text:
Report a lead
About TCSD
History of TCSD
Phishing is a huge concern among security decision-makers and influencers
content_tcsd
A serious disconnect exists between how decision makers (i.e., CISOs, CIOs and CEOs), and security practitioners (i.e., IT managers and directors, security architects and security operations analysts) perceive phishing prevention, according to a research by Ironscales.
The research is based on a detailed, cross-industry survey of 252 security professionals from the United States and the United Kingdom.
Among its key findings, the survey revealed that decision makers are four times more likely than security practitioners to consider email security the highest priority, suggesting that security personnel believe that they have a sufficient handle on phishing prevention while the C-Suite sees substantial business risk.
"The disconnect between security practitioners and decision makers is extraordinarily problematic for phishing prevention and incident response," said Eyal Benishti, CEO at Ironscales.
"The cause for such a predicament – whether or not security professionals on the front lines don't fully understand the long-term business impacts of a successful phishing attack or if the C-Suite is simply over-concerned – is irrelevant. What matters is that moving forward these two important constituencies get on the same page so that the proper time and attention can be allocated towards minimizing phishing risk."
The survey revealed that there is a critical need for real-time threat intelligence to more thoroughly address the risk of phishing; that the security skills shortage is having a material impact on security teams' ability to deal with phishing properly, and that most organizations are using several tools to combat phishing, with secure email gateways remaining the most common.
Key research findings
24% of a 40-hour work week is spent by security analysts investigating, detecting or remediating phishing emails.
Only One in five organizations continuously updates and tweaks its corporate email security policies in a typical month.
Nearly three in five organizations train their users on proper email security protocols no more than twice per year, while only a third of organizations do so much more frequently (at least monthly or continuously).
More than 70% of organizations use only manual processes for reviewing user-reported phishing emails, making it far too labor and time-intensive to mitigate email threats at scale.
Problems with phishing prevention
The survey also found that phishing emails continue to take organizations a substantial amount of time to detect, investigate and remediate. In total:
70% of organizations take more than 5 minutes to remove a phishing attack from a corporate mailbox even though the average time-to-click is 82 seconds.
75% of organizations cannot act on phishing intelligence automatically in real-time.
90% of organizations cannot orchestrate phishing intelligence from multiple sources in real time in the context of their overall email security solution(s).
"The survey's findings reinforce the significant challenges that email phishing attacks incur on organizations of all sizes," said Michael Osterman, principal analyst at Osterman Research.
"Most immediately, decision makers and cybersecurity practitioners must work to overcome the disconnect that exists so that time, budget and resources can be properly allocated to reduce email phishing risk."
Get ready when the PDPA or Personal Data Protection Act is coming …
Recite the 'cyber', the survival path. Survive the Covid-19
Cyber pandemic threatens to cite about Covid-19
Technology Crime Suppression Division Government Complex Commemorate 80th Building B, 4th Floor, Chaengwattana Road, Laksi Bangkok 10210 TH
TEL : 02-142-2556 , 02-143-8078 , 02-143-8079 , 02-143-8080


BACKGROUND: Completion of substance abuse treatment is a proximal indicator of positive treatment outcomes. To design interventions to improve outcomes, it is therefore important to unpack the factors contributing to treatment completion. To date, substance abuse research has not examined the factors associated with treatment completion among poor, disadvantaged communities in developing countries. This study aimed to address this gap by exploring client-level factors associated with treatment completion among poor communities in South Africa. METHODS: Secondary data analysis was conducted on cross-sectional survey data collected from 434 persons residing in poor communities in Cape Town, South Africa who had accessed substance abuse treatment in 2006. RESULTS: Multiple regression analyses revealed that therapeutic alliance, treatment perceptions, abstinence-specific social support, and depression were significant partial predictors of treatment completion. CONCLUSIONS: Findings suggest that treatment completion rates of individuals from poor South African communities can be enhanced by i) improving perceptions of substance abuse treatment through introducing quality improvement initiatives into substance abuse services, ii) strengthening clients' abstinence-oriented social networks and, iii) strengthening the counselor-client therapeutic alliance.
Myers, B. J., Pasche, S., & Adam, M. (2010). Correlates of substance abuse treatment completion among disadvantaged communities in Cape Town, South Africa. Substance abuse treatment, prevention, and policy, 5(3).


Retail Center Architect | Rick Caruso's charge to BTA Design Principal Brent Thompson was simple. "Look at our hugely successful projects in Thousand Oaks and repeat our success in Palm Desert." The execution of that charge less simple. Thousand Oaks, a suburb of Los Angeles, is pleasantly temperate area with a proximity to the Pacific Ocean that modulates its weather. Palm Desert, on the other hand, consistently is baked to extreme temperatures in the summer, and can also get quite hot in the spring and fall.
The design process was initiated with a bench marking tour of each of Caruso's previous projects in order to understand their strengths and success. We wanted to understand those qualities that separate them from other projects. We learned that the planning is simple, straightforward and typical for this sort of everyday use community retail center. What sets Caruso's work apart is its attention to guests. Every place where the public will set foot is given careful attention. There is a richness of texture and color, an appeal to all five senses. The architecture, likewise, is also layered and textured. The large building masses are broken into smaller pieces, so that each shop seems to be a building of its own. Fountains, art, landscaping and background music add further depth.
Much of this was easily transferable to our design. What wasn't analogous was weather protection – how to create shade without both burying the shops and loosing the individuality that the Thousand Oaks shops enjoy. A typical solution is to add an arcade, but that both creates a single building mass and hides storefronts. The solution we adopted takes its clues from Caruso's earlier work. We mixed a variety of shade devices – arcades, awnings, trellises – to provide sun protection and variety without obscuring storefronts.
We solved the challenges of this project using our standard process – identify the unique needs, research successful solutions and apply them. This is what we do.
Retail Architect | Expert design studio creating places people love.


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Isabelle Drainville est une actrice québécoise de théâtre et de télévision. Elle est la sœur de l'acteur Martin Drainville.

Carrière

Télévision
 1996-2001 : Radio Enfer : Dominique Vachon
 1998 : Bouledogue Bazar : Corinne Debielle
 2005 : Les Ex : Sylvie Trudel
2021 : District 31
2023 : Mégantic

Filmographie
 2004 : Les Aimants
 2009 : Noémie: Le secret  Réceptionniste hôpital

Théâtre
Appelez-moi Stéphane
Les Belles-Sœurs
La Veuve rusée
Les Zurbains, édition 2001
Mémoire Vive
L'Homme aux trésor
L'oiseau vert
Les Sorcières de Salem
Les Voisins (2007)
Ma mère, ma sœur et moi... (2008) (Théâtre Quatre/Corps, Châteauguay)
 L'avare, de Moliere (2008) (Théâtre Hector-Charland, L'Assomption)
 Bousille et les Justes, de Gratien Gélinas
 Thérèse et Pierrette à l'école des Saintes-Anges
Molière, Shakespeare et moi (2017)

Liens externes

  Curriculum Vitae

Actrice québécoise de cinéma
Actrice québécoise de télévision
Actrice québécoise de théâtre
Date de naissance non renseignée (XXe siècle)

redpajama_set_name: RedPajamaWikipedia


text:
Q: Asp RequiredFieldValidator Text property stops displaying but ErrorMessage still displays in validationsummary I am having a problem with a RequiredFieldValidator text property. My asp web form has a Panel. In the overridden OnPreInit I create a table with a textbox and a RequiredFieldValidator and store it into a session variable, on each postback I save the table into this session and load it up. When I run the code the validator is fine. Through each postback the Text property is shown in the table as long as the textbox is not filled in and the validation summary shows the error message. When I fill the textbox in, the validator shows valid which is correct; the Text property is no longer displayed and the validatorsummary no longer shows the error. Then when I delete what's in the Textbox and cause a postback (clicking a button) weird stuff happens. The Error Message displays in the Error Message, and when I debug the RequiredFieldValidator .IsValid is false. But the Text Property never shows back up!? I think I might be missing something with the viewstate, maybe the pre render on the RequiredFieldValidator, or the way I am saving/restoring my session state.
I have tried everything I can think of. Thank you for any help!!!!
aspx.cs
namespace AccessManagementRepeatingTableAsp
    {
        using System;
        using System.Collections;
        using System.Collections.Generic;
        using System.Data;
        using System.Data.SqlClient;
        using System.Diagnostics;
        using System.Drawing;
        using System.Globalization;
        using System.Linq;
        using System.Security;
        using System.Transactions;
        using System.Web;
        using System.Web.UI;
        using System.Web.UI.WebControls;

        public partial class webform : System.Web.UI.Page
        {
            private Table testTable = new Table();

            protected override void OnPreInit(EventArgs e)
            {
                if (!this.IsPostBack)
                {
                    TextBox targetTextBox = new TextBox();
                    string targetTextBoxId = Guid.NewGuid().ToString();
                    targetTextBox.ID = targetTextBoxId;

                    RequiredFieldValidator targetRequiredValidator = new RequiredFieldValidator();
                    targetRequiredValidator.ID = Guid.NewGuid().ToString();
                    targetRequiredValidator.ForeColor = Color.Red;
                    targetRequiredValidator.ErrorMessage = "programatic";
                    targetRequiredValidator.Text = "testvalidator";
                    targetRequiredValidator.ControlToValidate = targetTextBoxId;
                    targetRequiredValidator.Display = ValidatorDisplay.Dynamic;
                    targetRequiredValidator.Visible = true;

                    TableCell textCell = new TableCell();
                    textCell.Text = "textCell";
                    textCell.Controls.Add(targetTextBox);

                    TableCell validatorCell = new TableCell();
                    validatorCell.Text = "validatorCell";
                    validatorCell.Controls.Add(targetRequiredValidator);

                    TableRow row = new TableRow();
                    row.Cells.Add(textCell);
                    row.Cells.Add(validatorCell);
                    this.testTable.Rows.Add(row);
                    Session["test"] = this.testTable;
                }
                else
                {
                    this.testTable = (Table)Session["test"];
                    RequiredFieldValidator rfv = (RequiredFieldValidator)this.testTable.Rows[0].Cells[1].Controls[0];
                    rfv.Validate();
                    Session["test"] = this.testTable;
                }

                 this.testPanel.Controls.Add(this.testTable);

                RequiredFieldValidator rfv2 = (RequiredFieldValidator)this.testTable.Rows[0].Cells[1].Controls[0];
                rfv2.Validate();
                Page.Validate();

                base.OnPreInit(e);
            }

            protected void submitButton_Click(object sender, EventArgs e)
            {
                Page.Validate();
                if (Page.IsValid)
                {
                    this.statusLabel.ForeColor = Color.Blue;
                    this.statusLabel.Text = "Status: Valid";
                }
                else
                {
                    this.statusLabel.ForeColor = Color.Red;
                    this.statusLabel.Text = "Status: Invalid";
                }
            }
        }
    }

aspx
<%@ Page Language="C#" AutoEventWireup="true" CodeBehind="AccessManagement.aspx.cs" Inherits="AccessManagementRepeatingTableAsp.webform" %>

<!DOCTYPE html>

    <title></title>

<form id="Form" runat="server">

        <asp:Button ID="submitButton" runat="server" Text="Submit" OnClick="submitButton_Click" />

        <asp:ValidationSummary ID="ValidationSummary1" runat="server" />

        <asp:Label ID="statusLabel" runat="server" Text="Label"></asp:Label>

    <asp:Panel ID="testPanel" runat="server">
    </asp:Panel>

</form>

A: I think I figured out the problem. When a requiredfieldvalidator is set to valid (.isvalid = true) it adds an attribute key: 'style' value: display:none. Then when the text is removed and the validator is false, the attribute remains. My fix is to hook into the rendering of the validator and always remove this attribute. Then I only write out the error message if the validator is invalid. Here is what I mean:
First redirect the rendering of your validator to your own method:
validator.SetRenderMethodDelegate(validator_SetRenderMethodDelegate);

Next in the validator_SetRenderMethodDelegate method always remove the 'style' attribute.
private void validator_SetRenderMethodDelegate(HtmlTextWriter output, Control container)
{
    if (!this.IsPostBack)
    {
        RequiredFieldValidator localRFV = ((RequiredFieldValidator)container);
        RequiredFieldValidator tableRFV = (RequiredFieldValidator)this.testTable.Rows[0].Cells[1].Controls[0];

        string[] keys = new string[((RequiredFieldValidator)container).Attributes.Count];
        localRFV.Attributes.Keys.CopyTo(keys, 0);
        foreach (string key in keys)
        {
            string current = localRFV.Attributes[key];
            if (key == "style")
            {
                localRFV.Attributes.Remove(key);
                tableRFV.Attributes.Remove(key);
                Session["test"] = this.testTable;
            }
        }

        if (!localRFV.IsValid)
        {
            output.Write(localRFV.Text);
        }
    }
}

I don't think it is perfect, but it's a step in the right direction.

redpajama_set_name: RedPajamaStackExchange


SNP MP Dr Lisa Cameron.
AN MP is to demand a parliamentary inquiry into the transplant tragedy when two patients were given lethal cancer by their new organs.
Lisa Cameron said she is "not satisfied" with the response she has received from the NHS transplant service and she is now pushing for an inquiry by Westminster's Health and Social Care Committee.
She will be calling on them to investigate after we revealed transplant patient Pauline Hunt contracted terminal cancer from a new kidney.
Pauline, 49, from Kilmarnock, is now too ill to have chemotherapy, while another transplant victim, Tom Tyreman, 63, died last February after contracting cancer from a liver taken from the same donor.
Lisa Cameron, SNP MP for East Kilbride, Strathaven and Lesmahagow, contacted the NHS Blood and Transplant service and was told by chief executive Sally Johnson that one in 2,000 donors have cancer tumours which are not picked up.
The MP's inquiry call was praised by Pauline and Gordon Hunt, who brought their wedding forward following the deadly diagnosis that cancer from the donor kidney had travelled through the mum of two's body.
Pauline and Tom, from Ingleby Barwick, Stockton-on-Tees, got their transplants on December 10 2017.
The cancer left Tom blind before he died last February. Within weeks, loving dad Mal Duffy also died without ever regaining consciousness following a lung transplant.
An NHS Blood and Transplant spokesman said: "We do everything we can to make sure all donated organs are suitable for transplant.
"The transmission of an undiagnosed cancer is a known risk, although thankfully it is very rare. The cancer may be in only a few cells at the time of donation, and not possible to pick up.


Liverpool started this season with huge problems against Watford and 3-3 draw. They made a lot of mistakes in defense, but in attack were good even without Coutinho. He is still in the club, but didn't play in the first 3 games of this season and now will miss once again. In the first leg Liverpool were better against Hoffenheim and won with 2-1, but was lucky as the opponent missed a penalty, also missed great chance in the stoppage time. In the weekend the Reds faced Crystal Palace at home in a game from Premier League and had huge problems, but Mane scored and they won with 1-0. Lallana, Clyne and Ings are all injured and out, while Coutinho most probably will be left outsider of the squad.
Hoffenheim lost in the first leg with 1-2, but were very close to a draw and even a win as missed a penalty in the beginning of the game. Their performance in the local games were much better as eliminated Erfurt from Germany Cup with 1-0, also beat Werder Bremen with 1-0 in Bundesliga. There are no injured or suspended players, so full squad available, which is great news for the visitors. They will try to attack from the start of the game and score an early goal to keep their chances alive.
After all, Liverpool are with almost the same squad, which beat Hoffenheim in the first leg with 2-1, while the German side will have to attack more as they need to score at least 2 goals here on Anfield, so I expect an open game and lots of goals.


Header bidding 101: What is it, and why should we care?
While most people spent their summer adventuring on family vacations or lounging poolside, those of us on the publisher tech side of digital advertising were busy conquering the new innovative landscape of "header bidding." Since the term entered our collective conscious in mid-June when AdExchanger predicted it would lead to the "end of the publisher waterfall," the ad tech industry has been awash with articles and announcements about different companies launching this new technology (also referred to as pre-bid, advance, or tag-less bidding). As the summer fades and school is back in session, it is appropriate (and timely) to educate the industry with a primer on what header bidding is and what it actually means for publishers.
In the most elementary terms, it is technical implementation that allows a publisher to receive bids from multiple demand partners at the impression level, before making a call to their ad server. Anyone who has taken an intro to economics course may recall that when demand increases, prices rise. So as more buyers participate in the auction, the market will dictate higher CPMs for the publisher's inventory.
I don't know anyone who does not want to increase efficiency, but with Q4 quickly approaching, publishers need to be strategic and selective with their investments. So why should we as an industry invest in header bidding? It all comes down to the money, and header bidding provides significant lift for publishers. When programmatic demand is able to bid on each impression, it can compete against a publisher's internal and direct sold demand in real time. Referring back to our basic economic principal, more demand leads to higher yield for publishers.
Additionally, header bidding eliminates passbacks. With tag-based buys, when a network or exchange cannot fill an impression (or cannot reach a determined CPM floor), the impression gets defaulted back (or passed back) to the publisher's ad server to be filled elsewhere. Each of these additional ad calls requires ad serving fees that the publisher had to cover. Header bidding combines demand into a single auction within the ad server itself, thus eliminating passback costs and ultimately improving margins for the publisher.
While there are many benefits of header bidding for publishers, the practice is not without its challenges. As with any new technological solution, there are growing pains and additional learnings that the industry needs to make, and future header bidding iterations will no doubt surpass and outperform those that exist today. The primary obstacles publishers face when implementing pre-bid solutions involve implementation and latency.
Setting up a header bidding partner is by no means a simple task, and Technorati recently found that over 45 percent of publishers are frustrated that their programmatic demand partners cannot compete with each other on an impression-level. Header bidding companies are making the process easier through APIs and aggregation, reducing the headache for publishers who are interested in implementing pre bid solutions.
Once integrated, any additional code in the site header (which loads before page content) can result in increased latency and a poor user experience for site visitors. Header bidding companies have all but eradicated this issue with sophisticated timeout thresholds, so publishers integrating today do not see the same increased load times that were experienced by early adopters.
Despite the challenges that exist, one thing is clear: we are in the season of the header bidder. Publishers across the internet are schooling the competition by maximizing yield without changing their site's user experience, all with minimal hands-on work required for implementation. The market now needs to study up on the features and benefits of header bidding and embrace the monetization opportunities that header bidding offers to publishers.
Johanna Pesso is vice president of product at CPXi.
On Twitter? Follow Pesso at @JohannaP83. Follow iMedia at @iMediaTweet.


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Tag Archives: Ali MacGraw
Convoy (1978)
November 25, 2014 hangmantitan	3 Comments
Sam Peckinpah's penultimate film is Convoy, a Kris Kristofferson vehicle (sorry) about a bunch of truck drivers and their epic run-in with a corrupt lawman. The characteristics it shares with the other films from the late career of Peckinpah are not, unfortunately, anything other than the over-budget, highly confrontational, highly chaotic occurrences typical of the productions of Cross of Iron and The Killer Elite. The one difference in that regard is that Convoy actually did well at the box office, riding on the popular wave of truckerdom started by Smokey and the Bandit the previous year. But the uniqueness of that success is eyebrow-raising, too, for besides a chaotic production Convoy shares very few traits with any other film from Peckinpah's career.
Kris Kristofferson is the sinewy truck driver known by the CB handle "Rubber Duck", and his route across Arizona hooks him up with two of his trucker friends and a femme fatale played by Ali MacGraw. Their conflict with Ernest Borgnine's crooked cop "Dirty Lyle" provides the main clash of Convoy, and the film's title refers to the miles-long line of trucks that eventually forms in Duck's wake as he crosses the Southern U.S. The escalation of the convoy itself isn't too convoluted, which is to say that the pacing of this first chunk of the film is even and sensible. Preexisting animosity between Duck and Lyle leads to a situation of entrapment and extortion, which leads to the trucker retaliation at a diner, which leads to Lyle involving more and more policemen, which leads to the truckers involving more and more drivers. Ali MacGraw is just along for the ride (sorry).
Continue reading Convoy (1978) →
Ali MacGrawBring Me the Head of Alfredo GarciaCross of IronErnest BorgnineJames CoburnKris KristoffersonPat Garrett and Billy the KidSam PeckinpahSmokey and the BanditThe GetawayThe Killer EliteThe Osterman WeekendThe Wild Bunch
The Getaway (1972)
September 15, 2014 hangmantitan	5 Comments
There is a scene in The Getaway where Steve McQueen's Doc and Ali MacGraw's Carol evade a roaming cop car by diving into a dumpster. The pair end up swimming in trash for a lot longer than they'd probably expected, but it's the few shots leading up to this sequence that are the most interesting. As the cop car slowly turns the corner and begins the prowl down the thin alleyway, Doc moves furtively up to the corner and braces himself against the brick wall, gun drawn. This is Steve McQueen, major action star of the era, it's Frank Bullitt and Thomas Crown and The Freakin' Cincinnati Kid for chrissake – but when Doc sidles up to the corner of that alley, the guy playing him ceases to be so endearing as he usually is; those cops coming down the alley are about to die, and Doc's going to kill them.
He actually doesn't kill them, of course, and we're treated to the dumpster sequence instead. Point is that Doc's moral compass is way (way) off from the kinds of characters you usually see McQueen portraying, and the prospect of shooting cops dead is a decidedly likely prospect throughout the course of The Getaway. Sam Peckinpah plays with this beautifully, and it's possible that his second collaboration with McQueen (following the much more lighthearted Junior Bonner) was designed specifically to explore the questionable morality of the central character. It's also something that Peckinpah would continue to explore in his 1974 film Bring Me the Head of Alfredo Garcia.
It's more jarring here, through McQueen's Doc. Freshly released from prison, Doc takes Carol along on a heist as the getaway driver. The heist goes bad and team member Rudy (played brilliantly by Al Lettieri) attempts to kill Doc and take the money for himself. A narrow escape only paves the way for a multifaceted chase, with Doc and Carol, Rudy, the police, and other forces vying for the stolen cash. All the motivation Doc has is to survive, to not go back to prison, and to keep the money for himself; the first two motivations are understandable, but it's the third that receives most of the focus here. Doc really wants that money, and he'll beat up and shoot people to make sure he gets it.
Rudy's character, I think, effectively makes Doc's character tolerable, meaning we'd be a hell of a lot less likely to root for Doc if we weren't also rooting against Rudy. The two men being opposed from the very start is what provides us a clear good guy/bad guy pairing, or at least pushes that idea a little more into the light. One of the best Rudy scenes sees him riding in the back of a car driven by a man he has taken hostage. The man's simpleton wife inexplicably sides with Rudy during this entire encounter, and as the trio barrel down the highway Rudy and his new girl munch happily on sticky ribs. A rib fight ensues, meaning Rudy and the girl gleefully whip ribs and fries at each other and at the despairing hostage. Barbecue sauce coats the inside of the car. Suddenly, Rudy shrieks "I don't like this game no more!", and the trio go immediately back to silence. There's something weird and off-putting about this scene, very nearly bordering on disturbing, because Rudy's mental state is shown to be completely unhinged by something as absurd as a rib fight.
That said, Doc isn't a portrait of mental health either. His prison stint has had a clear effect on him, evident when he states it out loud – "It does something to you…It does something to you" – and again when he snaps at his own girl Carol. He strikes her for a simple misstep, and one could argue that his turnaround is as sudden and therefore even as repulsive as Rudy's. But we've seen Doc in prison at the beginning of the film, we've seen the mindless way that days bleed into one another and time slips into nothing, we've seen years of days in a few short minutes. Rudy doesn't have such a backstory, so his character traits are unexplainable, unreasonable, alien and terrifying. Doc may very well exhibit the same traits, but the reason we aren't scared of him isn't just because he's the protagonist or just because he's Steve McQueen. Doc's pain is the cause of his ruthlessness, and in this way out of the entire Peckinpah oeuvre The Getaway is probably matched only by Straw Dogs in terms of depth of character.
Al LettieriAli MacGrawBring Me the Head of Alfredo GarciaJunior BonnerSam PeckinpahSteve McQueenStraw DogsThe Getaway

redpajama_set_name: RedPajamaCommonCrawl


Focal, brass, assorted bright patina, assorted Pantone® colors, 30x20mm double-sided rectangle. Sold per pkg of 8.
Item Number: H20-3262FX Have a question about this item?
Economical brass focal components with patina embellishment have a colored surface that reproduces the weathered look of naturally occurring patina. Great alone as pendants or in groups, brightly colored brass patina focals add a splash of playful color to jewelry designs. Lightweight rectangles are double sided and professionally matched to PANTONE colors including bright green (17-0215), purple (18-3520), gold (18-0935) and teal (17-4818). Package contains two focals in each color. Brass patina drop surfaces are ideal for applying Magic-Glos®, Liquid Glass, Omni-Gel™ and polymer clay.
Focal, brass, assorted jewel tone patina, assorted Pantone® colors, 30x20mm double-sided oval. Sold per pkg of 8.
Focal, brass, assorted earth-tone patina, assorted Pantone® colors, 30x20mm double-sided oval. Sold per pkg of 8.
Focal, brass, assorted marbled patina, 30x20mm double-sided rectangle. Sold per pkg of 6.


text:
Lake Ukiel (or Krzywe Lake - informal name) is a lake in Poland which is located on Pojezierze Olsztyńskie, in the northwest part of Olsztyn, between district Dajtki, Gutkowo and Likusy.
 Lake's volume: 43 611,5 tys. m³
 Degree of purity: II (2004)
 Category of susceptibility to degradation: II (2004)

Ukiel is the biggest lake in Olsztyn. There are pensions, hotels and a municipal beach.

External links
Gallery of photos
Lake Ukiel in tourist guide www.jezioro.com.pl

Ukiel
Olsztyn
Ukiel


In November 2007, Doc2Dock shipped 1420 pounds of medical supplies to Kenya for use in the health clinic serving Salabwek and the surrounding communities. The supplies included such items as gauze sponges, scalpels, and wheelchairs.
View entire shipment list. View photos and stories from the field.
Copyright © SVQF. All Rights Reserved.


text:
Tag: Viggo Mortensen
Viggo Mortensen's Falling
July 5, 2021 by natewatchescoolmovies, posted in Film Review
I love to see it when a cherished and talented actor makes their debut as a director, especially if they absolutely nail it, and Viggo Mortensen's Falling is an astonishingly terrific first time effort behind the camera, in front of it and collaborating with one of cinema's most prolific and underrated character actors, the mighty Lance Henriksen. Mortensen paints a deeply personal and seemingly autobiographical portrait of a stormy father son relationship here, a dynamic put to the absolute test in its twilight years as dementia throws a curveball. Henriksen is Willis Petersen, a conservative, sexist, crass, bigoted, bitter, flint-edged old goat whose emotional problems and inability to properly communicate made life extra tough on his wife and two kids growing up on a farm in chilly upstate New York. He is now a snowy haired senior citizen who can barely remember what day it is, and journeys with his grown up son John (Mortensen; patient, restrained, meticulously pensive until the breaking point) to live with him, his husband (Terry Chen) and their young daughter (Gabby Velis) in sunniest California. Willis is utterly and completely out of his element in this setting, while John, his family and the rest of the city do their best to ignore, endear and diplomatically deflect his brittle onslaught of angry, bigoted, rude and altogether inappropriate behaviour. Willis is a tough cookie to love or care for, especially in this golden age of hyper-tolerance, but Henriksen, in an absolute career best tour de force, makes him not just another angry old man but a human being who is so scared of dying, losing his memories of life and slipping away from the life affirming groove of his routine that he's lashing out at basically everyone around him. Except for his young granddaughter, his relationship with her is perhaps the only genuinely warm-hearted and easygoing interaction he allows himself to inhabit. Mortensen masterfully edits together their present day life in Cali with picturesque, auburn laced and earthen flashbacks to Upstate NY where we see a young Willis (Sverrir Gudnason) raise John and his sister, struggle to be there for them without letting his flaws run amok and navigate through two marriages, one to the children's sensitive mother (Hannah Gross) and later to another (Bracken Burns). Laura Linney gives a reliably focused and mesmerizing turn as Willis's grown up daughter, who does everything she can not to get emotionally compromised by her father's issues, and there's a sly cameo from Viggo's longtime pal David Cronenberg as a stoic butt doctor whose scene with Willis highlights some of the films coarse black humour, often at the expense of his son's homosexuality as John himself looks on in almost unfathomable patience. It's easy to condemn and dismiss a difficult character like Willis, but Mortensen's complex direction and Henriksen's volcanic yet finely shaded nuance refuse the viewer in drawing such hasty, narrow conclusions. Mortensen's surreal editing, fluidly washed transitions, the wonder of the natural world and the magic of music to remind us that human beings are never just one thing and that a seemingly lost, scared and downright mean old man is still capable of compassion, patience and a modicum of self reflection, even in the eleventh hour. This is an astonishing film and a staggering debut for any filmmaker of any background with a central performance by Lance that anoints his entire epic career with that one last minute entry to crown it all, he and the film overall are truly magnificent.
Tagged Bracken Burns, cinema, David Cronenberg, drama, Falling, film, film review, film reviews, films, Gabby Velis, Hannah Gross, lance henriksen, Laura Linney, movie, movie review, movie reviews, Movies, Sverrir Gudnason, Terry Chen, Viggo MortensenLeave a comment
B Movie Glory: American Yakuza
December 2, 2020 by natewatchescoolmovies, posted in Film Review
I mean what can you expect from a film called American Yakuza? There's no lofty cultural metaphors at play here, it's quite literally about infiltration of the infamous Japanese crime syndicate by a lone wolf FBI deep cover agent played by Viggo Mortensen, who had quite the fascinating career before Lord Of The Rings shunted him into the international spotlight. He's an interesting guy who really broke the mold with Aragorn but before that Hollywood didn't quite know what to do with him, casting him in a goody bag of incredibly eclectic roles that saw him serve as action hero, sage mentor, maniacal villain and even The Devil himself. Here he's restrained, sardonic and carries the role of this somewhat renegade Fed well, underscored by solid action scenes and obligatory early 90's melodrama. He's caught between a ruthless yet honourable Yakuza boss (Ryo Ishibashi) who believes him to be one of the ranks, an equally ruthless mafia Don (scene stealing Michael Nouri) with no honour whatsoever who wants to wipe the Japanese out and a corrupt, unorthodox FBI section chief (Robert Forster) who is trying to pit both forces against each other and let the animals wipe each other out in a collective bloodbath. Viggo is stuck in the middle and I found his character fascinating because he's alone in the world, the reason he joined the bureau is he had no family, nothing to lose and he sort of finds one in the Yakuza, before loyalties are tested and all hell breaks loose. This is a pretty substandard 90's action flick that benefits a great deal from Mortensen, who could literally make interesting acting work out of portraying a soup cracker. Nouri is also a vicious treat as the Italian mob boss, an evil xenophobic asshole who loves to provoke others, intimidate his own men and is just an all round rotten bastard. Fun stuff, streaming on Amazon Prime these days.
Tagged action, American Yakuza, cinema, film, film review, film reviews, films, michael nouri, movie, movie review, movie reviews, Movies, Robert Forster, Ryo Ishibashi, Thriller, Viggo Mortensen, YakuzaLeave a comment
David Cronenberg's A History Of Violence
April 22, 2020 by natewatchescoolmovies, posted in Film Review
Every director at some point is encouraged to challenge the aesthetic they are known for, traverse terrains beyond the thematic and stylistic comfort zone they are accustomed to and bless new lands of genre and tone with their talent. Some don't and stick with what they know, which is fine, while others break free as David Cronenberg did with his fearsome psychological horror story A History Of Violence. Cronenberg is a horror old-hand who loves his prosthetic body parts and buckets o' blood, albeit always accompanied by strong themes and pointed subtext. Here he trades in the schlock (but not the gore, there's still plenty of that) for a different sort of horror, the arresting mental climate of violent criminals and the roiling psychological unrest that goes hand in hand with such vicious behaviour, no matter how hard one might try to asphyxiate dark impulses with methodical conditioning. Viggo Mortensen is Tom Stall, small town Everyman, husband, father, greasy spoon diner magnate and pillar of a bucolic slice of Americana. Or is he? The film opens as two ruthless psychopaths (Stephen McHattie and Greg Bryk are so good they deserve their own spinoff film) barge into the idyllic sanctuary of his restaurant and terrorize patrons and staff alike. Tom reacts with uncharacteristically lithe force, quickly and frighteningly dispatching both to the lands beyond with a few quick moves, several gunshots and a pot of hot coffee (one brutal fucking way to die). He's lauded as local hero and chalks up his heroic reaction to pure instincts… and that's when the film gets really interesting. Back in the mid 2000's before social media it would take making international news to dredge up any sort of long buried, sordid past one might have, but sure enough the press comes a'hounding and soon trouble comes a'knocking in an ominous black Chrysler containing one very pissed off Ed Harris as 'organized crime from the east coast' who is sure Tom is actually a fellow named Joey, who he once shared a scuffle with over some barbed wire. So who's lying and who's not? I mean it's obvious Tom has a past, the fascination lies in both uncovering it and watching him try to reconcile it with the man he has become since then. The film gets positively Shakespearean when yet another Philadelphia wise-guy played by William Hurt enters the picture and pretty much steals the fucking film from everyone, the skill that dude has is amazing and what he does onscreen in about five minutes not only demonstrates his wry, diabolical control over a scene but completely justifies the Oscar gold he went home with, fucking bravo. The film starts where many other crime/noirs would end: a man with a violent past has found a way out, a proverbial light at the end of the viscera tunnel, and lives not necessarily happily ever after… but free from the din of his former incarnation anyways. Until two punks stir the long dormant reflexes, he ends up on the news and it all comes full circle. I think this film is so brilliant because of what is left unsaid, unexplained and unexplored; it's barely over ninety minutes long but contains enough thematic implications to fill up or at least catalyze a half dozen films. But it never feels a moment longer or shorter than it needs to be. Mortensen's performance is about dead on flawless, full of so many veiled notes that are conjured into view with multiple watches, which the film begs of any viewer. Equally spellbinding is Maria Bello as Tom's firebrand of a wide who finds herself at odds with her own loyal nature when the shards of truth start to eviscerate their family. She's an actress that Hollywood inexplicably doesn't entrust with dramatically heavy roles too often but it's their loss because when she lands a golden egg of a character like this she practically moves worlds. Harris has a ball as the bulldog on low simmer baddie who wishes he was as big of a bad as Hurt, who almost brings down the house and start his own fucking franchise before… well, I won't spoil it that much. I would have loved to have 'put it simply' in my review and not drawled on in adoration like this but it's just that kind of film. In a way it does the same as I have: it's barely over an hour and a half and any film of that length could just 'put it simply', but in that brisk runtime there's galaxies of psychological depth and treatises on human nature to unpack. Gotta throw a late hour bone to Howard Shore's impeccable original score as well, an austerely baroque yet somehow evocatively Midwest composition that calls to mind everything from B&W classics to his work on Lord Of The Rings, which somehow suits the mood. A stone cold classic.
Tagged A History of Violence, Ashton Holmes, cinema, Crime, David Cronenberg, Ed Harris, film, film review, film reviews, films, Greg Bryk, Howard Shore, Maria Bello, movie, movie review, movie reviews, Movies, Stephen Mchattie, Thriller, Viggo Mortensen, William HurtLeave a comment
Peter Jackson's The Lord Of The Rings: The Two Towers
The middle chapter in any trilogy has the unfortunate luck of being an oasis interlude that by definition can't have an opening or a conclusion, because a hunk of story came before it and, naturally, there's more to come after. However in the case of Peter Jackson's The Lord Of The Rings: The Two Towers, it adapts and adjusts that malady by finding it's own groove with a surging forward momentum that is removed from the episodic nature of both Fellowship and Return Of The King. It's not my personal favourite of the three (Fellowship holds that trophy on sheer potent nostalgia alone) but to me it's the most unique in the sense that *because* it has no bookend on either side of its narrative, it ironically feels like the most independent chapter.
There's a restless surge of movement from every side of the action here; Frodo and Sam are uneasily led by Gollum through a haunted, labyrinthine marsh ever closer to the acrid peaks of Mordor. Aragorn, Legolas and Gimli furiously race to save the entire population of Rohan from devastation at the hands of Saruman, the good wizard who went about as bad as you can go, and his manipulative lackey Wormtongue. Merry and Pippin are whisked away on the shoulders of Ent elder Treebeard on an endless hike through Fangorn Forest, and eventually Isengard itself. Even Gandalf doesn't get a sit-down or a smoke break, propelled on a dizzying battle with the Balrog and thrown right back into the struggle for Middle Earth with Tim for nought but a wardrobe update and hair dye. It's that movement, the ever forward rhythm that sets this one apart and emphasizes what a truly massive journey this whole story is. Fellowship had dreamy interludes in Rivendell, whimsical leisure time spent in The Shire and near constant time to reflect and sit down for these characters, and Return had… six different endings that broke the pace. Two Towers begins with fiery chaos in Moria, holds that note throughout and finishes literal moments after the thunderclap battle of Helms Deep, which is still just an incredible piece of large scale filmmaking.
This one also introduced two of my absolute favourite characters in the whole trilogy, Theoden king of Rohan and his warrior niece Eowyn. Played by Bernard Hill and Miranda Otto, these two performances just sing through the whole film, drawing sympathies not just for Rohan but the entire human race, it's struggle and earning every cheer out loud moment. The whole conflict with Rohan, despite again not being the inciting event in the war for Middle Earth or even the final battle, feels very immediate and important thanks to Hill, Otto, everyone involved and the monumental special effects involved in bringing the terrifying Uruk Hai army to life. There's a tactile use of CGI that's almost subtle enough to blend in with the real world elements, and despite being made like almost two decades ago, they still hold up and eclipse other similar efforts in more recent years, especially with the battle, Treebeard and poor Gollum who still looks fantastic. The stuff with Frodo is less compelling, or at least to me, I've always found in the latter two films that his trajectory gets increasingly dark, horrific and suffocating and find myself counting down the seconds until we rejoin the others. I suppose that's the point as he is carrying that terrible Ring, but nevertheless, always tough to make palatable.
The climactic battle that goes on for nearly fifteen minutes, the incredibly cathartic siege of the trees on Isengard, the hair raising Warg attack, Gandalf's final boss battle with the Balrog, Eomer (Karl Urban, a study in badassery) and his company massacring the Uruk war party, all are standout moments and fantastic pieces of cinema. But there are a few moments that are always present and important in my mind when watching this film: As a small village in Rohan is plundered by marauding orcs, a desperate mother sends her two (Robyn Malcolm) sends her two children ahead of her on horseback, and nothing is more heartbreaking or immediate than this parting. Later on, Theoden stands by the grace of his son and weeps against a twilit sky while Gandalf looks on in sorrow and utters words of comfort. Elsewhere, Frodo, despite being under the malicious influence of the Ring, takes pity on Gollum and treats him with compassion even though the creature has a track record of nasty behaviour. It's the little moments like these that ground the story in emotion, create a stirring palette for the characters to interact in and make the battle scenes count for something.
Tagged action, bernard hill, Billy Boyd, brad dourif, Cate Blanchett, Christopher Lee, cinema, dominic Monaghan, Elijah Wood, fantasy, film, film review, film reviews, films, Hugo Weaving, Ian Mckellan, John Rhys-Davies, JRR Tolkien, Karl urban, Liv Tyler, middle earth, Miranda Otto, movie, movie review, movie reviews, Movies, Orlando Bloom, peter Jackson, Robyn Malcolm, Sean Aston, The Lord Of The Rings, Thriller, Viggo MortensenLeave a comment
Peter Weir's Witness
Witness is one of those films that in the hands of a less inspired director could have turned out to be pretty run of the mill thriller stuff, but they gave the script to Peter Weir, and he's made a career out of films that could be called just about anything but run of the mill. This is essentially a fairly grounded tale of big city detective Harrison Ford undercover in Amish country to protect a young boy (Lukas Haas) who accidentally saw a cabal of corrupt cops murder someone in cold blood. It's a fish out of water tale, it's got budding romance, hot blooded action and even some comedy here and there. But there's also this lyrical, esoteric atmosphere Weir brings to every project that really makes it something special. There's a danger present in the Amish community, or rather the threat of such as seen in the long grass of the fields or sensed on the fringes of their village where the tree line looms. There's a blessed calm as Ford learns the ways and customs of these folk and gets close with the daughter (Kelly McGillis) of one of their elders (Jan Rubes, a scene stealer) but alongside that there's this restless, inexorable foreboding that these evil officers of the law could turn up at anytime and turn the calmness into a storm to follow. They eventually do, of course, and are played by the fearsome likes of Josef Sommer and Danny Glover, arriving like phantoms to herald a showdown of stealth and gun violence that is Western to its core but still stings with the grit of an urban cop flick. I love this film not so much for the story or script (both of which are just fine) but for the *feeling* it evokes, the ambience spun onscreen by Weir and composer Maurice Jarre, whose work here is ecstatically beautiful. There's an extended sequence where we see the Amish folk building a barn and it's a simple enough task, but something about the dutiful way Weir films it coupled with an almost grandiose passage of Jarre's music makes it come alive in a way that not many scenes of its nature do in film. And always, lurking in the background, is the fear that danger is on its way, a sustained distillation of unease that helps to make this a gorgeous, effective thriller and all round great film.
Tagged cinema, danny glover, film, film review, film reviews, films, Harrison Ford, Jan Rubes, Josef Sommer, Kelly McGillis, lukas haas, Maurice Jarre, movie, movie review, movie reviews, Movies, peter weir, Thriller, Viggo Mortensen, WitnessLeave a comment
"I never touched a legend before." : Remembering Nightbreed with Nicholas Vince by Kent Hill
June 5, 2019 by Kent Hill, posted in Interviews
https://podcastingthemsoftly.files.wordpress.com/2019/06/vintro.mp3
Seems to me NIGHTBREED had been out for a while before I made a point of sitting down to watch it. I'd seen the trailer a bunch of times, been curious, but it wasn't until I read the illustrated screenplay that I admit to really becoming hell bent on checking it out.
It is at once a phantasmagoria, a dark fantasy, a love story – a rich, self-contained world that seemed on the verge. But, as I would discover, the powers that be didn't receive from Clive Barker what they were hoping for. He had produced for them two Hellraiser pictures, thus they made the mistake of assuming they were set to receive yet another study in fear. Especially with a title like, Nightbreed. Hence you have the reason for the fractured state of the movie and all the subsequent releases and restorations – the producers attempting to fashion the movie into something it was never meant to be.
What you ultimately take away from Barker's monster-piece is the feeling of wanting more – and not just a re-cut of the existing elements. I suppose that's why the idea of a Nightbreed series, I feel, would work better than another motion picture. There is so much to mine, so many characters – along with my favorite, Kinski (played by my guest Nicholas Vince), that I would love to see make a return.
So, kick back and enjoy our discussion on all things concerned with the tribes of the moon. "God's an Astronaut. Oz is Over the Rainbow, and Midian is where the monsters live."
BEFORE YOU GO, CHECK THIS OUT…
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Tagged anne bobby, Batman, Clive Barker, Craig sheffer, Danny Elfman, David Cronenberg, Doug Bradley, Ed Harris, hellraiser, Jack Nicholson, Jeff Goldblum, Johnny Depp, Kim Basinger, michael ironside, Michael Keaton, Nicholas Vince, Nightbreed, oliver reed, pinhead, Scanners, the brood, The Fly, Tim Burton, Viggo MortensenLeave a comment
Renny Harlin's Prison
March 2, 2019 March 2, 2019 by natewatchescoolmovies, posted in Film Review
Before Lord Of The Rings shot him into the stardom we know today, Viggo Mortensen had one oddball of a career leading up to it. Between playing the Devil, appearing in one of the more bizarre Texas Chainsaw sequels and training Demi Moore to be the first female Navy Seal he did Renny Harlin's Prison, a little known, low budget horror flick that's actually quite a lot of fun. A slick, schlocky hybrid between classic grassroots prison films and effects heavy gore of the 80's, it sees an ancient precinct becoming haunted by the ghost of a long dead inmate who got the chair, perhaps wrongfully. The Warden (Lane Smith) is an angry old prick whose demons are coming back full force and he's taking it out on the convicts big time. Mortensen is Burke, a mysterious con with integrity and grit who helps out when he can doesn't stand for the warden's bullshit. Chelsea Field is a prison board member who gets swept up in the whole thing and watch for Tom Everett, Kane Hodder, Lincoln Kilpatrick and Tiny Lister too. Smith plays the Warden not as so many have done like an outright sadistic villain, more a severely stressed out career man who has turned ugly overtime and started to project his frustrations in the most damaging ways, given his position of power. This is very low budget stuff and it shows, but there are still some striking set pieces including a solitary cell that heats up like a red hot furnace and fries those inside gruesomely and a string of barbed wire that comes to live and wreaks all kinds of havoc. Harlin made his debut here and it's a strong one, he makes exciting decisions with the actors and handles the horror excellently. I could have used a tad more backstory on Mortensen's character as some more exposition regarding the ghost convict, but other than that this is a blast.
Tagged Chelsea Field, cinema, film, film review, film reviews, films, horror, Kane hodder, Lane Smith, Lincoln Kilpatrick, movie, movie review, movie reviews, Movies, prison, Renny Harlin, tiny lister, Tom Everett, Viggo MortensenLeave a comment
34th Annual Santa Barbara International Film Festival Wrap-Up Podcast
February 25, 2019 February 25, 2019 by Frank Mengarelli, posted in Film Review, Podcast, Santa Barbara International Film Festival
https://podcastingthemsoftly.files.wordpress.com/2019/02/sbiff-podcast.wav
Welcome back to our annual Santa Barbara International Film Festival podcast! Tim and Frank recount their experience at this year's festival. Included in the red carpet interview portion of the podcast is Roger Durling, Rami Malek, Adam McKay, Spike Lee, Viggo Mortensen, Richard E. Grant, Glenn Close, Josh Lucas, John David Washington, and Sam fucking Elliot.
Tagged A Star is Born, Adam McKay, Alfonso Cuaron, Blackkklansman, Bohemian Rhapsody, Can You Ever Forgive Me, Frank Mengarelli, Glenn Close, Green Book, interview, josh lucas, Podcast, podcasting them softly, Rami Malek, Richard E. Grant, Roger Durling, Roma, Sam Elliot, Santa Barbara, Santa Barbara International Film Festival, SBIFF, Spike Lee, The Wife, Tim Fuglei, Vice, Viggo MortensenLeave a comment
SBIFF: Viggo Mortensen on David Cronenberg, Green Book, and putting Coca-Cola in The Road.
February 4, 2019 February 4, 2019 by Frank Mengarelli, posted in Film Review, Santa Barbara International Film Festival
Vladimir Putin was an inspiration for his character in Easter Promises, he owned his two horses from the Lord of the Rings, and then T.J. from Hidalgo, and he thinks it is total bullshit that David Cronenberg has never been nominated for best director. Viggo Mortensen is an accidental movie star who is fluent in seven languages, has his own publishing house, and never tires of people walking up to him on the street to talk to him about Aragorn. The 34th Santa Barbara International Film Festival's American Riviera Award was presented to Mortensen by his two-time co-star and one-time director, Ed Harris, which was preceded by a delightful two-hour Q&A with Deadline's Peter Hammond.
Mortensen is currently making the rounds for his third Academy Award nomination for one of the year's best films, The Green Book, knowing full well that he's going to be three and out but continues to champion a film that he truly loves and believes in. He and Harris were about an hour late to the event, a serve storm prolonged their trip up from LA, diverting to take a private plane to a local airport and eventually hitting the red carpet and taking his time along the way promoting his latest feature.
"Coke doesn't do R rated films, and then I asked if I could call the guy," Mortensen continued, "I can't remember his name, but I called the rep from Coca Cola and asked him if he had read The Road. He had not but his wife or someone he knew had. I told him to read pages, I don't know, eighty-six through eighty-seven. And then to speak to his kids or his wife or whoever, and then in a few days he called back, and we could use Coke."
His first on-screen appearance was in Peter Weir's Witness, which came right off the heels of his scenes being cut from Woody Allen's The Purple Rose of Cairo. He was in his very early twenties when he decided to become an actor, there was not a specific film or an actor who inspired him, but the theatre experience was an emotional enlightenment that was woven with curiosity about how film could evoke reactions from laughter to tears.
The Lord of the Rings series is a part of his life that remains incredibly special to him. Not only did he love making the films, but he also speaks to what that afforded him to achieve not only professionally, but also personally. He started Percival Press, a publishing house that produces works of poets, musicians, and photographers as well as his own music, poetry, art, and photo books.
The Extended Cut of The Fellowship of the Ring is his favorite of the trilogy, reasoning that it was the film with the most human to human interaction. As the films went on, there was more CGI, more green screens, creating less and less interaction with other people. That was not a slight towards the other films, he warned because he has stated the same prior and he has been taken out of context.
Mortensen has a flip phone and has gotten better at emailing since he launched his website, but he's just not all that interested in modern technology and frankly doesn't find an interest in it. He is more interested in bringing stories to the screen that would not otherwise have a voice. He finds unique narratives and uses his movie star cache as a vehicle to shine a light on compelling characters and writer-directors whose visions would not be told.
Green Book is a special film to Mortensen, he loves it and the character of Tony Lip. He is very aware of the campaign against the film, especially how some are citing that the real Tony and Dr. Shirley were not friends and the film is a false representation of factual events. Firstly, Mortensen noted that Green Book is a movie, and only covers a span of two weeks and that Tony Lip went on to drive Dr. Shirley for another two years, and moderator Peter Hammond noted that Deadline has published audio tapes of Dr. Shirley speaking of his friendship with Tony and how the two remained friends for the rest of their lives.
He spoke very highly of the cast of Captain Fantastic and especially Mahershalla Ali, and how Ali was the greatest acting partner he's had. He made not of Ali's reactionary acting to him, and how so much of Ali's performance is store within his reactions and economy of movement. He also spoke of his fondness for Ed Harris, who was there to present Mortensen with the award.
Dressed in cowboy boots and a red vest that looks like something William Holden would have worn in a genre-pushing western, Harris gave a rather straight forward yet emotional tribute to Mortensen, conveying that their friendship was built on a foundation of loyalty. Mortensen thanked Harris, SBIFF, and executive director Roger Durling for an award that he was not just a nominee for, but the outright winner. Mortensen is the strong silent type who is fiercely intelligent, and a man made up for passion and raw talent that elevates every single project that he touches.
Tagged Cormac McCarthy, David Cronenberg, Ed Harris, Hidalgo, lord of the rings, Percival Press, Peter Hammond, Santa Barbara International Film Festival, SBIFF, The Road, Viggo MortensenLeave a comment
Best of 2018: Peter Farrelly's GREEN BOOK
January 12, 2019 January 11, 2019 by Frank Mengarelli, posted in Film Review
Had 2018's GREEN BOOK been made in the late 80s or early 90s by Martin Scorsese or Sydney Pollack with Robert De Niro and Denzel Washington in the lead roles, it would have been hailed a seminal classic of that era it would be one of those films that revolved around in conversation when discussing DRIVING MISS DAISY, PHILADELPHIA, or CITY SLICKERS; films that have a dramatic narrative that encompasses topical and social issues, but also have an undercurrent of humor, electrifying chemistry between the leads, and made with a mature and classical aesthetic that does not come across as heavy-handed, agenda driven or overly preachy. Yet, in 2018 the film and its filmmakers find themselves embroiled in controversy as the film leaps to the top of the pack as the awards season intensifies.
The picture is a charming and good-hearted road film between Viggo Mortensen as Tony Lip, a rough-edged Italian from an inner-city gulch and Mahershala Ali as Dr. Shirley, an over-educated worldly maestro who embark on a musical tour that takes them well below the Mason Dixon Line in 1962. The film has many laugh out loud moments between the micro worldview of Mortensen and the macro view of Ali. GREEN BOOK has an inverted narrative of most current films about racism and sexuality as the primary focus of the plot is the friendship and connection that builds between the two leads, as race and sexuality are dealt with in a reserved and respectful manner.
Mortensen is wonderful as he channels the archetypal blue-collar guy with a high school education at best. He gained weight for the role, chain smokes cigarettes, speaks in double negatives, and folds an entire pizza in half and eats it. Ali is just as good with his stoic and physical presence, giving a calculated reserved performance that is the definition of the economy of movement with his absolute disdain that turns into love for Mortensen.
Based upon a true story of happenstance meeting turned into a lifelong friendship, the film does not aim to cure racism nor does it intend that white people can solve the problem with a snap of their fingers, the film is about personal growth and enlightenment. Had this film been made in the late 60s or 70s by Hal Ashby, Sydney Lumet or Mike Nichols starring James Caan and Sydney Poitier GREEN BOOK would be a film that revolves in the same conversations as NETWORK, THE LANDLORD, or THE GRADUATE.
Tagged 2018, film review, Green Book, Mahershala Ali, Peter Farrelly, Viggo MortensenLeave a comment


This is a special edition for SQL Snacks. It is one (of many hopefully) SQL Snacks that has been recorded with the intention of fulfilling a request by a SQL community member looking to learn more about SQL Server. It is straight forward, very basic, beginner level information about Joins with a few examples.


Copper has a unique luster that makes it the perfect economical alternative to sterling silver in handcrafted jewelry. This metal is taking the jewelry industry by storm. Copper cuffs are highly fashionable and add a little drama to your favorite look. Stack them or wear a single cuff – either way – copper cuffs can transform your personal style and add energy through stylish jewelry. Paired with skinny jeans or a sundress, copper cuffs add much style and sophistication to any ensemble. The key to making the stacked cuff style work is to go big. Stack intricate cuffs of various sizes for a refreshing way to add a bold kick to your wardrobe. The combination of textures can add glamour to any outfit. Cuffs come in a multitude of styles, from classic gold to textured silver – but copper jewelry is in-style for the upcoming seasons. On the 2012 runways, jewelry designers created chunky, knotted, or thin wire styles of metals with eye-catching embellishments.
Copper cuffs pair well with neons, florals, pastels, and colorblocking trends. They are also ideal in combination with geometric shaped cuffs, oversized cuffs with floral embellishments, and cuffs incorporated with various fabrics. Copper cuffs can be worn to a variety of events, due to their versatility and ability to dress up or down any ensemble. Try a cuff in combination with a cocktail ring on the opposite hand for balance. Copper cuffs are also highly work-friendly or a great touch to simple clothing.
Thick cuff bracelets bring much flair to nearly any ensemble. Large cuff bracelets possess an eye-catching design. The larger size of this chunky style of cuff leaves plenty of room for artwork and intricate etching. The key to wearing thick cuff bracelets is to keep the other jewelry worn simplistic. Cuff bracelets have the ability to accentuate a variety of fashions, both extravagant and simple. Copper cuff bracelets come in a variety of styles and can be worn alone or layered. They are highly versatile, with the ability to be layered to create an accessorized effect. Copper cuffs can also be worn on their own to add a hint of sparkle to a simple outfit. Designs often have a look that resembles floral patterns, basket weaves, hammered, or anticlastic cuff designs. They are widely found in many cultures, as Thai and Irish jewelry is often featured with floral and tribal patterns, and copper cuffs always make great gifts.


As a poet, these days, you are expected to read your work at festivals and events, in pubs, theatres, fields and on hillsides..! This course aims to help build your confidence, help you find your reading style, arm you with some practical techniques and create a space in which to get feedback on your performance skills.
There will also be a chance to practice reading aloud and get feedback from peers and the course leaders.


Divine Soul Ride is the first album from Los Angeles based George Foster, a fella who in his younger days appeared in Wayne's World, as the guitarist playing alongside Tia Carrere. As you might expect then, he and his band aren't about to serve up a plateful of acoustic Delta field songs – their diet is very much hard rockin' blues.
To begin at the very end, closing track "The Fields Of Aberdare" demonstrates that Foster can put together a widescreen epic if he puts his mind to it. Founded on an interesting, twisting riff, it builds patiently, draping the vocals of Jarrett Williams in a touch of reverb as he tells a tale of a wanderer who can never go back home, with guitar licks nicely counterpointed against the riff, and some enjoyable shifts in tone. Okay, so there's some unnecessary tapping, but it does sign off proceedings in satisfying fashion.
At the other end of the album, they kick off with straight ahead blues-infused hard rock, on "Dancin' With The Devil" and "I Did My Time", the former featuring a 21st Century rollin' an' tumblin' type riff, and the latter a catchy chorus, even if the lyrics – as they are elsewhere – could have done with more work. "My Cheatin' Ways" underlines Foster's handy way with a complex, ducking and diving riff, but also his tendency to overdo the scattering of wah-wah licks between every line.
What then becomes apparent in the middle of the album is that Foster is an aficionado of Hendrix's combination of funky, choppy riffs and the aforementioned wah-wah inflected soloing, and with some neat bass lines from John Hart thrown into the mix they make a good job of capturing those essential Jimi components. When they add in some light and shade, as on "Evangeline" and "Secrets", or a typically strong riff such as the ascending figure on "Hard Times", the results can be pretty satisfying. What they don't have though, is either the personality of Jimi's lyrics and vocals, or the head-turning wit of his arrangements. But on the latter point, to be fair, who does?
Divine Soul Ride is a well-assembled, likeable collection of blues-rock, strong on clever riffs and with some good hooks. It should also be said that the sound is excellent, unfussy and well balanced. As debut albums go, it's a decent marker. But I reckon that George Foster and his pals can make something more distinctive, when they find their own voice.
I'm a big new fan! Great album if you want some hard rock in bluesrock!
The vocalist Jarrett Williams is top notch too!


ABSTRACT - This paper reports the findings of an investigation of the impact that distractor similarity has on the recognition memory for print advertisements. Two issues are investigated. First, the direct impact of distractor similarity on brand and claim recognition memory scores is investigated. Second, the attenuating impact of distractor similarity on the study of other variables posited to impact memory is investigated. A method for assessing distractor similarity is discussed, along with implications for advertising research.
James W. Peltier and John A. Schibrowsky (1992) ,"The Relationship Between Distractor Similarity and the Recognition of Print Advertisements", in NA - Advances in Consumer Research Volume 19, eds. John F. Sherry, Jr. and Brian Sternthal, Provo, UT : Association for Consumer Research, Pages: 94-100.
This paper reports the findings of an investigation of the impact that distractor similarity has on the recognition memory for print advertisements. Two issues are investigated. First, the direct impact of distractor similarity on brand and claim recognition memory scores is investigated. Second, the attenuating impact of distractor similarity on the study of other variables posited to impact memory is investigated. A method for assessing distractor similarity is discussed, along with implications for advertising research.
The use of recognition as a measure of memory has increasingly become a prominent topic in both academic and applied research (Leckenby and Plummer 1983; Stewart et al. 1985; Singh et al. 1988). Much of this interest stems from the growing concern that recognition may be more appropriate than recall for assessing certain types of advertising effects (Bettman 1979; Krugman 1972, 1985; Singh et al. 1988; Zielske 1982). The fundamental difference between these two measures is that in a recall task an individual must describe a non-present stimulus, while in a recognition task a stimulus is judged on the basis of whether it had been previously seen or heard (Bettman 1979).
Critics of recognition contend that it is a less sensitive measure for detecting differential memory effects than is recall. This belief is based on the substantially higher memory scores and resulting ceiling effects that are often associated with recognition (Haber 1970; Krugman 1979; Shepard and Chang 1967). However, the ease with which a stimulus is recognized is partially a function of the similarity between the stimulus and relevant distractor items. Specifically, researchers in cognitive psychology have shown that stimulus recognizability decreases as distractor similarity increases (Jorg and Hormann 1978; McNulty 1965; Postman et al. 1948).
Despite the potential inverse relationship between distractor similarity and the recognition of an advertisement, this issue has been largely ignored in the marketing literature. The typical approach used by advertising researchers has been to arbitrarily assess the similarity between a target stimulus and its distractors. This subjective procedure for selecting distractors creates two major problems for advertising researchers. First, the level of difficulty for a particular recognition task can not be quantified. Second, and potentially more important, a similarity bias may exist due to the inability to equate distractor similarity across advertisements and/or experimental treatments. These are critical issues that must be addressed before recognition tests can be effectively employed in advertising research (Singh and Cole 1985).
We report the findings from an experiment that examines the effect that distractor similarity has on the recognition of brands and claims presented in print advertisements. In addition, an attempt is made to determine which level(s) of similarity is (are) most sensitive to memory differences. A simple method for equalizing distractors across advertisements and treatments is also discussed.
This section is organized into two separate parts. First, the different types of recognition tests are described. Second, the extant literature that has investigated distractor similarity is examined.
'Yes'/'No' Test. Subjects are shown a set of stimuli one at a time. For each item, subjects are asked to respond 'yes' if they have previously seen that item and 'no' if they have not. Typically, there is one distractor for every item in the original list of stimuli.
Batch-Testing. In a batch-testing recognition test all of the original stimuli and all of the distractor items are presented at the same time. Subjects are asked to select those items that they had previously seen.
Forced-Choice. In this method, subjects are asked to identify a previously seen stimulus from a list containing one or more distractor items. This task is repeated once for every stimulus on the original list. Unlike batch-testing, there is only one 'correct' response per set. When one distractor is used this is called a two-item test, when two distractors are used it is a three-item test, and so on.
An additional measure that is often obtained along with recognition is to have subjects indicate the degree to which they are confident with their responses. Confidence ratings are typically obtained via a three- to five-point scale ranging from very confident that the response is correct to not confident at all. The confidence ratings are then used to transform correct and incorrect responses into a more sensitive multi-point scale. It has been argued that this procedure contributes considerable information for data analysis. In particular, statistical analyses can be conducted on the transformed data that are free of distortions (Singh and Rothschild 1983b).
While the issue of distractor similarity is of extreme importance for measuring advertising effectiveness, it has received surprising little attention in the marketing literature. The work that has been done in this area has been of a conceptual nature. Specifically, Singh and Rothschild (1983a) suggested that recognition scores could be lowered, and thus made more difficult, by employing very similar distractors. More recently, Singh and Cole (1985) stressed the importance of equalizing distractor similarity across test ads and treatments.
There is a body of knowledge within the cognitive psychology literature that has examined how distractor difficulty affects recognition memory. Furthermore, each type of recognition test has been used as a dependent measure. Early work by Postman et al. (1948) using a four-item forced choice recognition test showed that subjects incorrectly selected similar distractors more frequently than dissimilar distractors. McNulty (1965) found analogous results via a batch recognition test--subjects performed more poorly for similar, rather than dissimilar distractors. Using a yes/no test, Dale and Baddeley (1962) showed that stimulus recognizability decreased as distractor similarity increased.
The robustness of the distractor similarity findings is evidenced by the variety of stimulus devices that have been used to manipulate this construct. Specifically, distractor similarity has been manipulated via nonsense syllables/words (McNulty 1965; Postman et al. 1948), numbers (Dale and Baddeley 1962; Shepard and Chang 1963), line drawings (Bahrick et al. 1967; Bower and Glass 1976; Jorg and Hormann 1978), and other pictorial stimuli (Bahrick and Bahrick 1964; Nagae 1980). In all cases, distractor similarity had a significant negative impact on stimulus recognizability.
The degree to which the distractor similarity findings in the cognitive psychology literature can be generalized to an advertising context is not well documented. Part of this dilemma is in measuring the similarity between distractors and advertising stimuli. In particular, measuring the similarity between distractors and specific brand names and advertising claims is a much different process than for nonsense syllables, numbers and line drawings.
In general, the measurement of target-distractor similarity in previous research studies focused on the structural relationship (i.e., what they looked like) between a target stimulus and its distractors. Conceptually, when measuring distractor similarity for words (e.g., brand names) and phrases (e.g., claims), both the structure and the meaning of these items must be compared to the target stimuli. In principle, distractors and stimuli that share comparable meanings may be judged similar even if structurally they are not, and vice-versa.
H1: An inverse relationship will exist between brand and claim distractor similarity and recognition.
The contention that recognition tests attenuate memory differences due to task simplicity (difficulty) and resulting ceiling (floor effects), suggests that an experimental manipulation may be judged unsuccessful when this not the case. Exposure time is manipulated in this study for the purpose of creating experimental conditions where recognition differences are expected to occur (Rothschild et al. 1989). If Singh and Rothschild (1983a) are correct, making recognition tests more or less difficult by manipulating distractor similarity should affect recognition within and across exposure time treatments.
H2: A significant distractor similarity X exposure time interaction will exist, with recognition memory differences being eliminated as distractor similarity approaches the extremes.
Each of the above two hypotheses are investigated in the study discussed below.
Ninety-one undergraduate students were randomly assigned to conditions in a 4 (degree of distractor similarity: very similar, similar, somewhat similar and very dissimilar) X 2 (exposure time: 15 seconds and 10 seconds) within and between factorial design. Degree of distractor similarity was the within subject factor and exposure time was the between subject factor.
The cover story given to subjects was that a local advertising agency wanted feedback on a number of print ads that they had developed. Eight test ads were then viewed via a slide presentation in small groups of approximately 15 subjects. Order effects were controlled for by developing four different ad presentation sequences. It should be noted that a significant order effect was found for the various memory scores.
After the slides were viewed, subjects completed a three minute distractor test. The dependent measures were then administered. In a response booklet, subjects were given a verbal description of each of the products promoted in the ads that they had viewed. They were asked to identify the correct brand and claim associated with each product and to rate how confident that they were with their responses. In the response booklets, each of the four distractor similarity conditions was assigned two different ads. Order effects were controlled through the use four different response booklets that varied distractor similarity across the test ads. Finally, subjects were debriefed and were asked not to disclose the purpose of the study to others.
Slides of color illustrated print ads were used in the study. Each of these ads had a character, a product illustration, a brand name and a claim. These ads generated differential recognition responses across exposure time in a different study.
A relatively simple pretest was employed to develop recognition measures for each of the distractor similarity conditions. Several graduate students were given the task of generating distractor brands and claims for each of those to be used in the actual study. They were told that these distractors should fall along a similarity continuum ranging from very similar to very dissimilar. When developing these distractors, they were instructed to consider both the structural nature of the targets and their meanings. From this list 25-30 thirty brand and claim distractors were selected for each target stimulus. Using a seven-point scale (very similar to very dissimilar), a second set of pretest subjects rated these distractors with respect to specified target brands and claims. No conditions for judging target-distractor similarity were stated.
1. The mean similarity score for each brand and claim had to fall in the range of 1.6-1.9 for the very similar condition, 2.6-2.9 for the similar condition, 3.6-3.9 for the somewhat similar condition, and greater than 6.0 for the very dissimilar condition.
2. Distractors with lower standard deviations were preferred.
3. For each ad, brand and claim distractors were equally similar.
Table 1A and Table 1B report mean similarity scores for brands and claims for each of the distractor conditions. There were no significant differences in similarity scores between ads within each condition. Differences in mean scores between conditions were significant.
As indicated above, each subject was exposed to one of two exposure time conditions and received all four distractor similarity manipulations for two ads each.
Brand and Claim Recognition: Using a five-item forced choice test, subjects were asked to identify the correct brands and claims that were in the ads that they had viewed.
Confidence Rating: Confidence ratings for brand and claim responses were assessed via a five-point scale ranging from very confident to not confident at all.
A forced choice recognition test was employed in the study to limit response biases that are often associated with yes/no and batch-testing procedures (Shepard and Chang 1963). A five-item test was selected as a compromise between a two-item and a nine-item test.
To investigate the hypotheses, the brand recognition, brand recognition confidence, claim recognition, and claim recognition confidence scores obtained from the subjects were used to compute three summary scores. A brand summary score for each ad (BSUM) was obtained by multiplying the brand recognition score (0 or 1) by the brand recognition confidence score (1 to 5). A claim summary score (CSUM) was computed by multiplying the claim recognition score (0 or 1) by the claim recognition confidence score (1 to 5). A total ad recognition score (TSUM) was computed by adding together the brand summary score and claim summary score.
Recall that H1 hypothesized that a significant inverse relationship exists between distractor similarity and brand/claim recognition. Table 2 shows the results of the investigation of this hypothesis. It contains F values for differences in the computed measures of recognition across the four levels of distractor similarity. In a total of 22 of the 27 conditions (81%) there was a significant difference in recognition scores across different levels of distractor similarity. In each case, memory scores improved as distractor similarity decreased. In summary, these results provide strong support for H1.
Recall that H2 hypothesized that recognition memory differences would be attenuated as distractor similarity approached the extremes. This prediction suggests that floor and ceiling effects would eliminate differences that would otherwise exist. To test this hypothesis, exposure time was manipulated as a between subjects variable. Exposure time was selected because it has a robust effect on recognition memory scores. As exposure time increases so will recognition scores.
To test H2, the impact of differences in exposure time (10 and 15 seconds) on recognition scores was investigated at four different levels of distractor similarity: very similar, similar, somewhat similar, and very dissimilar. The three computed measures of recognition, brand recognition (BSUM), claim recognition (CSUM), and total brand and claim recognition (TSUM) summed across all ads were used as the dependent variables. The results were comparable for all three measures. Figures A, B, and C show the effects of exposure time on the TSUM, BSUM, and CSUM measures of recognition in the four distractor conditions.
In each case the figures support H2. The differences in recognition scores for the different exposure times are reduced in both extreme conditions. Table 3 summarizes the results for each of the three different measures of recognition.
As table 3 indicates, the effect of exposure time on all three measures of recognition were attenuated at the extremes. In the extreme conditions only 2 of the 6 cases were significant, while in the middle conditions 5 of the 6 conditions were significant. In summary, the findings provide strong support for H2.
The results clearly show that distractor similarity affects brand and claim recognition memory. Brand and claim recognition scores for the within subject analysis across distractor similarity conditions varied considerably. In addition, the between subject analysis across exposure time showed that distractor similarity attenuated recognition memory at the extremes.
These findings suggest that when distractors are very dissimilar with respect to target stimuli, the recognition task is too easy and that ceiling effects may occur. When this is true, the criticism that recognition tests are insensitive for detecting memory differences may be valid. In contrast, when distractors are too similar to targets, the task becomes very difficult and memory differences that otherwise may have existed may also be eliminated. It should be noted that the extreme conditions did not attenuate the results in every case; however, the likelihood of detecting memory differences is definitely reduced.
Moderate levels of distractor similarity worked best for detecting recognition differences. While absolute recognition scores varied across distractors categorized as being similar or somewhat similar, differences across exposure time were relatively equal. Thus, either one of these two categories could be used as long as similarity is held relatively constant.
The procedure used here for equating distractor similarity is relatively simple and not very time consuming. While all levels of distractor similarity had to be developed for the current study, subsequent research need only focus on moderately similar distractors. Furthermore, over the course of the pretest the authors became quite proficient at predicting how similar distractors were to target stimuli. As such, a distractor similarity judgment learning curve for researchers should result.
Future research may wish to develop different ways to measure and control for distractor similarity biases. In addition, the most efficient level of distractor difficulty across different types of conditions and task environments need also be tested.
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Brooklyn District Attorney Ken Thompson today announced that a Coney Island teenager was sentenced to 19 years to life for setting fire to a mattress in the hallway of a New York City Housing Authority building, which led to the death of one responding police officer and serious injury to another.
According to trial testimony, in the afternoon on April 6, 2014, Officer Guerra and his partner, Officer Rosa Rodriguez, responded to a 911 call of a fire on the 13th floor of the defendant's apartment building located at 2007 Surf Avenue. When the officers arrived, they were overcome by toxic smoke. Responding firefighters found both officers unconscious and rescued them from the building.
Both officers were hospitalized for severe smoke inhalation and carbon monoxide poisoning. Officer Guerra died three days later. Officer Rodriguez is currently on limited police duty due to her injuries.


Athletic physicals for the 2019-2020 school year will be given Tuesday, May 7. Students should be prepared with a completed sports packet including a parental signed OSSAA physical form and consent form along with $20 cash.
Congratulations to the HS Boys Golf Team for qualifying for regionals which will be held on Monday, April 29, at Bowling Springs Golf Club in Woodward.
High School enrollment forms are due back to Mrs. Waren by May 10. Visit the school webpage to access the resources necessary to complete your child's enrollment such as: enrollment notes, course descriptions and enrollment forms per grade.