vgl.)
Posted on 08/01/2015 Author AlexCategories english, Externes, Fernsehen, FilmTags Agent Carter, Christopher Markus, Marvel, Marvel Cinematic Universe, Quotes of Quotes, Stephen McFeely1 Comment on Quotes of Quotes (XXVI) – Markus and McFeely on "Agent Carter" within the MCU
Quotes of Quotes (XXV)
You start out imitating your heroes, and the way you fuck up becomes your style.
– attributed to Elvis Costello by Too Many Cooks creator Chris Kelly in "Entertainment Weekly"
I have heard tons of supposedly inspiring quotes about "finding your voice" for writers and other creatives, but this is the most brilliant way anyone has ever put it. I could, however, not verify if Costello is really the source. Take it as apocryphal.
Posted on 13/11/2014 Author AlexCategories english, ExternesTags Elvis Costello, Quotes of Quotes, Too Many Cooks1 Comment on Quotes of Quotes (XXV)
65daysofstatic's Paul Wolinski about Science Fiction, Nostalgia and "No Man's Sky"
Paul Wolinski explicitly told me he likes doing interviews. After our twenty minutes of sitting together in a dressing room, he walked me back to the backstage area of their show in Wiesbaden and I asked him a question I didn't think of while my recorder was running. Does he actually think it's a good thing for a musician to think too much about the music they're making? I liked his answer. He said it's really not a good idea to do it while you are writing the music, but it's quite healthy to reflect on what you did after the fact, which is why he likes giving interviews.
It's probably also why 65daysoftsatic's interviews are always worth reading or listening to. For an instrumental band, Paul and his co-founding bandmate Joe Shrewsbury have a lot of interesting things to say, and they talk about their music and the dozen or so years of their career with disarming honesty. Of the two, Paul is probably the McCartney to Shrewsbury's Lennon, if you really want to search for these dichotomies in every band. Where Joe, somewhat reluctantly it seems, takes a scowling center stage at 65daysofstatic's shows, Paul is the quietly smiling guy with no beard and less unruly hair on his left, bent over a keyboard and apparently really sinking into the music.
I wanted to interview Paul ever since I bought his solo record "Labyrinths" in 2011, a synthesizer-infused trip through 1980s video games, 1970s science fiction movies and their respective scores. When 65daysofstatic released a new soundtrack to the science fiction classic Silent Running a year later, I wanted to interview him even more. There was a throughline I sensed about the music he was involved with, and I wanted to quiz him about it, especially after I saw what he likes to read.
If you have never heard 65daysofstatic's music, you probably should give it a spin before (or while) reading the interview. The albums of the Sheffielders sound quite different from each other, but they all share an impressive melange of post rock guitar dramatics, powerful syncopated drumbeats and glitchy electronic fiddlings that is hard to put into any one box. They released a free, career-spanning mixtape called "The Last Dance" on SoundCloud in 2012, which is a good place to start.
What is it that interests you about science fiction?
Well, to begin with, I suppose, when I was a teenager, I used to love reading all kinds of sci-fi books and I think it was just about the pure escapism, really, and the geeky side of me. And I really loved the cyberpunky stuff, people like Neal Stephenson. Bruce Sterling, I was a big fan of. Just that kind of tech, Blade Runner sort of sci-fi. I never really got into Star Trek or anything like that. But the dark stuff, I really enjoyed it. These days, I don't know. I tried to step away from it in my twenties, because I had this sort of weird … not that it was a guilty pleasure, but I started reading Naomi Klein and people like that and thought: fuck, I need to learn what's going on in the real world. So I put all that aside for a while and stopped reading it and following it in the same way that I did as a teenager for quite a long time. It's only in the past few years where I've just kind of allowed myself to enjoy it. I think it's really interesting these days how the reality has overtaken what sci-fi used to be good at.
People like William Gibson have said that they don't write sci-fi anymore.
Yeah, and Bruce Sterling does these talks and these essays. I think he said something along the lines of "This is a better form for me now than trying to write novels. Deconstructing the present gives more of a clue of what I'm trying to get across than inventing any number of sci-fi worlds."
I've always had the feeling that 65daysofstatic's music also was about going into the future. Your first album, even in its title was about leaving something behind, "The Fall of Math", and going to new places. Is that what you are trying to do?
Well, it was always about trying to find a new sound, I suppose, or be original. We've always been of the opinion that there's already more than enough bands and more than enough music. You don't really need any more. There's more than you could hope to listen to in your lifetime. Excellent stuff. So, if you're gonna be that self-indulgent to be in a band, if you're driven to it anyway, then at the very least, you really need to try and do something useful. Try and be relevant to the world as you exist in it right now. Because there's plenty of stuff covering the way it used to be, so you need to react to what's really happening and try to articulate it. We always used to be like that. The last record we approached a little differently in one respect, just because as far a electronic music goes, it does feel like it's plateaued a little bit, in terms of what's possible. I just heard the new Aphex Twin album for the first time, today. It's excellent, amazingly excellent, but it doesn't sound new in the sense of it being unheard or unthought of music. If you listened to Aphex Twin twenty years ago, it was like nothing that had ever come before it, it was incredible, but it's getting harder and harder to recreate that in music, I think. I sort of don't think you can anymore.
You've used a science fiction metaphor for that as well, once. You said that, in the solar system, you can still find lots of places where you haven't been, but you know where everything is.
Yeah, it's one thing to have mapped a place, but it's a completely different thing to have fully explored it.
So is that what you were doing with your most recent record, "Wild Light"?
To a point. All of this deconstruction of it comes afterwards, to tell you the truth. We didn't sit in a room and wrote charts about the ideas behind the record, we just sort of made it and then worked out what we were doing afterwards. In hindsight, even when we did [2010 album] "We Were Exploding Anyway" – in our heads, it was this thing that could be proper pop music in the way that The Prodigy are pop music or The Cure are pop music, but still interesting and different and us. We pushed that as hard as we could and I really stand by that record, I'm proud of it, but it didn't turn out like that at all. It was still pretty obscure. Maybe not for us, but relative to what we were aiming for. I think it opened with a song that starts in 17/8 or something, it's crazy. But there was this striving to push forward, somehow, that was the agenda of that record. With "Wild Light", we didn't have that. It wasn't about being lazy at all, it was just more about trying to be really good. Following the songs, whatever they happened to be. Don't worry if it was something that we had done before or an idea that was a bit predictable in some ways. It was more about almost daring to not hide behind this sort of complexity, but strip everything back to the basics. We didn't care, if it sounded original. Whatever that word meant, we just wrote until we felt it was good.
In general, this year, you found yourself at the other end of the spectrum, you looked back ten years to your first record and played it as a whole. And also, I think, with your solo record you channeled a lot of people that have been there before you. How do you feel about that? If you're usually someone who tries to find new places to go and now you're looking back, going to old places and revisiting them.
For the solo record, it was no masterplan that I was doing. It was just a bunch of material that I had started writing during the "Exploding" process, but that didn't fit with 65. I just allowed myself to have some fun, I suppose, and not worry if things sounded a bit cheesy or generic in one way or another. I put it together and quite liked it. I have a hard time listening to it now. I find it hard to imagine that it was the kind of stuff I wanted to write. Not that I dislike it, I just find it hard to match me now with me then. I don't know why. But it was cool and I'm glad I did it. 65 was always more important, but it was nice to do the sci-fi thing, because Caspar Newbolt, who has been the 65 artist for four or five years now, maybe a bit longer – he shares a lot of the same sci-fi landmarks and moments in time that I do. He had a spectrum computer when he was a kid and had all the sci-fi books with the brilliant covers that were evoked in the artwork. The Polinski record was the only thing I made where the artwork was finished before the music, so that actually influenced it. This wasn't really your question, though.
Nevermind. It's interesting.
So, that was just a little bracketed thing and it was cool. Doing the "Fall of Math" stuff was very different, because it feels like such a long time ago for us and we still play a lot of those songs live anyway, regularly, every night. And the ones that we don't play fell away from the live show for a reason, because they didn't translate as live songs very well. We were a little bit ambivalent about the anniversary thing for a long time. Monotreme records wanted to use it as a reason to finally put out a vinyl, which we thought was a really nice idea, because who doesn't like vinyl? At some point the anniversary shows were suggested and we were a bit reluctant to do them.
Because you don't want to be part of a heritage music industry?
That's one reason. We certainly didn't want it to seem like we have reached a stage where we do these looking back shows. I still absolutely think that "Wild Light" is our strongest material and we still feel like we ought to be an ongoing concern. Even if that's not the truth, it's what we're aiming for. But biggest of all was: we're so proud of our live show and everything we've done over the past decade has made us learn how significantly different the two disciplines are – writing/recording and then performing. Different songs work in different ways and by the time we go to "Wild Light", we were developing our songs in parallel, we'd have the album version and we'd have the live version and they wouldn't necessarily be the same, but they played to the strengths of the form. That's what it's all about. Use the form you have chosen, find what's essential in it and concentrate on that. Having done all of that with "Wild Light" and being so pleased with the results, with the record and the live show – to then have to go back and think about the best way to perform songs that we wrote ten years ago and force them into the live template was a bit strange. Part of us wanted to rework them entirely, but that would have gone against the point of doing it in the first place, because it wouldn't have sounded like doing the record then. We would have ripped them to shreds. So there were lots of conversations of that nature. Eventually we took the gamble, because Monotreme thought it was a good idea and our management thought it was a good idea.
Did you enjoy it in the end?
Yes, in the end. I don't think it's as strong as our normal live show, I have to say that. And we did insist on doing two sets, "The Fall of Math" and then the second full set, which we mostly just played "Wild Light" stuff on. Hopefully to show people, who were big fans of "The Fall of Math" but haven't necessarily been paying attention to what we've been doing since, reminding them that we've got all this new stuff too. It was good, the crowd made us realize that we probably think too hard about these things sometimes and that it's okay, every now and then, to just sort of pause and celebrate a thing that meant a lot to a bunch of people. That was really nice. Even the songs that we never play live anymore – they were weird. Certainly on stage it felt very disjointed to be playing them in that particular order, but it clearly worked, as far as the show went.
If you're doing two sets like that, you're also marrying something old to something new in a way … like you did with Silent Running. (we both chuckle at my lame attempt to create a segue) Is that comparable in any way?
Maybe as a metaphor. The processes couldn't be further apart. I think we do that anyway in our normal show, which flows a lot better, because you can mix and match. I've never actually gone to a show, where a band plays a whole record.
I don't like them, really, because I like to be surprised.
Yeah, exactly. But clearly people do, so, you know …
But do you think we are ever going to see a version of Silent Running with the music? It's just been released on Blu-ray, so that would have been an opportunity.
No. Recently, we weren't even allowed to do a live show. There was a really cool venue in England, which would have been perfect to do it. They wanted us to do it. And Universal or maybe it wasn't even Universal but somebody with the Power said: Actually, no, it's getting re-released on Blu-ray soon, so it would be inappropriate to have it showing with some other soundtrack. Back when we first did it, we somehow found the e-mail of director Douglas Trumbull and e-mailed him to let him know we're doing it.
Sound's great. Because he's a real geek as well, right?
I think so, yeah. And we got a reply, which was amazing. The reply basically said: "Go for it. That sounds great. I've got no control over anything that happens with that film."
It's a shame.
Yeah. On the scale of the movie industry, we're just completely anonymous. They wouldn't make any money by reissuing Silent Running with our soundtrack.
Are you still involved with the video game "No Man's Sky"? Can you tell me anything about that?
I cannot. (he grins) I can tell you that they did this trailer, about a year ago now, for some big games conferences and they used "Debutante" and then they used "PX3" for another trailer. It just exploded in the games world and it's really exciting to be associated with that on that basic level.
Did that register with you at all? Did people actually buy some music?
I don't know if they bought the music. I don't think many people do that anymore, but there is a regular stream of people on Twitter or Facebook constantly going "Thanks to Hello Games for introducing me to 65daysofstatic, these guys are great". That's trickling in. And it's really good to be associated with that as a thing, because it's not a world I follow particularly closely, but everything I've seen about that game – as soon as they contacted us about using the music for the trailer, they sent some screenshots through. I went: Ah, that looks like those sci-fi book covers I read as a teenager, and everything I've heard them talk about is that they don't just want to do another shooting game. It's all about exploring the universe. So I said: Okay. That sounds like something that's nice for 65 to be associated with.
Thanks a lot for taking the time.
65daysoftsatic's latest album is called "Wild Light" and was released last year. Buy it here or check out the single "Prisms". Monotreme Records re-released their 2004 debut "The Fall of Math" in early 2014. It's also still available. Paul occasionally blogs on his website.
Posted on 27/09/2014 27/09/2014 Author AlexCategories english, Film, Interview, MusikTags 65daysofstatic, Douglas Trumbull, No Man's Sky, Paul Wolinski, Polinski, Retromania, Science Fiction, Silent Running26 Comments on 65daysofstatic's Paul Wolinski about Science Fiction, Nostalgia and "No Man's Sky"
Quotes of Quotes (XXIV) – Glenn Kenny on the Film Criticism Landscape
But in terms of the film critic landscape, it's just weird that these people get into these arguments. There's all this weird drama. Like, people are talking about being afraid to say bad things about "Boyhood?" Who the fuck is afraid to say bad things about "Boyhood?" Who gives a shit? People say, "We need a culture that embraces dissent." It's not dissent! Dissent is… (impersonates old Russian Grandmother) "Dissent is when you're living in Soviet Russia and you're put under house arrest!" Big fucking deal, you have a different opinion. We don't have to embrace different opinions, it's called arguing. It's what we do. "Oh, poor me, I'm the only person who didn't like 'Boyhood.'" Just get the fuck off the cross, man, we need the wood.
– Glenn Kenny, Film Critic, interviewed by Greg Cwik for "Criticwire",
probably inspired by Kenneth Turan
Posted on 20/08/2014 Author AlexCategories english, Externes, FilmTags Criticwire, Filmkritik, Glenn Kenny, Quotes of Quotes1 Comment on Quotes of Quotes (XXIV) – Glenn Kenny on the Film Criticism Landscape
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text:
The Bachelor picks Alicia and viewers are stunned as Alex confesses he's 'fallen in love'
Contestant Charlotte made it to the final two but was understandably gutted when Alex ditched her
By Jon Hornbuckle
Updated: 15 Mar 2019, 0:03
THE Bachelor viewers were left stunned after Alex picked Alicia as the winner in tonight's finale.
His final decision was between 25-year-old Essex native Alicia and rival Charlotte, who was understandably gutted to be ditched at the final hurdle.
The Bachelor concluded tonight as Alex picked Alicia to be the winner of his heart
Speaking to host Mark Wright after being dumped, runner-up Charlotte said: "I just want to go home, get over this and carry on life and focus on myself and not get hurt again."
Alex then spoke to Alicia in a paradise-like beach setting, where he confessed his love.
The hunk told her about his concerns over their six-year age gap: "I have been worried about what the other girls have said about you, and your age and whether or not you're ready for a big relationship... but I followed my heart. And I've fallen in love with you."
The Bachelor fans flocked to social media to comment on the outcome, with one viewer offering out their "commiserations" to the couple.
The Bachelor UK's Alex Marks ditches Charlotte in the final
Charlotte was less than thrilled to be ditched in the finale
One viewer ranted: "What a pile of scripted bulls***. She'll be in Towie by the end of the year."
Another put: "I would congratulate Alicia but instead I offer my commiserations. Alex will break your heart just like he has broken the hearts of the other 18 women."
A third hit out: "Alex and Alicia are NOT compatible!"
Viewers continued to criticise Alex's shock decision which comes just days after a fiery confrontation with Alicia when the hunk showed interest in the other women.
One viewer tweeted: "How the hell has he chosen Alicia over Charlotte?!"
Another put: "What??? Is Alex blind or stupid? Can't believe he let such an incredible woman walk out of his life."
Charlotte's legion of disgruntled fans continued to show support for the runner-up, with one writing: "Aw, Charlotte deserves a lot better than Alex anyway."
Alex and Alicia embraced with a passionate kiss after he chose her as the winner
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But some viewers were in defence of the final outcome, supporting the blossoming relationship.
One put: "YES Alicia! She's been the star of the show and definitely the most genuine (and dramatic) from the start."
A second followed: "Alex you chose the right girl, hope it works out for you both."
Another viewer begged for an update on Alex and Alicia's romance, writing: "They need to do a follow up in six months because I'm invested in this now."
Does The Bachelor's show intro accidentally leak the winner ahead of the final?
Got a story? email digishowbiz@the-sun.co.uk or call us direct on 02077824220.
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recognized occupational disease as a priority for prevention. This decision resulted from years of research and knowledge generation along with the lobbying efforts of workers' groups and occupational physicians and nurses in the province.
Of specific concern was the lack of recognition and reporting of work related disease and the subsequent lack of information about prevention to avoid sometimes costly and personally catastrophic outcomes for work status and personal health.


The subject of this very large interior painting is the Coffee House, the Cafe.....often the site for liveley discussion, or heated debate. It is painted with large, brush strokes in a modern impressionist style. It is unframed, mounted on reinforced stretcher bars, ready for framing. If you choose to hang it unframed, the edges of the canvas are painted a dark charcoal color. (A convenient picture kit is included for instant hanging.) This is a one-of-a-kind original, and would certainly become a focal point in your home. A signed certificate of authenticity is included. ARTIST'S STATEMENT: I guess coffee houses are a favroite of mine, because I love to talk. Thanks for your interest!