Mansfield brothers Ben and Tom Birchall rode to a fine second place in round one of the 2012 FIM World Sidecar championship at Magny Cours in France on Saturday.
The Mitchells of Mansfield supported team headed off to France directly from Brands Hatch where they scored a brace of second places to take the overall win in the opening rounds of the Eastern Airways British F1 Sidecar championship.
In the opening round of the world championship Ben and Tom held second place throughout the two qualifying sessions behind current world champions Pekka Paivarinta and Adolf Hanni and began their race from a front row grid position.
But the Mansfield pair did not get the best of starts and found themselves in sixth place at turn one. They soon recovered and set about catching the riders ahead and at the end of the first lap they were up to fourth and right on the tail of Jorg Steinhausen and Greg Cluze.
They passed Steinhausen on lap three and Tim Reeves/Ashley Hawes one lap later to take up second place to give chase to the leaders, Paivarinta/Hanni who by this time had established a five second advantage over the rest of the field.
By lap eight of 10 realising that he had insufficient time left to catch the flying Finn, Ben eased off and concentrated on protecting his second place. The red flag then brought the race to an early end and a result declared at eight laps giving Ben and Tom a creditable second place.
The Birchall brothers now turn their full attention to the Isle of Man TT races and make the final preparations for the two races there. Practice week takes place from Saturday, May 26 through to Friday, June 1st. The first three-lap race is scheduled for Saturday, June 2 and Race two is set for Wednesday, June 6.
The next round at the Hungaroring in Hungary is not until June 10 just after the Isle of Man TT races when Ben and Tom will be seeking a top result to stay in touch with Paivarinta/Hanni who lead the championship by five points.
Podium shot shows left to right Tom and Ben Birchall. Adolf Hanni and Pekka Paivarinta, Tim Reeves and Ashley Hawes.
Credit for all pics to Wally Walters.


or wives. Thank you for the rich explication of the issues of transfer, of embodied knowledge, of limits to mirrors, of the nature of coaching. My riding and of receiving lessons on riding offer the most profound insight into the affordances of teaching, particularly when working at the edge of consciousness, of trying to broker libido, life energy, the spirit of horses, horsemanship. Your writing plumbs this mystery very helpfully.
I have occasionally gotten a lot from "horse books." Where I find the biggest gap is in the many magazine articles published in the USA. These articles explain how important it is to proceed slowly, stay balanced on the horse, half halt correctly and at the right time, 'bend' the horse properly, etc. But they almost never explain HOW to do these things.
I thought it pretty hysterical that a recent magazine article was focused on the Importance of staying balanced on the horse. Rather like saying that, when flying, it is important to stay 'balanced' in the sky and not come crashing down !!
But I am pretty sure I had never heard the term/concept 'procedural knowledge' before you, Mary. Sounds like a good topic for a Dressage Today article !!
Horse training in hand by Ellen Schuthof-Lesmeister and Kip Mistral is one of the truly useful books I have read.
Otherwise, I would have to say that Mary's books and DVD's are the only ones that make sense to some-one returning to riding after a long (25 years) break. With a much older body!


Orbital Travel is an independent specialist Tour Operator, was registered as a limited company in 2001 and started trading in the early part of 2003.
Our first holiday destinations were our Egypt and Nile cruise programmes as our knowledge of Egypt and the Nile cruise boats goes back to 1992. Much has changed during that time, but our commitment to find the best Nile cruise boats and resort hotels has not. We constantly review and inspect every Nile cruise boat we feature to ensure that the standards we demand for our clients.
Croatia and the European river cruise programmes are new additions, the thinking behind this was pretty simple, we're very good at arranging river cruises on the Nile and felt we could add something to the European river cruise market. We have managed to find a really good business partner who has the same passion for client satisfaction that we have whose cruise ships represent really good value for money. We are sure this will be a very good addition to our portfolio and provide our river cruise clients with many more destinations to explore. Just recently we have added a superb Seychelles island hopping cruise. It's the best way to see the islands and we know the Seychelles very well because of our established Seychelles programme.
Orbital Travel staff have been visiting all of the destinations on this site, since their introduction. We have a rule that a member of staff has to try out each of the packages we sell at least once a year, in order to ensure that the service and quality that we expect for our clients is being maintained by our partners and the owners of the hotel or cruise boat.
Our aim is to provide our clients with a holiday experience that will be remembered for many years to come. We will never forget that we are dealing with your holiday.
Many thanks for visiting our site, we look forward to seeing you in one of our destinations.
Orbital Travel are proud to support the Coptic Orthodox Holy Bible Friends and its Orphanage House in Luxor. Established in 1934, with 9 volunteers, the orphanage looks after 30 boys from the age of 5 until graduation. The Orphanage is working to give these children a decent start in life by providing a caring home and schooling, as well as actively organising cultural and social activities for the boys including excursions, trips in the summer and a summer club. They are hoping to increase the intake of children to 50. Their only source of income is through gifts and donations.
Horses, donkeys and mules carry out a wide range of work throughout Egypt. Some of them work in tourism, pulling carriages in Luxor. Others carry materials for vulnerable communities like the Zebellin, who make money from collecting and sorting domestic rubbish for recycling. The common factor is that life is often very hard for animals and owners alike.The goal of the Brooke's programme in Egypt is to ensure measurable improvements are made in the welfare of working horses and mules. In 2009, they helped 115,000 working horses, donkeys and mules through their clinics and mobile teams; through training local health providers; and by carrying out community-based education work.
Orbital Travel are pleased to be able to support their ongoing work.
We are proud to help sponsor the Lynsey Ivison Trust, a local charity to our offices who provide holidays for terminally ill children and their parents. Like many charities they are always grateful for donations and help, please visit their website and read about the wonderful work they do for children and help if you can.


Our flagship salon in Hersham – overlooking the Green – is both vibrant and spacious and it's where the Academy Salons family all began in 2000. Acting as the Academy Education base, it's where we train and mould our future stylists.
We're proud to be a Surrey business and are pleased to be providing the 12,000+ residents of Hersham with the best salon services possible. Look out for our late night evenings on Thursdays until 9pm to provide our clients with the most convenience.
Our creative team of Salon Consultants and Creative Designers are ready to create your perfect look. We take pride in listening to our customers to give them a style as individual as they are.
Here at Academy Salons Hersham, only the best hair care products will make the cut. We proudly stock Balmain, Alterna and Paul Mitchell to name a few. Whether it's a hair up or fabulous blow dry for that special occasion or a redesign and style for an exciting change, know you're in safe hands with us here at Academy Salons.


At a press conference at Union Square this morning, DOT and the Taxi and Limousine Commission announced another facet of the LOOK! campaign, a new video and a decal reminding taxi passengers to exit on the curb side and check for cyclists before opening cab doors.
DOT Commissioner Janette Sadik-Khan, Deputy Mayor Howard Wolfson and TLC Commissioner David Yassky were joined at the event by Ken Podziba of Bike New York and Paul Steely White of Transportation Alternatives.
The video will be shown in rotation on Taxi TV. While the video takes a little while to get to the point and, unlike an older LOOK! PSA, sanitizes the experience of a crash, it's a good reminder to taxi passengers, who like many often don't think about cyclists before opening a vehicle door.
Unlike the Ford Crown Victorias that make up most of the current taxi fleet, the Nissan minivan that the TLC has chosen to replace them has sliding doors for backseat passengers.
To ensure you never door a cyclist make sure the cab double-parks in the bike lane….
Wasn't it against the law at one time to exit a car on the street side? I could swear hearing my mom tell me that in the 1960s. It really should be against the law to do so, and not just to protect cyclists. Someone swinging open a car door and exiting streetside is a major hazard (and annoyance) to everyone on the road.
great, glad to see some awareness here.
i submitted a formal complaint a month ago about a taxi passenger dooring the cyclist in the bike lane in front of me and just heard back today from the tlc's prosecuting attorney (they will issue driver with citation/fine and give him 30 days to respond/contest).
today i submitted another for a taxi DRIVER dooring me in the bike lane yesterday.
either way, these drivers lose out in either pleading guilty and paying the fine or contesting it and losing working time. i think this will help learn them, and with it being a city campaign now, they're more likely to be found guilty i would imagine.
The sliding doors in the rear of taxis will help a lot, but it would be better for taxi drivers to control the opening, so that people only get out when it is safe to do so.
http://invisiblevisibleman.blogspot.com/2012/06/feeling-fear-and-doing-it-in-scaredy.html) an incident in my first week of cycling in New York where I got a pretty severe tongue-lashing from someone who thought I should ride in the door zone in Brooklyn.
The nearest I've come actually to hitting a door in tens of thousands of miles of urban cycling was a few weeks ago in Brooklyn, when I was riding in a cycle lane. They really have set up large parts of the city's infrastructure to create conflicts of this kind.
The video might be a bit more informative if it showed that those getting out on the drivers side can be injured as well… not only by cyclists but by close passing cars and trucks. Maybe the thought of an 18 wheeler bearing down on them would cause people to look before opening the door.
Sorry, but it is NOT a friggin' lane! Don't ride between a cab and the parked car next to it. Go around or, OMG, you might have to wait a minute! Bikes are a friggin menace in this city. When they ride full tilt into crowds of people in Riverside or Central Park I can't believe the cops are not confiscating bikes and arresting these A-holes. If you want to ride fast with no obstructions go out at 6am.
@68b0002e12fa8ec1bcd2fd6a91af24e4:disqus Try this: keep a count of the number of people killed in the city by bikes each year. Then count the number of people killed by cars. Compare them. In almost every year you'll find the number of people in the first group is zero, while the number in the second group will be in the hundreds.
This campaign needs to be applied in all driver's ed classes as well.
Will New Yorkers Get Doored by de Blasio's Taxi of Tomorrow Opposition?
Xin Kang Wang, 74, died on Sunday, 10 days after a taxi passenger doored him on 20th Street. The driver had pulled into the bike lane ahead of Wang immediately beforehand, police said. Wang was heading east on 20th Street between Broadway and Park Avenue when the passenger exited the vehicle and hit him with the door.


* If you are a fellow blogger or a have a business that would like to partner with Running to Tahiti, please contact Rebecca Sigl at runningtotahiti@gmail.com, or use the Contact Form on the Contact page.
Periodically I will be doing special giveaways for Running to Tahiti readers. You may find all kinds of special treats like running apparel, gear, race entries, and more. Check back here often!


Lovers of football can be rest assured to see the Africa Cup of Nations' (AFCON) qualifying match between Nigeria and South Africa live on SuperSport tomorrow, Saturday, June 10, 2017.
Super Eagles will play their Bafana Bafana opponent at the Godswill Akpabio International Stadium in Uyo, Akwa-Ibom State in a bid to book a spot in the continental tournament slated for 2019.
All active DStv Premium, Compact Plus and Compact subscribers have been urged to take the front row seats to catch the exciting line up LIVE on SS4 and GOtv Plus subscribers on SS9 at 4:30 pm.
Preparations have reached a feverish pitch for the match at the stadium fondly called the Nest of Champions.
Both teams are in Group E along with Seychelles and Libya for the 32nd Cup of Nations which will hold in Cameroon in 2019.
Tunisia's Youssef Essrayri has been appointed as the referee for the match.
With over 25 years of football rivalry, the Super Eagles of Nigeria leads against Bafana Bafana of South Africa with eight wins, three draws and one loss in 12 matches.
It is important to note that Nigeria is yet to lose a competitive match against South Africa.


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Vaz still in front at Prep Champs
Published:Friday | May 26, 2017 | 7:07 PMRobert Bailey
Vaz Preparatory are still in front going into today's final day of the three-day Tastee National Preparatory Schools Track and Field Championships at the National Stadium. Vaz, who last won the title in 2005, lead the standings with 47 points after six finals. Defending champions Hydel are second on 43. They are followed by Mona (35), Quest (30.5), Stella Morris (11), Our Lady of the Angels (10), Mount St Joseph (nine), Sts Peter and Paul (seven), Portmore Missionary (6.5) and Belair (six).
Vaz's Misha-Jade Samuels won the girls' Class One high jump with a leap of 1.50m. Quest's Justina Butler (1.40m) was second while Lori Choy of Mona, who also cleared (1.40m) was third.
Choy captured the girls' Class One long jump with a mark of 4.93m ahead of Vaz's Jounee Armstrong (4.90m) and Rhejinae Mattis of Hydel (4.80m).
Hydel's Zico Bennett won the boys' Class One long jump with a leap of 5.29m. Ravaughn Rainford of Mona (5.02m) and Hydel's Meshach Waugh (4.92m) were second and third respectively.
The Class Two girls high jump was very exciting. The top four jumpers all cleared 1.25m. However, victory went to Ali-Kaye Nelson of Quest, who achieved the mark on her first attempt. The silver medal went to Mellia Perry of Portmore Missionary while Davine Dickenson, also of Quest. earned bronze.
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redpajama_set_name: RedPajamaCommonCrawl


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IT WASN'T ME
Trump Officials Scream 'Not Me' as Search for Anonymous Op-Ed Writer Heats Up
The president's top advisers scrambled to issue public denials of their involvement in the explosive New York Times column, which painted Trump as mentally unfit.
Olivia Messer
Carlos Barria/Reuters
Senior Trump officials scrambled on Thursday to publicly shout "not me!" in the wake of a blistering New York Times column anonymously published Wednesday afternoon by a senior Trump administration official.
"There is a quiet resistance within the administration of people choosing to put country first," the unnamed senior official wrote in the rare anonymous op-ed. "There are adults in the room."
Within minutes of the column's publication, reporters and civilians alike on Twitter became amateur sleuths hellbent on solving the whodunnit based on language clues in the piece.
Early speculation pinned the column on Vice President Mike Pence, who has used the uncommon word "lodestar"—which appears in the column—in a number of speeches.
Pence's Deputy Chief of Staff Jarrod Agen tweeted on Thursday morning that, unlike the anonymous author, the vice president "puts his name on his op-eds."
Some have also pointed out that the column's preface clears him anyway, since it notes that the senior official's "job would be jeopardized" by publishing the writer's identity—and Pence cannot be fired.
Others suspected Attorney General Jeff Sessions, in light of reports that the president had called him "retarded"—a claim first reported by Bob Woodward and further confirmed Wednesday by The Daily Beast.
But a Justice Department spokesperson said Thursday morning that Sessions did not author the editorial, which characterized Trump as unstable, erratic, and childish.
Secretary of Energy and former Texas Governor Rick Perry tweeted on Thursday afternoon that he was not the piece's author either.
"Hiding behind anonymity and smearing the President of the United States does not make you an 'unsung hero,' it makes you a coward, unworthy of serving this nation," Perry wrote.
U.S. Ambassador to the UN Nikki Haley and Trump's budget director, Mick Mulvaney, also denied any involvement. As did Defense Secretary James Mattis, whose spokeswoman told reporters on Wednesday that "it was not his op-ed."
Department of Homeland Security Secretary Kirstjen Nielsen also denied any part, with her office noting in a statement that the secretary "is focused on leading the men of women of DHS and protecting the homeland—not writing anonymous and false opinion pieces. These types of political attacks are beneath the secretary and the department's mission."
Dan Coats, Trump's director of national intelligence, called any speculation about his involvement "patently false" on Thursday.
"From the beginning of our tenure, we have insisted that the entire intelligence community remain focused on our mission to provide the President and policymakers with the best intelligence possible," he wrote in a statement.
Housing and Urban Development Secretary Ben Carson also chimed in on Thursday morning, telling The Guardian, via a spokesperson, that he was innocent of writing the now-viral opinion piece.
Secretary of State Mike Pompeo did the same, telling reporters at a meet-and-greet in India that he had nothing to do with the column. Pompeo chided the "liberal newspaper" for trusting someone who was clearly a "disgruntled deceptive bad actor" and said the Times should not have published the editorial in the first place.
"I come from a place where if you're not in a position to execute the commander's intent, you have a singular option, that is to leave," Pompeo said.
And the denials kept rolling in.
When asked on Thursday, Counselor to the President Kellyanne Conway told NBC News: "Of course not."
More pointedly, Labor Secretary Alex Acosta's office said "the secretary does not play these sophomoric Washington games" and that he "is definitely not the author." An EPA spokesperson said that its acting chief Andrew Wheeler "supports President Trump 100 percent" and that he believes "whoever wrote the op-ed should resign."
Department of Veterans Affairs Secretary Robert Wilkie's office said he wasn't involved, in a statement to NBC News. As did a spokesperson for CIA Director Gina Haspel and one for Agriculture Secretary Sonny Purdue. Small Business Administration Administrator Linda McMahon also denied writing the letter, via a spokesperson.
"When you're serving as the U.S. envoy in Moscow, you're an easy target on all sides," said Jon Huntsman, the U.S. Ambassador to Russia, in a statement Thursday. "Anything sent out by me would have carried my name. An early political lesson I learned: never send an anonymous op-ed."
Steve Mnuchin's spokesman, Tony Sayegh Jr., said the treasury secretary is "honored" to serve the president and believes The New York Times was "irresponsible" in printing the piece.
"Now, dignified public servants are forced to deny being the source," he tweeted. "It is laughable to think this could come from the secretary."
@OliviaMesserolivia.messer@thedailybeast.com


Typical Drama Queen, except 40 lbs thinner.
Drama queens need to be the center of the universe.
A drama queen is a type of attention whore, usually female and/or a goth, who is overemotional, exaggerative and prone to theatrical displays of melodrama. Their feelings range from ecstatic to suicidal, but rarely is there any middle ground between these two extremes.
Many drama queens use LiveJournal, where they greatly embellish the circumstances of various stories, stir up drama, post ridiculous "dark" poetry and make sweeping, pseudo-intellectual "observations" about Art, Beauty, Pain, Love and Life. Drama queens also frequently employ random capitalization of certain terms or ideas to better reinforce their "importance" or romanticism. Although male drama queens exist (usually in the form of "screaming queen" faggots), the female persuasion of this creature is by far the most prevalent and widespread, and thus will be the primary focus here.
The crinkle of the bag opening caused her to get into a fight with her boyfriend (or parents if a basement dweller), and said confrontation escalating to the point of physical/sexual abuse, broken furnishings and the possible buggering of any small animals within reach. The reality is that she was asked to keep the crinkling down because her baby brother/sister just went down for a nap.
Caused her to have an attack of massive self doubt regarding her weight and/or her placement in the capitalist system as a consumer whore for brand name products, which invariably results in a YouTube "confession", usually with much sniffling, mascara that has been streamed by tears and unintelligible breaks in speech. Warning: May also be accompanied by really bad goth/emo "poetry", if said drama queen is of that persuasion.
Failing any creativity, will be linked with an "odd or unexplained" occurrence in her vicinity, such as at the precise moment the bag was opened, the lights flickered and an odd scraping was heard in the walls of the room. This will be especially true if said drama queen is a member of an LJ community that deals with unexplained phenomena.
One of the biggest traits of the drama queen is that anything and everything is about her. Nothing else matters, it's all about her needs, her wants, and how: "it's all about ME!". The drama queen lives off of attention, for it is her number 1 priority....Hell, if attention took a physical form she would gleefully have it slammed into every orifice repeatedly like a massive gangbang.
Do NOT under any circumstances date a drama queen. She will basically consume all of your time, and start to give you constant guilt trips for seeing your friends. Your friends are her worst enemy, because a drama queen sees them as a threat to her precious attention. If her slow convincing does not cut you off from her friends she will slam you with the ultimatum: "It's either THEM or ME!".
Further delving into the shallow psyche of the drama queen, given the above, is exactly how closely they resemble the "attention whore". The overwhelming evidence suggests that the two at some point have engaged in a kind of "cross-pollination" making identification in the field somewhat difficult, but if observed long enough the differences become easy to spot. The most telling piece of evidence, is that an attention whore will engage in anything that will generate attention from any party on the internets, whereas a drama queen "specializes" in select acts of drama generation. For example, an attention whore will use their Amazon.com wishlist, their illness or the illness of someone (anyone) else, a bad break up, the fact that their cat had kittens or whatever to make sure that the sun never sets on them. A drama queen, on the other hand, will craft and tailor what amounts to a drama generating chaos engine, specifically targeted at online communities that she belongs to, assuring that she will be the burning sun in the center of said community for months to come.
This page was last edited on 7 November 2017, at 03:51.


May be ready for descending channel breakout, Intra trade only above 1060 Positional long above 1060 on closing basis.
Formed head & shoulder on daily chart . Below 800 Short candidate. Above 850 view negated.
On the verge of breakout. Needs to give close above 232 for positional long. Educational purpose.
Ascending Triangle, Entry 762-766 Range for target of 788 Educational purpose.
Price has given breakout. RSI Confirmation awaited. Looking good above 495.
Long only above 1045 on closing basis.
Close above 595, Looks good for LONG.
200MA acting as a resistance. Closing above 280 looks good for 289, 296 & 303.
Facing resistance near trend line, above 380 looks good.


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Q: SharePoint Calendar Validation for 15 Minute Meetings I'm trying to setup a SharePoint Online Calendar to only allow users to setup appointments in 15 minute increments starting at the top of the our.
For example, 8:00 to 8:15, 8:15 to 8:30 and so on. I'm pretty bad at this stuff, but came up with the formula below that I entered in the Validation Settings. It mostly works, but does not allow me to schedule meetings from the 45 minute mark to the top of the hour (8:45 to 9:00) doesn't work.  What am I doing wrong?  I don't have access to do anything crazy and have to stick with out of the box features.
=AND(MINUTE([End Time])-MINUTE([Start Time])=15,OR(MINUTE([Start Time])=0,MINUTE([Start Time])=15,MINUTE([Start Time])=30,MINUTE([Start Time])=45))

A: Please follwoing steps:
1.Create a Calculated column named "Mins" in the list
2.Set Column Formula:
=INT(([End Time]-[Start Time])*1440)

3.Set Validation Formula:
=[Mins]=14

redpajama_set_name: RedPajamaStackExchange


Edward Collier (circa 1642-1708), Painter. Sitter in 1 portrait, Artist of 1 portrait.
Edward Collier (circa 1642-1708), Painter. Artist of 1 portrait, Sitter in 1 portrait.
This self-portrait shows him at work in his studio, surrounded by books, drawings, plaster casts and a skull, a common symbol of death. It both advertises his skills and – unlike the self-portraits of most of his contemporaries in England – draws attention to the practicalities involved in making paintings.


text:
package com.crashinvaders.texturepackergui.views.seekbar;

public interface SeekBarModel {
    void bind(SeekBar seekBar);
    void onTextValueChanged();
    void onSliderValueChanged();
    String prepareTextValue();
    float prepareSliderValue();
}

redpajama_set_name: RedPajamaGithub


Choosing the best processor is not only about its ability to work on a particular type of work. Instead, it must be seen in its various facets when working on many tasks.
Therefore the best and most expensive PC PC processor recommendations are the best you can consider to get the best choice.
The latest AMD processor is quite surprising among many. Especially those who are accustomed to observing the development of the world of technology. The reason is that this one processor is very expensive, but its performance is able to match Intel's performance which is much more expensive.
In the world of photography, lens selection is a matter of great concern. Considering that the lens is the factor most responsible for the quality of the image or photo produced by a camera.
Therefore, the addition of lenses needs to be done in order to improve the quality of photos. This time we will discuss 5 Canon lenses that are highly recommended to support a photography activity. Especially for beginners.
1. Canon EF-S 17-55 mm f / 2.8 IS USM Lens.
A lens that is very compatible with a camera that uses an APS-C sensor is highly recommended once because its ability to zoom is considered very good. Plus there is an aperture feature off / 2.8 which is very useful for taking pictures in a room that is very minimal in terms of lighting.
Learning learn how to write a profitable cowl letter is simple and so necessary! We collect most of your private information instantly from you if you complete the Widespread Application® type. Make sure you have paid the Application fee (worldwide students solely), earlier than submitting your application form. Additionally, you will be capable of entry your application through a link you will obtain in an e mail.
Applications may be thought of after this date, offered that there is still space obtainable within the course you want to apply for, and on educational benefit until 30 September 2018. If the supporting paperwork, including references are usually not provided your application is not going to be thought of, and your application will be withdrawn when the course deadline has handed.
Little kids love playing video games. If you happen to're a trainer, a homeschooling mother or dad or just a parent who loves educational books for kids, I'm certain you will discover this sequence very useful as there are so many several types of alphabet books AND you possibly can have all of them at one easy go if you want.
The video games are categorised in response to their classes, and there is a recreation for just about all the pieces you need your children to learn e.g. video games on animals, math, geography, science, language arts, chemistry, well being, history, vitamin, seasons and more.
Learning Video games for Youngsters is all about video games that train children virtually each subject you can consider. Word, spelling, social studies, mind, science, artwork, vocabulary, literature and keyboarding games will get your children started on a studying adventure.
Because of the physical laws of electronics, circuit analysis could be very procedural. It should hopefully impact everybody within the electronics discipline, specifically by making it a much more vibrant and dynamic business. Samsung cellphones are manufactured by the South Korean multinational firm, Samsung Electronics Co., Ltd. It ranks among the leaders in wi-fi products and is the trade chief in cell video merchandise.
Sure electronics and gear have made medical procedures simpler, to not point out just plain attainable. Padmini holds a Bachelor of Technology degree, in Electronics and Telecommunication no much less. PCS programs use a distinct radio frequency (1.9 GHz band) than mobile telephones and generally use all digital technology for transmission and reception.
Learn about the benefits of laser engraving metal with Lasit technology: reliability, versatility and high productivity, laser engraving on plastic for more information.


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Carangoides ciliarius és un peix teleosti de la família dels caràngids i de l'ordre dels perciformes.

Morfologia
Pot arribar als 61 cm de llargària total.

Distribució geogràfica
Es troba a les costes de l'Oceà Índic: al Mar Roig i a les Seychelles.

Referències

Bibliografia

ciliarius

redpajama_set_name: RedPajamaWikipedia


Acquire the skill of coin grading using these simple explanations with clear, easy-to-follow steps and a basic description of each coin grade.Description Stackable modular Capitalism mod to buy props for Glory Coins, to. You can download and modify these flow charts for your own use.
NGC uses the internationally accepted Sheldon grading scale of 1 to 70,.Multiply your coins, free weekly lottery with big prizes, lifetime 35% referral commissions.
The Chart of the Week is a weekly Visual Capitalist feature on Fridays. Get detailed information on Ark (ARK) including real-time price index, historical charts, market cap, exchanges, wallets, and latest news.
Until now, while the Ark platform is really usefull and has many unique features, the coins themself had nothing different than the other.
Ark has as goal to be a bridge between all the different cryptocurrencies through SmartBridges, a feature from Ark that will enable different blockchains to.


How much does a over the range microwave and installation cost in Philadelphia, PA?
Bake cookies from the heart with this Cake Boss novelty nonstick bakeware 12-Cup Heart Molded Cookie Pan. With Cake Boss novelty bakeware, making uniquely shaped baked treats is easier and more enjoyable for bakers of all levels. This special nonstick cookie pan features 12 compartments that are each molded in two-tier heart shapes. The pan is ideal for creating themed cookies and mini-cakes for weddings and bridal showers, anniversaries and Valentines Day treats. The cookie pans heavy-duty carbon steel construction is designed with rolled edges to provide added strength and resist warping. Oven safe to 450°F, the pan features long-lasting nonstick that resists wear, offers superb release of baked goods and makes cleanup after baking quick and easy. Along with other Cake Boss novelty bakeware products, this nonstick cookie pan works well with other great items from the Cake Boss collections. Show some love with heart-shaped cookies and other treats baked with the Cake Boss novelty nonstick bakeware 12-Cup Heart Molded Cookie Pan.
LG's 2.2 Cu. Ft. over-the-range microwave, in stainless steel, is a model that stays looking good no matter how often you use it. The sleek, intuitive smoothtouch controls located on the front of the stylish glass door make clean-up a breeze. Simply wipe clean with a damp cloth and your microwave is spotless. Plus, the easyclean stain-resistant interior helps keep the inside just as clean as the outside. With 2.2 cu. ft. of cooking space, you can easily cook a family-sized casserole or take advantage of the included rack for bi-level heating. The turntable ensures food of any size is cooked evenly, while 8 Sensor cook options, 10 power levels, auto defrost, and Sensor reheat make it easy to create a masterpiece. Additionally, LG's highly effective and efficient extendavent 2.0 quickly and quietly removes smoke and lingering cooking odors from your kitchen by extending out over the entire cooktop, instead of only covering the rear burners.


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Money + Work
Watches + Style
Men or Women – Who Makes a Better Surgeon?
October 13, 2017 October 15, 2017 by Noelle Talmon
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The medical field has long been dominated by male surgeons. Historically, fewer women enrolled in surgical residency programs, and many male surgeons believed females didn't have what it takes to make crucial decisions in the operating room. Stereotypes like this are being challenged for a reason. A new study reveals that women surgeons tend to have lower death rates, fewer complications, and fewer hospital readmissions 30 days following surgery compared to their male counterparts.
The study was published in the BMJ, reports Time. It examined more than 104,000 people in Ontario, Canada, who had surgery from 2007 to 2015. Their surgeons were also included in the research. Lead author Dr. Raj Satkunasivam, assistant professor of urology at Houston Methodist Hospital, and his colleagues from the University of Toronto and Sunnybrook Health Sciences Center took precautions to make the study as fair as possible by comparing surgeons relative to their age and experience. Patients from each surgeon were also matched to take into account more complicated cases.
The researchers found that patients who were operated on by female surgeons were 4 percent less likely to die, be readmitted, or have complications one month following surgery when compared to people whose surgeons were male.
This study reinforces another one that the Harvard School of Public Health released earlier this year. Researchers tracked a group of patients and their general internists and determined that those with women doctors were more likely to have lower death rates and less likely to be readmitted to a hospital within 30 days compared to patients who had male doctors. Researchers concluded that women doctors engage better with their patients and are superior communicators. They make sure their patients comply with their medications and therapy. Women also tend to collaborate well with their colleagues and are more likely to follow recommended guidelines.
Experts aren't entirely sure why female surgeons experience more positive outcomes than their male counterparts, but it may be partially due to the reasons why female general internists tend to have better results with their patients. But other factors need to be taken into account because surgery requires a certain amount of skill and surgeons have certain abilities to determine whether a patient will develop complications.
According to Satkunasivam, one of the factors is that in general, only the top women in their field end up being surgeons. Women have had to work harder to become surgeons because they are immersed in a male-dominated profession. As a result, the female surgeons in the study may represent the best of the best.
Satkunasivam explained, "If we really believe that the differences we saw among male and female surgeons is true, then what we need to do is better understand what actually is driving those differences. Once we understand those differences, we can potentially apply them to train surgeons better, and instill those qualities in all surgeons to improve outcomes for everyone."
Satkunasivam also recommended that people choose surgeons based on research, their rapport with the doctor, and recommendations from family physicians. "You should be equally confident with a male or female surgeon," he noted.
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'Happy Endings' in 'New York, New York' (and 'Spaceballs' x∞)
On May 20, 2020 By Ben YagodaIn Movie in theater, Movies in movies, Not real2 Comments
The recent post on Scream 4 brought up the question, are there any other cases of a movie in a movie in a movie? Ben Zimmer was quick to bring up Mel Brooks's Spaceballs (1987) in which Dark Helmet (Rick Moranis) and other characters watch themselves watching themselves watching themselves… (In a less endlessly recursive way, Blazing Saddles was shown in Brooks's Blazing Saddles.)
I'd say it merits an asterisk, as does the only other movie-in-movie-in-movie example I've found, New York, New York (1977). Actually, I'd give Martin Scorsese's film two asterisks. The first is because this twelve-minute sequence was cut out of the original theatrical release, only to be restored in 1981. The second … well, I'll explain. In the movie, set in the 1940s, Liza Minelli plays singer/actress Francine Evans, who, after breaking with saxophonist Jimmy Doyle (Robert DeNiro), whose middle name should be "Nogood," hits it big, including landing the starring role in a movie musical called Happy Endings.
In Mean Streets and Taxi Driver we learned Scorsese is fond of Times Square marquees, but he takes it to a new level here. At the start of the sequence is an establishing shot.
We know it's Times Square because of the Hotel Astor (lower left), which was on Broaadway between 44th and 45th Streets. And we know it's 1949 because that's the year of the two other (carefully selected) films on the marquees, John Huston's We Were Strangers and Mark Robson's Home of the Brave. Happy Endings, meanwhile, is opening at the "New York Music Hall" — a riff on Radio City Music Hall, actually half a mile to the northeast.
We go into the theater only to see a Happy Endings scene set in a movie theater. Francine plays "usherette" Peggy Smith; in the the stylized set (production design by Boris Leven), still more movie marquees (including the Apollo, a Scorsese favorite) are seen behind the audience. Also behind them is a beam of light from a projector — it contains, tantalizingly, the movie within the movie within the movie, which we can't quite see.
Peggy meets Donald (Larry Kert) who turns out to be a movie producer and makes her a star. There are a series of production numbers, and we see superimposed titles and marquees (more marquees!) of her starring roles: Princess Sargeant, The Girl from Rio (actually the title of a 1969 spy movie), The Long Waltz (possibly a nod to Scorsese's own The Last Waltz, and inadvertently misspelled in the marquee).
In a Star Is Born–like arc she loses Donald when she eclipses him, but (happy ending) gets him back … but wait, it was all a dream, and she's back as an usherette. But wait! She meets Donald again — and all of a sudden, Peggy jumps into the movie screen, a la Buster Keaton. So there's your movie in a movie in a movie. With asterisk.
And if anyone's interested in seeing the whole twelve-minute sequence, here you go:
'Follow the Fleet' in 'Pennies from Heaven'
On March 3, 2020 March 3, 2020 By Ben YagodaIn Movie in theater, Movies in moviesLeave a comment
In the previous post, I said that Woody Allen's The Purple Rose of Cairo (1985) was influenced by Buster Keaton's Sherlock Jr. That's certainly true, but Allen also had to have had in mind Pennies from Heaven. I mean the 1981 film version directed by Herbert Ross and starring Steve Martin and Bernadette Peters, rather than the 1978 BBC series with Bob Hoskins on which it was based.
In Pennies — set, like Purple Rose, in the 1930s — Arthur Parker (Martin) is a sheet-music salesman, and has a world view not merely influenced but warped by the pop tunes he peddles. The brilliant conceit of the series and the film — both written by Dennis Potter — is to show this by having Arthur break into song and dance periodically, lip-synching to the original scratchy vinyl of songs like "Did You Ever See a Dream Walking?" and "Love Is Good for Anything That Ails You." The irony not only drips but pours.
Over the course of the film, Arthur's world falls apart, largely due to his own selfishness and short-sightedness. For a moment, it seems like he might attain a measure of happiness with Eileen (Bernadette Peters), a schoolteacher. She becomes pregnant but, unknown to him, aborts the baby. They slip into a movie theater and, as in Purple Rose four years later, an Astaire-Rogers movie with music by Irving Berlin is on the screen, in this case Follow the Fleet.
Due to technical challenges, you might not hear what Eileen says at the beginning of the clip. It's, "I might like to have that baby, and then…" More irony. Arthur, ever the music-addled, cock-eyed optimist, avers that "There's got to be something on the other side of the rainbow." In a lovely (though completely unrealistic) touch that shows the permeating power of the movies, Ross has Fred and Ginger's images reflected on the real wall of the theater. Completely carried away, Arthur can't help lip-synching to the big production number, "Let's Face the Music and Dance."
Then all of a sudden they are on the stage, in front of the screen, dance-synching to Astaire and Rogers. Finally, in the Sherlock Jr. touch, they join their own movie, black and white and elegant and so different from their tawdry reality.
A final note: the (picture-perfect) choreography is credited to Danny Daniels, but Ross surely made a huge contribution. The director started his career as a dancer, then was a choreographer for Broadway musicals, and incorporated dance into many of his movies, including The Turning Point, the biopic Nijnksy, the Baryshnikov vehicle Dancers, and — it must be said — Footloose.
'The Purple Rose of Cairo' and 'Top Hat' in 'The Purple Rose of Cairo'
On January 30, 2020 February 2, 2020 By Ben YagodaIn Movie in theater, Movies in movies, Not real2 Comments
I believe this is the second example in the blog — after Home Alone — of a movie that includes both a real film and a fictional one. And it's fitting that it follows Buster Keaton's Sherlock Jr., since that was an obvious inspiration for Woody Allen's The Purple Rose of Cairo (1985).
One difference is that in Sherlock Jr., the projectionist played by Buster steps into the movie being screened in his theater. Purple Rose of Cairo goes the other way. Set in the Depression, it's about an unhappy waitress and wife named Cecilia (Mia Farrow) who goes to the movies to escape her woes. She develops a fascination with The Purple Rose of Cairo, a (fictional) RKO madcap melodrama centering on a dashing archeologist named Jeff Baxter (Jeff Daniels). She sits through multiple showings, until something very strange happens (at about the two-minute mark of this clip) …
One of the cool things about the sequence is how Allen, famously a movie buff, has captured the look and sound and feel of '30s films, and chosen actors who fit seamlessly in: John Wood (who could almost be a stand-in for Edward Everett Horton), Edward Herrman, Debra Rush, and Annie Jo Edwards as Delilah, the maid. (The part is a sadly accurate depiction of the sort of roles played by Hattie McDaniel and others, but so distasteful today that I wish Allen had left it out.)
Horton.
Cecilia shows Tom around her New Jersey town, and he — a la Sherlock Jr. — takes her into the film. A cuckoo love triangle ensues involving Cecilia, Tom, and the actor who plays Tom, Gil Shepherd. She chooses Gil (not much future in a romance with a celluloid hero) but gets some bad news as she approaches the theater. (She's carrying the ukulele because she and Gil have had some great fun dueting.) So she goes in and takes a seat to see the movie that's just opened, a true-life RKO production, Astaire and Rogers's Top Hat.
You can see for yourself the effect this transcendent piece of entertainment has on Cecilia. It harks back to the very first film discussed in this blog, Sullivan's Travels, and in its honor I've created a new tag for both movies (and a couple of others): The Transporting Power of Popular Film.
'Lord Jim' and 'Great Catherine' in 'My Favorite Year'
On October 10, 2019 October 11, 2019 By Ben YagodaIn Movie somewhere else, Movies in movies, Not realLeave a comment
Richard Benjamin's My Favorite Year (1982) makes nice use of the "Watching yourself" trope. The movie, set in 1954, was produced by Mel Brooks and was loosely based on his experience as a writer on the Sid Caesar TV comedy series Your Show of Shows, where the swashbuckling movie star Errol Flynn was once the guest star. Evidently, Flynn's appearance on the show was uneventful. That is not the case with the Flynn-ish figure in My Favorite Year, Alan Swann (Peter O'Toole), who is usually drunk, rarely on time, and beset by a bad case of stage fright.
In this scene, the writing staff assembles to watch some clips from Swann movies. That staff consists of Sy (Bill Macy, loosely based on Mel Tolkin); Herb (Basil Hoffman; l.b.o. Neil Simon); Alice (Anne De Salvo; Lucille Kaillen); and the "My" of the title, young Benjy Stone (Mark Linn-Baker; Brooks himself).
What they see comes from two actual Peter O'Toole movies, Lord Jim (1968) and Great Catherine (1965). Sy isn't a fan of the performances: "That's not acting–that's kissing and jumping and drinking and humping. I don't know why we're wasting out eyesight on this crap." It's reminiscent of the way Bette Davis's early work was dumped on in What Ever Happened to Baby Jane? and, as with Davis, it's proof that O'Toole was a good sport.
Later, the star of the show, King Kaiser (Joseph Bologna; not so loosely based on Caesar) and the producer, Leo (Adolph Green), join the writers to watch another Swann movie. What they see this time isn't a real O'Toole film but footage expressly created for My Favorite Year: a convincing (down to the Technicolor, music, and editing) homage to Flynn's The Adventures of Robin Hood (1939).
Later, Benjy watches more of the movie, which is called Defender of the Crown, with a co-worker he's got a crush on, K.C. (Jessica Harper). They're both so transfixed by it that it ends up sealing their romance. I guess Alan Swann isn't such a terrible actor after all.
"Summer of '42" in "The Shining"
On May 21, 2019 May 23, 2019 By Ben YagodaIn Movie on TV set, Movies in movies1 Comment
I recently presented Brief Encounter as the first Movies in Other Movies Double Dip — defined as a film in which the characters watch a movie, and which itself is watched by characters in another movie. Now, a second DD — Stanley Kubrick's The Shining (1980), which is showing on the ill-fated drive-in in Twister.
There's a lot of television in Kubrick's horror classic. On three separate occasions, characters watch cartoons directed by the great Chuck Jones — one with the Road Runner, one with Pepé Le Pew, and "To Itch His Own," with Mighty Angelo the Flea. A purpose, one imagines, is to contrast their particular kind of mayhem with the different and less comic sort Kubrick is about to offer us.
Mighty Angelo.
For the set-piece movie-in-movie scene, Kubrick chose the 1971 nostalgic melodrama Summer of '42. Young Danny (Danny Lloyd) and his mother, Wendy (Shelley Duvall), are watching it on an eerily unplugged-in television, in a large common room in the deserted hotel they're spending the winter in; also eerie is the out-of-sync soundtrack on the film, not to mention the sound of high winds outside. Meanwhile, father and husband Jack (Jack Nicholson), already exhibiting signs of unusual and disturbing behavior, is asleep in their room. Or so they think.
In Summer of '42, directed by Robert Mulligan, young Hermie (Gary Grimes) comes of age through a relationship with a beautiful young woman (Jennifer O'Neill) whose husband is away at war. In the scene Wendy and Danny watch (and by the way, this is no movie for a little boy), the two characters have their first conversation. Why did Kubrick choose it? Just a guess — maybe for another contrast, this time between Mulligan's movie's gauzy vision of the past and Kubrick's very different interpretation in The Shining: that is, the past as a literal horror that won't even stay in the past.
"Brief Encounter" in "A Touch of Class," "84 Charing Cross Road," and "Truly Madly Deeply"
On January 22, 2019 January 22, 2019 By Ben YagodaIn Actual, Movie in theater, Movie on TV set4 Comments
The 1945 British film Brief Encounter — directed by David Lean, screenplay by Noel Coward, based on his play — may hold the record for the movie that's watched in the greatest number of other movies. In addition to the three examples discussed in this post, IMDB's valuable (though sometimes overpopulated) "Connections" department lists it as being featured in The Mirror Has Two Faces, Till There Was You, and Brick Lane, as well as the TV movies The Heidi Chronicles, Daisies in December, and The Care and Handling of Roses, plus various television episodes.
Why the attraction? It's not simply that Brief Encounter is a classic. (In 1999, the British Film Institute voted it that country's second best movie of all time, behind only The Third Man.) Beyond that, the film, with its thoroughly decent, stiff-upper-lip, and ultimately self-sacrificing lovers — the black-and-white photography being a kind of spartan objective correlative — is an emblem for a certain vision of romance, and thus a counterpoint to (and occasionally model for) the many, many other kinds of romance that movies portray.
In Melvin Frank's A Touch of Class (1973), the contrast couldn't be starker. After meeting cute what seems like eleven times, the characters played by the startlingly young, slim, sharply dressed, and good-looking Glenda Jackson (Vickie) and George Segal (Steve) embark on a strictly-for-sex affair. In Brief Encounter both of the lovers are married, but here Vickie is divorced, which hints at the unequal dynamics at play. Steve wants to have it both ways, which is in keeping with his me-me-me sense of the world; he's always shown scurrying off from the opera intermission to shtup Vickie at their love nest, then hurrying back to his seat next to his wife before the end of the next act. The puzzlement of the movie is why Vickie — who, as a Glenda Jackson character, is required to be clear-eyed and intelligent — doesn't dump Steve.
The answer — that she has fallen in love with him, and he with her — is supplied in the movie-in-movie scene, in which they watch Trevor Howard breaks bad news to Celia Johnson. The scene is asked to do the work that's absent in the screenplay, their boo-hooing supposedly showing the relationship has reached a new level of intimacy and care. Then the alarm rings, and Steve scurries back to his family.
David Jones's 84 Charing Cross Road (1987) is about an American writer, played by Anne Bancroft, who carries on a two-decade correspondence (1950s and '60s) with the buyer at a London bookshop, played by Anthony Hopkins. He's married and they never meet; the love that Brief Encounter reflects is her Anglophilia. Her fascination with the film seems to extend to the ash of her cigarette (yes, young'uns, smoking in cinemas used to be allowed), curling and lengthening but so wrapped up in the oh-so-Englishness of the movie that it doesn't drop.
And now for something different, Anthony Minghella's 1990 film Truly Madly Deeply. The love story here is between Nina (Juliet Stevenson) and her boyfriend, Jamie (Alan Rickman), who keeps turning up even though he is dead. But this is no Ghost: Jamie is sniffling, needy, and annoying. And so are his movie-buff mates, who show up at en masse, wrap themselves in cozy duvets, and make trainspotting comments while watching the 1917 Charlie Chaplin comedy Easy Street. (Like many movie buffs, myself include, they are prone to error; one guy identifies the big comic as "Eric Stewart Campbell"; in fact, his given name was Alfred Eric Campbell. It is true that he died in a car crash shortly after making this film.)
The guys may be well-schooled in cinema, but they're not too sophisticated to be wrapped up in Brief Encounter, reciting the final lines along with the Johnson character's husband, and slow clapping their approval after "The End" rolls.
'The Quiet Man' in 'E.T. the Extraterrestrial'
On January 14, 2019 June 16, 2020 By Ben YagodaIn Actual, Movie on TV set13 Comments
Maureen O'Hara in "The Quiet Man"; can of Coors on the table.
Francis Ford Coppola, Brian De Palma, George Lucas, Martin Scorsese, and Steven Spielberg are sometimes known as "the film school generation." De Palma and Spielberg didn't actually go to film school, but the designation fits because all five are lifetime students and devotees of the directors and movies that came before them.
One of Spielberg's heroes and mentors is John Ford (1894-1973). The younger director once said, "I try to rent a John Ford film … before I start every movie, simply because he inspires me … He's like a classic painter: he celebrates the frame, not just what's inside it." Spielberg offered his most explicit Ford homage in E.T. the Extraterrestrial (1982). The scene is also an unusual one for Movies in Other Movies. Usually, the film-within-a-film provides an ironic counterpoint or commentary on the main action. But Spielberg veritably mirrors Ford.
The scene takes place early in the film. Young Elliott (Henry Thomas) has encountered, befriended, and brought to his room a lovable alien creature. Being a boy, Elliott has to go to school; E.T., left to his own devices, raids the fridge for food and beers. He also gets hold of a Speak & Spell, which Wikipedia calls "one of the earliest handheld electronic devices with a visual display to use interchangeable game cartridges." E. T. will eventually hack the device in his attempt to phone home. For now, he uses it both as a television remote control and, it seems, to mind-meld with Elliott.
(I'll note here that E.T. includes other movies as well: E.T. is horrified by the Tom and Jerry short "The Mouse Comes to Dinner" and watches the films This Island Earth and Michael the Brave; Elliott's sister, Gertie, watches Sesame Street.)
Showing on the TV is a famous scene from Ford's The Quiet Man (1953). In that movie, John Wayne plays Sean Thornton, an American returning to his ancestral Irish home. In the town, he spotted and become intrigued by a fiery (of course) redhead, Mary Kate Danaher (Maureen O'Hara). He buys a cottage and when he goes to inspect it, he comes upon Mary Kate, who's been tidying up in a neighborly act. She's scared and tries to run away, but he… Well, let's watch along with E.T., who's deeply affected by the scene and telepathically directs Elliott to reenact it (as well as to release biology-class frogs from imminent dissection).
To contemporary eyes, Sean's romantic moves (and Elliott's, too, for that matter) may seem a little grabby. On that point, I introduce the testimony of Sabienna Bowman, writing in the feminist magazine Bustle on the occasion of O'Hara's death, in 2015 at the age of 95. Bowman says the kiss between Mary Kate and Sean is
not just the most memorable moment, but the one that is impossible to forget thanks to the passion O'Hara infuses into Mary Kate's actions. To fully appreciate the scene, you must put yourself into a '50s state of mind: Mary Kate enters Sean's house unaccompanied (a huge taboo for an unmarried woman at the time) with the intent to clean it — but it is obvious she's curious about this attractive American.
There is a moment when Sean realizes Mary Kate is in the house that she attempts to flee out into the raging winds. The cinematography only adds to the emotional rawness of the scene as Mary Kate's red hair ripples in the wind and Sean snatches her arm and pulls her to him. It's a typical move from the '50s era idea of the perfect, bold American man that was Wayne, but it is Mary Kate's response to his actions that makes this scene a classic. He pulls her in and kisses her, and then she throws a solid slap his way. It doesn't land, but with her temper flaring and indignation written all over her face, O'Hara's talent is breathtaking.
If you want to judge for yourself, here's the full scene from The Quiet Man.
'Garden Tool Massacre' in 'The Blob' (1988)
On November 21, 2018 November 23, 2018 By Ben YagodaIn Movie in theater, Movies in movies, Not real1 Comment
With this second post on a film about a gelatinous terror, Movies in Other Movies might start to get known as "The Blob Blog." (Apologies to "The Bob Loblaw Law Blog" on Arrested Development.) Anyway, when director Chuck Russell and his co-writer, Frank (Shawhank Redemption) Darabont, set about remaking the cult horror classic The Blob, they must have had fun figuring out what movie to have running in their version of the climactic blob-goes-wild-in-movie-theater scene.
In the original, Irvin Yeaworth used the weird and obscure Daughter of Horror. Russell and Darabont, in keeping with their tongue-partly-in-cheek approach, opted to concoct their own, a Halloween/Texas Chainsaw Masssacre pastiche called Garden Tool Massacre. Announcing his plans to see it, youngster Eddie Beckner tells his friend's mom "It's your basic slice and dice."
Mrs. Penny: Your basic what?
Eddie: Well this guy in a hockey mask, he chops up a few teenagers, but don't worry, there's no sex or anything bad.
From what we see of the picture, he's a pretty good film critic. He probably didn't anticipate that the sound-syncing would be horrible (another sly touch by Russell).
"Wait a minute … hockey season ended months ago": a great line.
The slob in the Hilti hat (another sly power-tools reference) thinks he knows movies, too, but he doesn't know enough to keep his mouth shut. And nobody in the audience knew enough to realize they never, ever, should have set foot in that theater.
'See You Next Wednesday' and 'The Muppets Show' in 'An American Werewolf in London'
On May 8, 2018 By Ben YagodaIn Movies in movies, Not realLeave a comment
In a Facebook discussion of this blog, a friend, Dan Rubin, suggested writing about the use of See You Next Wednesday in John Landis's An American Werewolf in London (1983).
See You Next Wednesday didn't ring a bell so I Googled it and got led down a surprising rabbit hole. SYNW turns out to be a treasured in-joke of Landis's. There's a reference to an imaginary movie of that name in sixteen of the films, music videos, and television episodes he's directed, from his first film, Schlock (1973), to an episode of Masters of Horror that aired in 2006.
Most of the time SYNW appears either in a line of dialogue or on a movie marquee or poster. Here's a mashup of a bunch of them. According to the boffins at Wikipedia, the ostensibly actual film is seen only in American Werewolf.
(Landis's better-known running in-joke is his one-up-on-Hitchcock penchant for putting cameos of fellow directors into his movies, sometimes multiple times. Steven Spielberg and Frank Oz are both in The Blues Brothers; Beverly Hills Cop III features Joe Dante, Martha Coolidge, Ray Harryhausen, Arthur Hiller, Barbet Schroeder, John Singleton, and George Lucs; and Amy Hecklerling, David Cronenberg, Jonathan Demme, Paul Mazursky, Roger Vadim, and Lawrence Kasdan all turn up in Into the Night.)
The movie-in-movie scene comes near the end of American Werewolf. While a wolf, the title character, David (David Naughton), has killed his friend Jack (Griffin Dunne). Now in human form, he sees Jack, in the body of a zombie, beckoning him into a Piccadilly Circus cinema. He finds Jack in the dark theater and they and we watch a bit of the porno See You Next Wednesday.
"Good movie," comments David, reminiscent of a line in The Last Picture Show. In that film the reference was to Red River and the statement was true. I can't say I'd apply it either to See You Next Wednesday or the pretty dated American Werewolf in London.
Incidentally, the IMDB page for American Werewolf claims that the See You Next Wednesday scene came from Landis's earlier Schlock. That's not true, as Landis explained in an interview with The Guardian. "When I was working [in London] in the 1970s, I went to those little cartoon theaters they had, such as the Eros on Piccadilly," he said. "So in the original script, I had him going into the Eros and there was a Road Runner cartoon playing. But when I got back to London in 1980, all these theaters had become pornos. So I had to change the script to show a porno called, in the best smutty British tradition, See You Next Wednesday. We made the porno ourselves and it was the first scene we shot. It starred Linzi Drew, who was a Page 3 girl at the time; she went on to have an impressive porn career."
Elsewhere in the film, David has a nightmare in which a peaceful family viewing of The Muppets Show is interrupted by a home invasion of mutant Nazi zombies.
Muppets puppeteer Frank Oz turns up briefly in American Werewolf as an American embassy worker. His line, "These dumb ass kids never appreciate anything you do for them," is an in-joke reference to the cancellation of The Muppet Show. It was Landis's first director cameo, and a prescient one, too: Oz wouldn't direct his first film, The Dark Crystal (a collaboration with Jim Henson) until the following year.
'A Summer Place,' 'Little Women,' 'The Seventh Seal' and 'GE College Bowl' in 'Diner'
On March 22, 2018 By Ben YagodaIn Actual, Movies in movies, TV in movies1 Comment
Shrevie with customer: "Don't like that color for nothing."
Barry Levinson's debut film, Diner–which came out in 1982 but is set in 1959–has movies on its mind, specifically '50s movies. Start with the fact that its story, about a group of buddies in their early 20s who stubbornly refuse to grow up, is loosely adapted from Federico Fellini's I Vitelloni (1953), with the setting transferred from Fellini's hometown, Rimini, to Levinson's, Baltimore. Beyond that, the Diner kids are movie buffs. Kevin Bacon's Fenwick has a poster for The Journey (1959) on the door to his room, and a minor character is obsessed with Sweet Smell of Success (1957); he sidles around quoting lines from the Clifford Odets/Ernest Lehman screenplay, like, "JJ, it's one thing to wear your dog collar, but when it turns into a noose, I'd rather have my freedom." Movies even insinuate their way into TVs in the appliance store where Shrevie (Daniel Stern) works; a number of them are showing Little Women (1949) as Shrevie tries to make a sale.
The customer, played by Ralph Tabakin (who had small parts in every Levinson film from Diner through Liberty Heights in 1999), says he isn't interested in one of the new color TVs. "Don't like that color for nothing," he says. "Saw Bonanza at my in-laws. It's not for me. The Ponderosa looked fake. Hardly recognized Little Joe." In Levinson's world, nearly everyone–or every male–is a standup comic in waiting. One of the siding salesman in his 1987 movie about aluminum siding salesman, Tin Men, was played by a real-life comic, Jackie Gayle. He riffed about the successful TV western, too:
You got these four guys living on the Ponderosa and you never hear them say anything about wanting to get laid…. I mean you never hear Hoss say to Little Joe, "I had such a hard-on when I woke up this morning."… You never hear Little Joe say, "Hey, Hoss, I went to Virginia City and I saw a girl with the greatest ass I've ever seen in my life." They just walk around the Ponderosa: "Yes, Pa, where's Little Joe?" Nothing about broads. … I'm beginning to think that show doesn't have too much realism.
A couple of the Diner guys have adventurous tastes, going to an art-house screening of Ingmar Bergman's The Seventh Seal (1957). The camera stays on them as they slump down in their seats listening to Bergman's portentous dialogue.
Eddie (Steve Guttenberg) stage whispers some standup-style riffing: "What am I watching? The movie just started and I don't know what's going on."
Billy (Tim Daly): "It's symbolic."
Symbolism apparently doesn't play in Baltimore; they walk out.
The big movie-in-movie set piece takes place at a showing of A Summer Place, which wasn't a huge success in 1959, other than its ear-wormy theme, by Max Steiner, but was much more mainstream fare than Seventh Seal. Almost all the guys are there, in large part because they're in on a bet: whether Boogie (Mickey Rourke) can get some action from his date. He succeeds, but the Fenwick call the bet off because Boog's methods are deemed irregular.
It's a noteworthy scene for two reasons. Most obviously, it puts on display the guys' attitude towards women, which is basically "bros before hoes," fifty years before the phrase was coined. The interesting thing is Levinson's attitude toward the attitude. Sometimes–for example the depiction of Shrevie's lack of interest bordering on contempt for his wife, Beth (Ellen Barkin)–he coldly and convincingly nails it. But other times, as in this scene, it's played pretty much strictly for laughs and we feel complicit.
The other thing is Levinson's use of A Summer Place, specifically that film's last-gasp-of-'50s-repression treatment of sex and sexuality. In 1959, Hollywood's morals-protecting Motion Picture Production Code (sometimes known as the Hays Office) was being pushed to the breaking point by such films as Suddenly Last Summer and Some Like It Hot. Delmer Daves' A Summer Place–based on a novel by Sloan Wilson, author of The Man in the Gray Flannel Suit–wasn't as explicit as those films. But not only is it suffused with unexpressed sexuality, such repression is one of its themes. In one of the scenes shown in Diner (and by the way, Levinson takes poetic license in this sequence, jumping around and presenting highlights from various points in Summer Place), teenage Molly Jorgenson (Sandra Dee) is on a boat with her father, Ken (Richard Egan), and looks through binoculars at a nearby island.
Molly: There's a boy up there watching me!
[He runs off]
There he goes. Funny feeling being looked at without knowing it. Remember that family that lived next door to us back home?… Their son used to look at me.
Ken: Without you knowing it?
Molly: Well, his bedroom was right across from mine and… one night I felt naughty and went right on undressing so he could see. Then all of a sudden I… I got terribly ashamed and I ran and pulled the curtains down. I'll never forget… I had hot and cold flashes all over me afterwards. Wasn't that awful?
Ken: Well, I guess every human being on earth has a few things he's ashamed of.
We're in a sort of time warp. A Summer Place was made and set in 1959 but is a decade or so behind the times when it comes to sex. Diner, you feel, is unrealistic (as Jackie Gayle's character would put it) the other way; its look back of 1959, while not grossly anachronistic, is colored and informed by all the sexual changes of the '60s and '70s.
The other movie-in-movie scene in Diner is short and easy to overlook, but it's my favorite scene in the movie. Alcoholic, dissipated, and self-loathing, Fenwick is a total fuck-up. But then we see him in his bedroom, slumped in an armchair. On the TV (black and white) is GE College Bowl, a quiz show featuring college students that aired from 1953 to 1970. Every question posed by the host, Allen Ludden, Fenwick nails. We glimpse that maybe he's not such a loser after all. Then Boogie walks in and asks Fenwick for some money, and the spell is broken.


Do you have to be an Art Deco Society California member to get in?
We welcome both members and non-members to attend Gatsby Summer Afternoon. However, only ADSC members are eligible to purchase Early Entry Passes. (Please note: this is different from prior years when anyone could purchase an EEP.) Members also receive discounted tickets to the event. Click here to find out more about being an ADSC member. If you become inspired to join us during the event, there is a membership table on the hill near the wine tasting.
What is the deadline for advance ticket sales?
The last date for advance purchase of tickets is Saturday, September 8, up to 12pm. If the event has not sold out, tickets will be available at the gate for $80 each. Click here to purchase tickets in advance to ensure you get in.
If you purchased tickets via phone, you will receive physical tickets in the mail. If you purchased tickets via Eventbrite, you will receive them in an email from Eventbrite.
Can I buy tickets for each person in my party, even if we arrive separately?
Yes, if you want to purchase tickets for other people and have them picked up under their own names, you can purchase tickets online, then email the ADSC office with your name and the names the tickets should be held under. Alternatively, have your friends pick up their tickets under your name.
How do I get a table? What about just a chair and umbrella?
The invitation has information about renting a table, umbrella and chairs for a group of ten people. Or, you may wish to order individual seats at a group table. Table and umbrella sales end by September 8 or while supplies last.
If I purchase a table for 10, do I still have to pay for an individual ticket?
Yes, table charges and umbrella packs (extras) are in addition to the ticket price, and are needed to underwrite the rental and set-up costs. Everyone seated at a table needs to have a ticket.
We would love your help! The Gatsby Summer Afternoon would not be possible without our many wonderful volunteers, and they are provided with complimentary admission. Please click here to find out how you can help!
What do I do if I have purchased an Early Entry Pass?
Please bring your Early Entry Pass ticket to Gatsby Summer Afternoon that you will receive in the mail. When you arrive at the Dunsmuir, STOP at the bottom of the hill on Peralta Oaks St. and show your Early-Entry pass and tickets for everyone in the car to the volunteers who will be waiting there. They will direct you to the queue that forms on Peralta Oaks St. for early entry. Please do not first drive up the hill to the gate. You will only be directed back downhill to join the queue. If you have event tickets to purchase or pick-up from Will Call, a volunteer will direct you. If you want to be one of the first in the queue, you're free to arrive at any time after 10am on Peralta Oaks St.
At 11am early entry will begin. The car queue will be released in groups. The Dunsmuir staff will allow only FIVE early entry vehicles onto the grounds at a time. PLEASE KEEP YOUR VEHICLE ON THE PAVED ROAD AT ALL TIMES. Volunteers will direct you to drop off locations. Unload picnic items by the side of the road; do not attempt to drive to a site on the lawn. As each vehicle empties its contents and leaves the grounds, the Dunsmuir staff will notify the ADSC volunteers on Peralta Oaks, and they will signal another vehicle to drive up the hill to enter. Please have your pass and event tickets to show the gate attendants.
Once on the grounds, your vehicle must remain on the paved roads. Only vintage autos are permitted on the lawn. So if you are bringing heavy items, please consider the means to transport those from the drop-off to your picnic site. To ensure all early entrants have equal time to unload, we ask that you strive to unload your contents within 15 minutes. To expedite the process, volunteers will assist with unloading at the drop off site. You may want to leave a helper with your picnic stuff. Please make sure everyone has a ticket with them at all times.
SPEED LIMIT ON THE DUNSMUIR ESTATE: 5 MPH. Route is one way. No vehicles are allowed to exit the front gate.
After you have unloaded the contents, drive your vehicle to the parking lot in the extreme rear of the estate. No parking near the carriage or other work houses in route. The gate to the rear parking lot will be closed from 1:30pm to 6pm. At the end of the day, when you retrieve your picnic supplies, the vehicle must remain on paved roads and cannot be driven on the lawn. Volunteers will be present to facilitate the exodus.
Dogs are not allowed. Service dogs for those with disabilities are the only exceptions.
Is there a discount if I arrive late/leave early?
There are no discounts for early or late arrival.
Parking in the lots near the estate can be limited, please check back for updates. If you can, please carpool and pick-up friends from BART. You may drop off passengers or picnic items at the circle before parking. We will have a parking shuttle van available to transport guests (not their picnic items) to and from their parking spot to the front gate.
Is it safe to unload and leave my belongings at the front gate while I go park my car?
Yes, you can leave your things, park, and return.
What is the "back parking lot"?
The back parking lot is where vendors, volunteers, and those with an Early Entry Pass will be directed to park. Only FIVE new cars on the grounds at any one time. NO MODERN CARS ON THE LAWN. Park on the shoulder of the road on the asphalt. It is not "open" during the posted event hours from 1pm until 6pm so it is not used by the general public. Vendors are not allowed to enter through back lot and drive onto estate. You must vacate all lots by 7pm. Lots are private and we are only insured for the day. It does get dark earlier and it is a long walk through the "woods" to the back lot with no lighting so be prepared with comfortable shoes, a walking buddy, etc.
Is there a lot of walking involved to get to the event?
Yes, there is a good amount of walking from where you will need to park and to get to the picnic area. It is about a quarter mile from the gate to the main picnic area. We suggest having a change of comfortable walking shoes. For the ladies; high heels do sink into the grass so you may want to change into your precious vintage shoes once you reach the picnic area. There is a shuttle provided during limited hours and does come with a queue so if you want to leave at a certain time you do need to be prepared for walking.
We will have golf carts, vintage autos, and motorized cable cars to help shuttle people into the grounds and back. They will run from 1pm until 2pm. There is no fee to ride.
What is the "Costume Closet"?
The Jay Gatsby Costume Closet is a treasure trove of wonderful vintage accessories and a few complete outfits. It is a special offering to anyone looking to complete their Gatsby-look or for anyone who didn't know the attire of the day was meant to be vintage-style 1920's-30's garden party day wear. The Jay Gatsby Costume Closet is a labor of love provided by Jonathan Belmares, who purchases, repairs and stores the items. He is an independent volunteer and not backed by a store. There is a $5 suggested cash donation. The costumes need to be returned between 5:30-6:15pm. Your ID will be held until you return your borrowed items. If serious damage occurs to borrowed items a fee will be assessed based on the value of the item. For minor damages or dirty items a fee will be assessed relative to costs of repair or dry cleaning. Fees are under the total discretion of Mr. Belmares and you should discuss in advance the value of item you are borrowing so proper consideration is given. Some items may be available for purchase.
Should I be offended if someone suggests the Costume Closet to me even though I have tried to dress for the occasion?
Please do not take offense; "vintage" can be interpreted in many ways, and the Gatsby Summer Afternoon is more specific than most as a daytime elegant affair. Perhaps our volunteer stylists felt that the addition of something from our Jay Gatsby Costume Closet would help to make your outfit more compete as well as your enjoyment of our theme. Click here to find out more about dressing for the occasion.
Who do the vintage cars belong to?
The Dunsmuir Hellman Historic Estate is a working museum. The automobiles on display are privately owned by ADSC members and many are museum quality. Please do not touch the vintage vehicles and when taking photos, please pose in front of the car—never on the car or in the car. Click here to find out how to show your car.
What is inside the mansion?
The mansions closets, kitchens, and bathrooms are filled with artifacts from the families who lived there. Thanks to a generous sponsor the house will be open to tour from 3pm until 4pm during the event. They do ask that there is no photography inside the mansion.
There is no smoking on the grounds, and it is subject to a $600 fine.
Lost and found will be located at the membership pavilion. Lost and found items will be taken by a board member if not claimed. You can contact ADSC post-event if you are looking for an item.
There are bathrooms located just behind the mansion for the public on the hill. There is a handicap ramp that goes up the hill. Additional port-a-potties are located at the very far end of the great meadow. The bathrooms inside the mansion are not for public use; they are part of the mansion's display.
Are there any places I may NOT set up my picnic?
We ask that you set up your picnic in the large meadow or in front of the mansion (leaving room for the croquet area). Please don't set up too close to the cars, as they need space to set up their own picnics. Please do not set up within 20 feet of the dance floor on all sides. This needs to stay open as a walkway for people to pass through as well as an area for people to stand and watch the entertainment. Blankets and picnic gear left too close to the dance floor will be moved out of the way by volunteers. To avoid blocking other guests' view, umbrellas and canopies should be set up further back from the stage, towards the tree line, or approximately 50 yards away from the stage.
Where do I pick-up my umbrella & chairs that I ordered in advance?
The umbrella packs will be located in a cluster on the meadow past the tables and labeled with the renter's name. You may move the umbrella and chairs to your desired picnic area but they are weighted umbrellas; and if you can kindly return them to original area after event.
No one seems to be sitting at a table, is it okay if I sit down for a little while?
No, we are sorry but those are not "open tables." All tables are reserved in advance and belong to the people who have paid for them. There is no opportunity to purchase day of.
Is there anywhere else I can sit?
There are a few benches on the grounds, and you may sit on the steps of the mansion. We encourage and expect people to provide their own seating, either by reserving them in advance or bringing their own chairs or blankets and pillows.
Can anyone dance on the dance floor, or just pros, or paying people (like the table holders)?
The dance floor is for everyone! You are encouraged to dance. Please consider non-slip dance shoes. If you are not dancing please do not stand on the dance floor. Parents, please keep children in check and respect the dancers. The dance floor is for dancing and not a playground. We want to be sure it's safe for everyone!
Who can participate in the fashion/dance/picnic contests?
Anyone may enter the fashion and Charleston contests. There is no sign up or fee. Contest times are listed in the printed program.
The picnic prizes are awarded by our judges who view all the picnics on the grounds.
Aside from wine, cocktails, and ice cream, there is no food or drink available on site.
Can we bring and consume alcohol publicly?
You may bring alcoholic beverages for your picnic and share them with anyone 21 years of age. Please drink responsibly and ensure you are sober before driving home. If you do need to consider a cab you must vacate all lots by 7pm. Lots are private and we are only insured for the day.
Plastic would not be period correct so you are encouraged to bring glass bottles. Please do dispose of them properly or carry them out. Be careful with corks and bottle caps as they can harm the Dunsmuir's lawn mowers the following day.
Yes, you may take photographs anywhere EXCEPT inside the mansion. If you post them on social media, please tag them as "Gatsby Summer Afternoon"!
I parked in the front outside of the grounds. When the event is over can I just drive in the front entry to get my stuff?
At the conclusion of the event you may not drive in the front gate. This is now an exit. You need to carry out what you brought in or consider bringing a red wagon with wheels to help ease your journey to your car.
Will there be a Gatsby Summer Afternoon next year? Do you know the date?
The Gatsby Summer Afternoon is always at Dunsmuir Hellman Historic Estate and is always on the second Sunday in September. Next year will be Sunday, September 8, 2019. We hope you will join us again!