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APOCRYPHA CANDIDATE: LUX ÆTERNA (2019)
October 3, 2022 Giles Edwards Leave a comment
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DIRECTED BY: Gaspar Noé
FEATURING: Béatrice Dalle, Charlotte Gainsbourg, Abbey Lee
PLOT: An art-house movie shoot is falling to pieces, with the director losing her cool, the lead receiving dreadful news from home, and the director of photography angling to take over the production.
WHY IT MIGHT JOIN THE APOCRYPHA: Noé continues his exploration of artistic collapse with a deep dive into the traumatic possibilities found within filmmaking. Iconoclastic quotations, chaotic social disintegration, and dizzying technicolor strobe effects do a quick hit-and-run on the viewer, leaving the brain addled and the eyeballs reeling from the flicker.
COMMENTS: "Fuck entertainment movies" is either a defiant stance against mass media or a pretentious defense of fringe cinema. Either way, it is a very Frenchy disposition—or at least a very Frenchy cinematic disposition. Just off dooming a dance troupe in the psychedelic horror experience, Climax, Gaspar Noé continues to follow his chaotic muse. In LUX ÆTERNA he takes on his own field, filmmaking, and drags his cast and the viewers along with him on a quick trip into nightmare in his pursuit of art.
Events begin calmly enough. After a brief Häxan-influenced opener, we find Charlotte, an actress, and Béatrice, the director, calmly chatting about witches. Sometimes in one shot, sometimes in two photograph-slide frames side-by-side. This camera trick continues regularly throughout, capturing the behind the scenes chaos of the production of God's Craft. The camera slides fluidly to, from, around, and between various concurrent scenes of imminent collapse: the producer cannot believe this erstwhile actress is such a horrible director; the various leads wonder just what is going on after a five-hour wait; the director of photography (who, as he reminds us, has done camera work for Godard) is on the cusp of quitting, lingering only in the hope that he might replace the current director.
LUX ÆTERNA is one of those very "meta" meta-movies. It's a movie about a making a movie, certainly—and that's been done. But it is informed and influenced exclusively by films pertaining to cinematigraphicality (to coin a phrase). Yellow Veil felt it advisable to include four iconic short films on the Blu-ray release: Kenneth Anger's "Inauguration of the Pleasure Dome," which clearly inspired Noe's stylistic chaos; Pier Paolo Pasolini's "La Ricotta," a religious-comedic-(existentialist) romp about a meaningless death on the set of a Crucifixion film shoot; and "Ray Gun Virus" and "The Flicker"—two items that both explore, at length, strobing effects both aural and visual. This in mind, you should only approach LUX ÆTERNA if you're willing to do some homework.
That line above probably sounded like a closer, but it's not. Gaspar Noé's purpose here is that, as an artist, and by extension an appreciator of art, one cannot stop. Climax covered much of the narrative and stylistic ground retread here, but it is through an artist's pursuit of complete expression, of expression as close to one's vision as possible, that all art continues, no matter humanity's circumstances. As LUX ÆTERNA reaches its climax, a stroboscopic nightmare blinds the cast, crew, and hangers-on. The director melts into self pity; the lead actress reaches peaks of psychological ill-ease; but the cameraman, an old fellow with experience, is clued in to what it is that is happening. Freak misfortune has given this ill-fated a movie a chance to achieve greatness despite itself, to bottle that lightning that has eluded all the planning and practice. He keeps rolling as Charlotte writhes—at first in pain, then in ecstasy—and the strobing lights blast the crowd. Films, per Noé, are not about entertainment. They're about snatching that divine spark and showing it off to the world.
WHAT THE CRITICS SAY:
"…like all of Noé's films [it] is as much overwhelming hallucinatory experience as straightforward narrative… this "dream-like movie", shot metacinematically behind the scenes, exposes the ugliness of a set, and of society, while also finding room in its ultimate, flickering apocalypse for a peak moment of multi-hued rapture."–Anton Bitel, Little White Lies (Blu-ray)
2019Béatrice DalleCharlotte GainsbourgFrenchGaspar NoeMeta-narrativePsychedelicStroboscopicWitchcraft
CAPSULE: DAWN BREAKS BEHIND THE EYES (2021)
June 23, 2022 Gregory J. Smalley (366weirdmovies) 1 Comment
Dawn Breaks Behind the Eyes is currently available for VOD rental or purchase.
DIRECTED BY: Kevin Kopacka
FEATURING: Anna Platen, Jeff Wilbusch, Luisa Taraz, Frederik von Lüttichau
PLOT: A couple visit an old gothic castle the wife has inherited; it's haunted, and simmering resentments from their past erupt into anger—but then there's a twist.
COMMENTS: Dawn Breaks Behind the Eyes is a difficult movie to talk about, plotwise, because it contains a major twist coming at the end of the first act. It's much easier to discuss in terms of its stylistic inspirations: it's a shameless tribute to minimalist Gothic Eurohorror of the late 60s and early 70s, as exemplified by Mario Bava, Dario Argento, and (especially) Jean Rollin. Set in a "castle" (I'd call it more of a manor), you can expect to see lots of lingering scenes of women wandering the darkened corridors bearing candelabras or walking through the grounds at night in a trance clad in white nightgowns, that sort of thing. The music—jazzy prog rock à la Goblin, alongside a variety of other rock-pop styles and more traditional orchestra-and-synth scare cues—is excellent, if ladled on a bit thick at times. Period details are perfect, even down to the pale pink, drop-shadowed opening title font, festooned with curlicues.
Again, there is not much that can be said about the plot without spoiling things. We'll mention this nugget: while wandering around in the dusty wine cellar, Dieter (whose face and bearing perfectly express a Germanic arrogance that begs for a bloody comeuppance) finds a chest. Inside are a pair of glasses, an old newspaper article describing a tragedy, and a whip. All three items are clues, of an obscure sort. True to its inspirations, Dawn Breaks is more concerned with eerie ambiance than with narrative momentum, and the first thirty minutes are slow going. Things pick up, however, in the second act, eventually landing in a massive psychedelic-fueled orgy that shades into a finale that's even weirder and more abstract than what came before.
Fans of vintage arty European horror movies are likely to be sucked in, although it is not the simple homage it appears to be at first. If the viewer can make it through the slow-paced introductory act, the movie starts to open up, introducing more levels that provide a psychological depth to the characters, casting them as archetypes of man and woman engaged in an eternal battle of the sexes. You are invited to infer your own backstory for the major characters based on hints dropped in casual conversation. The movie does well overcoming its budgetary limitations, utilizing every dusty, paint-stripped corner of its setting and relying on nifty editing and basic camera tricks (blurring, pink gel filters, superimposition) when it strides into lysergic territory. Multilayered and elegantly decadent, Dawn Breaks Behind the Eyes remains mysterious to the end, a fact which will frustrate many horror fans hoping for a clear denouement, but which shouldn't be a barrier for most of our readers.
Dawn Breaks Behind the Eyes debuts on video-on-demand starting June 24; we'll update this post with the link when the time arrives.
"About once a year, I see a movie that is so weird it takes me about 48 hours to figure out if I like it… Dawn Breaks Behind the Eyes is that movie this year."–Sharai Bohannon, Dread Central (festival screening)
2021ArtsploitationGermanGothicHorrorKevin KopackaMeta-narrativeMindbenderSurrealism
CAPSULE: THE OTHER SIDE OF THE WIND (2018)
May 10, 2022 Shane Wilson 2 Comments
DIRECTED BY: Orson Welles
FEATURING: John Huston, Oja Kodar, Peter Bogdanovich, Susan Strasberg, Norman Foster, Robert Random
PLOT: On the last day of his life, director Jake Hannaford shares footage from the movie he's been trying to complete despite a desperate lack of funding, the disappearance of his leading actor, and the doubts of his crew, his peers, and the Hollywood press.
COMMENTS: It's natural to be wary of a movie where the story behind it is more interesting than the one on the screen. On the other hand, it's arguable that Orson Welles never made a movie where that equation wasn't in play. From his very first feature, a little picture about a newspaper publisher, the story off-camera has always been at least as compelling as the one made for public consumption, and usually with a good deal more tragedy attached. As the major studios turned against him and his efforts to assemble financing and infrastructure became more haphazard and idiosyncratic, the subject of Welles himself invariably took precedence over whatever story he actually hoped to tell.
But even by his own yardstick, the road to The Other Side of the Wind is unusually winding and protracted. Welles filmed over the course of six years on two continents, with multiple parts recast over the years and the lead role unfilled until Year 3, and with the filmmaker insisting that there was still more to shoot. Completion was held up by variety of obstacles, including producer embezzlement, flooding in Spain, Hollywood indifference, and the Iranian revolution. Like so many of Welles' projects, Wind would remain unfinished at the time of his death, another dream lost to history… until, 42 years after principal photography wrapped, a team of Welles collaborators and admirers endeavored to assemble the many pieces of his last great work into a form he might have intended. (Whatever you may think of Netflix, they did cinema history a favor by not only bankrolling this effort but by releasing it alongside a documentary about Welles' torturous efforts to complete the film, They'll Love Me When I'm Dead. It's an invaluable companion piece for anyone interested in this chapter of the great man's legendarily troubled career.)
It is impossible to know how successfully this reconstruction got to the vision locked inside Welles' head. After all, Welles himself changed his intentions throughout production. Furthermore, he seems to have been going for something entirely new and alien to him. Welles made much of the fact that neither the framing film or Jake Hannaford's work are meant to be in a style in any way recognizable as his own, so we can't even rely upon the director's previous works as a guide. Today, we recognize Welles' use of improvisation and documentary techniques as what we've come to call "mockumentary," but in the early 70s, there was very little precedent (except, possibly, Welles' own "War of the Worlds"). But we know enough of Welles' increasing focus on the subjects of abandonment, thwarted ambition, and betrayal to recognize that Wind is not only a continuation of those themes but maybe his most personal exploration of them.
Welles denied suggestions that the film was autobiographical, which Continue reading CAPSULE: THE OTHER SIDE OF THE WIND (2018) →
2018ExperimentalJohn HustonMeta-narrativeMockumentaryOja KodarOrson WellesParodyPeter BogdanovichPosthumousSusan Strasberg
CAPSULE: THE WIZARD OF SPEED AND TIME (1988)
January 26, 2022 Shane Wilson 1 Comment
DIRECTED BY: Mike Jittlov
FEATURING: Mike Jittlov, Richard Kaye, Paige Moore
PLOT: Aspiring filmmaker Mike Jittlov makes a wondrous, delightful short film that catches the eye of Hollywood producers; they enlist him to make a feature containing the same formula of special effects magic and raucous whimsy, but sinister forces conspire to prevent Jittlov from realizing his dream.
COMMENTS: Moviemaking is a cutthroat business, you know. Maybe you got a hint of that from a film like The Player. Or possibly Barton Fink. Could have been The Big Picture. Or perhaps State and Main. Come to think of it, it might've been Living in Oblivion. Or Bowfinger or Hollywood Shuffle or My Life's In Turnaround or In the Soup or …And God Spoke or any number of films where Hollywood takes a look in the mirror to catch a glimpse of the laborious and fraught process of trying to get a movie made. When filmmakers are instructed to write what they know, there are plenty who do exactly that.
Well, you can add Jittlov's sole feature to that list, with the twist that what he knows is how to make lively low-budget special effects. In 1979, he created a short film exploiting his editing and stop-motion photography skills. As these things often do, the short became Jittlov's calling card, a golden ticket into the world of Hollywood filmmaking. That turns out to be the starting point for this feature-length exploration of his journey into the heart of the moviemaking beast. And when it comes to "writing what you know," Jittlow keeps his focus squarely on what he's good at: special effects. The result is… almost exactly what you'd expect.
On the one hand, anyone who manages to assemble a feature film, particularly without the aid of a well-heeled studio, has undertaken a major achievement. On the other hand, Jittlov's production is laden with the self-awareness of this achievement, and practically demands to be recognized for its own bravery and pluckiness. To call it self-indulgent is a ground-shaking level of understatement. Self-indulgence is the point; the message seems to be, "Everybody deserves a piece of this genius."
For a zany comedy, The Wizard of Speed and Time is notably angry. One subplot of the film is Jittlov's ongoing battle against moviemaking's gatekeepers. Studio indifference, greedy vendors, apathetic accountants, zealous cops, guild oppressiveness (boy howdy, does this movie hate unions), gawking tourists, and general grownup shallowness are just a few of the forces lined up against the filmmaker's pure and simple goal to make jolly little movies. Atlas Shrugged wishes its heroes and villains were drawn as starkly as this.
So this movie stands as Jittlov's demonstration of what the Magic Store could be like if there wasn't so much red tape and cynicism in the business. That being the case, let's hear it for the bad guys, because The Wizard of Space and Time is exhausting. Determined to pile on the charm, it never lets up. Every jokey moment is slammed up against another jokey moment, with irony-laden captions, a music score taken directly from a theme park, undercranked footage, goofy sound effects, and so much post-production audio looping to guide you along the way. It's so breathlessly insistent, it makes Airplane! look like a Bergman film.
The Wizard of Speed and Time is undeniably weird (or, as the movie itself jokes, "WHOLLY ODD"), but it's so invested in its zany iconoclasm that it's impossible to enjoy on any terms if you're not Mike Jittlov. The climax of the film features a complete re-creation of the original short. This is a smart move; it reminds the audience that there is something genuinely charming here. What Jittlov does with little money and a whole lot of imagination is quite remarkable. And probably best appreciated in a small dose.
"Created by cult animator and weirdo Mike Jittlov, this 1988 hella-low-budget film follows a talented but jobless special effects wizard as he navigates Hollywood… Jittlov's enthusiastic DIY production earned a generation of cult fans, who allege he slipped over 1000 subliminal messages into the film. Spooky."–Chase Burns, The Stranger
(This movie was nominated for review by Marko. Suggest a weird movie of your own here.)
1988ComedyIndependent filmLow budgetMeta-narrativeMike JittlovSelf-Indulgent
CAPSULE: MONDO HOLLYWOODLAND (2019)
September 1, 2021 Shane Wilson Leave a comment
DIRECTED BY: Janek Ambros
FEATURING: Chris Blim, Alex Loynaz, Alyssa Sabo, Jessica Jade Andres, Ted Evans
PLOT: A being from the 5th dimension enlists the help of a purveyor of magic mushrooms and observes a cross-section of the town's residents in an effort to define the concept of "mondo."
COMMENTS: The fabled Hollywood sign, symbol of dazzling entertainment throughout the world and physical representation of the film industry's outsized sense of self-importance, began its existence as an advertisement. "HOLLYWOODLAND" arose in the Santa Monica mountains nearly 100 years ago to lure prospective Southern California residents to a new real estate development. The last four letters were stricken when the sign made its shift from billboard to civic symbol, and the sign enjoyed a meteoric rise to stardom.
So while the most obvious inspiration for the title of Mondo Hollywoodland would seem to be the similarly named 1967 quasi-documentary about the region's curious subcultures, the newer film leans more into Hollywoodland's origins as a neighborhood. The Dream Factory is ever-present in the lives of the absurd, deluded, ridiculous people chronicled here, but they are still people, and this is a movie that looks for the community among them.
Early on, when the narrator identifies himself has being from the 5th dimension (presumably not the band), we can take comfort in knowing that everything about to ensue is pretty silly. Further exemplifying the flimsy structure of this endeavor is the decision to divide Southern California society into three classes, each of which is trying to buy into the Hollywood dream despite repeatedly seeing the cracks in the façade.
We begin with the Titans, ostensibly the power brokers who make blockbuster entertainment and break the hearts of aspiring stars. And yet our focus on Ted, a perpetually coked-up mid-level executive desperately trying to bring a Disney Channel starlet to heel, reveals these masters of the universe to be puny. There is no world beyond sci-fi epics and last-minute dialogue changes for these Titans, and Ted's triumphant fist pump (earned by completely caving in) belies his fear at losing what little power he has.
The Weirdos occupy the opposite end of the spectrum, determined to better their world and generally clueless about how to do so. Hoping to take down a Trump-allied neo-Nazi, they pass out flyers at a gun-sense rally. Meanwhile, on the artistic front, they advocate for harmony. One even mediates a conflict between two pieces of wood. They are obsessed with politics, the state of the world, and whether their empathy and good intentions are enough to bring about utopia. At least, they are when they're not tripping. Weirdo Daphne is so disillusioned with the slow pace of change that she takes matters into her own hands, torching a car. "Hope they got the message," she says, even though it's doubtful if even she knows what the message might be.
Enter the Dreamers, certain that their taste of fame and fortune is just around the corner. Not surprisingly, this section of the film flirts with sadness, as all these dreams seem to be deferred. From an agent whose clients are all up for the biggest roles but never get the gig to an acting coach whose credibility derives entirely from his stint on "Mad About You" to a wannabe fitness guru who longs for even the reflected glory of training the stars. Central to this section is Anna, the granddaughter of a one-time Grace Kelly stand-in who goes on a date to a concert by the grandson of Bing Crosby. The barest glimmer of Hollywood's allure is being pushed away by generations.
Boyle, the hapless mushroom dealer, is our connecting thread, popping in and out of stories while still carrying on his own peculiar battle against the rats hiding in his rented bungalow. Regularly high on his own product, he is frequently flummoxed by the simplest interactions, and wants only for things to be "groovy," a condition that has eluded him since the disappearance of his cat. But he also becomes the unifying force that brings our Titan, Weirdo, and Dreamer together in a genuinely hilarious low-rent heist. They're a marvelously motley crew, and the success of this scene at the film's climax is a tribute to the laid-back vibe Mondo Hollywoodland cultivates.
We never learn, precisely, what "mondo" is to this crowd, but if it means anything, it's a special kind of magic that happens when aspirations manage to outdistance reality. Mondo Hollywoodland is self-evidently a Dreamer's enterprise (having nabbed actor James Cromwell as an executive producer, the film's publicity spares no effort to highlight the connection), but it is determined to face down the formidable opposition of a negative world and to be, in the end, groovy.
"Our lead protagonist, Boyle, is a mushroom dealer, and the entire film feels like a psychedelic bender... If you're a fan of the experimental or WTF genre, you will find a home here." – Alan Ng, Film Threat (contemporaneous)
2019Drug abuseHollywoodIndependent filmJanek AmbrosLow budgetMeta-narrativeMondoSatire
2023 WEIRD WATCH PARTY SCHEDULE
Instead of monthly parties, we're going to try spending the year streaming every Canonically Weird movie that is available to us--even if it means we just set up a server and no one comes. These screenings will be scattered over multiple dates and times, so if you haven't been able to make it on Saturday nights, maybe you'll find these screenings more favorable to your schedule.
NOTE: We have currently had to disable email notifications for new posts for performance reasons, so if you subscribed to updates you will not get a notification. We recommend monitoring our Facebook or Twitter pages for updates and links; otherwise you will have to remember to check in here directly. If the screening is on Discord you can enter the general chat at any time and look for the "live" notification.
Monday, Jan. 30 at 8:00 PM ET: Manos: The Hands of Fate (1966) on Tubi via Discord (free)
Wednesday, Feb 1 at 10:00 PM ET: Mandy (2018) on Tubi via Discord (free)
Wednesday, Feb. 8 at 9:00 PM ET: Rosencrantz and Guildenstern Are Dead (1990) on Tubi via Discord (free)
Friday, Feb. 10 at 10:30 PM ET: Spider Baby (1967) on Tubi via Discord (free)
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366 Weird Movies 2022 Yearbook
366 Weird Movies Yearbook series for past year's titles (back to 2009)
Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, strange, psychedelic, and the just plain WEIRD!
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The List (Canonical Weird Movies)
3-Iron (2004) * 3 Women (1977) * 8 1/2 (1963) * 200 Motels (1971) * 2001: A Space Odyssey (1968) * The 5,000 Fingers of Dr. T (1953) * The Abominable Dr. Phibes (1971) * Adaptation. (2002) * The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984) * After Hours (1985) * After Last Season (2009) * Akira (1988) * Akira Kurosawa's Dreams (1990) * Alice [Neco Z Alenky] (1988) * Alice in Wonderland (1966) * Allegro non Troppo (1976) * Altered States (1980) * Amarcord (1973) * The American Astronaut (2001) * Antichrist (2009) * The Apple (1980) * Archangel (1990) * Arise! The SubGenius Movie (1992) * Arizona Dream (1993) * Audition [Ôdishon] (1999) * Bad Boy Bubby (1993) * Barbarella (1968) * Barton Fink (1991) * Batman Returns (1992) * The Beast [La Bête] (1975) * The Beast of Yucca Flats (1961) * Beasts of the Southern Wild (2012) * Beauty and the Beast [La Belle et la Bete] (1946) * The Bed Sitting Room (1969) * Begotten (1991) * Being John Malkovich (1999) * Belladonna of Sadness (1973) * Belle de Jour (1967) * Beyond the Black Rainbow (2010) * Birdboy: The Forgotten Children (2015) * The Black Cat (1934) * Black Moon (1975) * Black Swan (2010) * Blancanieves (2012) * Blood Diner (1987) * Blood Freak (1972) * The Blood of a Poet [Le sang d'un poète] (1930) * Blood Tea and Red String (2006) * Blue Velvet (1986) * The Boxer's Omen [Mo] (1983) * A Boy and His Dog (1975) * Branded to Kill (1967) * Brand Upon the Brain! (2006) * Brazil (1985) * Bronson (2008) * Bubba Ho-Tep (2002) * The Butcher Boy (1997) * The Cabinet of Dr. Caligari (1920) * Careful (1992) * Carnival of Souls (1962) * Catch-22 (1970) * Cat Soup (2001) * Cemetery Man [Dellamorte Dellamore] (1994) * Un Chien Andalou (1929) * Christmas on Mars (2008) * The City of Lost Children [La cité des enfants perdus] (1995) * City of Women (1980) * Clean, Shaven (1993) * A Clockwork Orange (1971) * The Color of Pomegranates [Sayat Nova] (1969) * Come and See (1985) * The Company of Wolves (1984) * Conspirators of Pleasure (1996) * The Cook the Thief His Wife & Her Lover (1989) * Cowards Bend the Knee, or, the Blue Hands (2003) * The Cremator [Spalovac Mrtvol] (1969) * Crime Wave (1985) * Cube (1997) * Daisies [Sedmikrásky] (1966) * The Dance of Reality (2013) * The Dark Backward (1991) * Dark City (1998) * Dead Alive (1992) * Dead Leaves (2004) * Dead Man (1995) * Dead Ringers (1988) * Death Bed: The Bed That Eats (1977) * Death by Hanging (1968) * Death Laid an Egg [La morte ha fatto l'uovo] (1968) * Delicatessen (1991) * Dementia [Daughter of Horror] (1955) * Der Samurai (2014) * Desperate Living (1977) * Destino (2003) * The Devils (1971) * Dillinger Is Dead (1969) * The Discreet Charm of the Bourgeoisie (1972) * Django Kill… If You Live, Shoot! (1967) * Doggiewogiez! Poochiewoochiez! (2012) * Dog Star Man (1964) * Dogtooth [Kynodontas] (2009) * Dogville (2003) * Donnie Darko (2001) * Don't Look Now (1973) * The Double (2013) * Dr. Caligari (1989) * Eden and After (1970) * Eisenstein in Guanajuato (2015) * Elevator Movie (2004) * El Topo (1970) * Enemy (2013) * Enter the Void (2009) * Eraserhead (1977) * Escape from Tomorrow (2013) * Eternal Sunshine of the Spotless Mind (2004) * Even Dwarfs Started Small (1970) * Evil Dead II (1987) * The Exterminating Angel [El àngel exterminador] (1962) * Eyes Without a Face [Les Yeux sans Visage] (1965) * The Face of Another (1966) * The Falls (1980) * Fantasia (1940) * Fantastic Planet [La Planète Sauvage] (1973) * Fantasy Mission Force (1983) * Fear and Loathing in Las Vegas (1998) * Fellini Satyricon (1969) * Female Trouble (1974) * A Field in England (2013) * Fight Club (1999) * Final Flesh (2009) * The Forbidden Room (2015) * Forbidden Zone (1982) * Freaks (1932) * Funeral Parade of Roses [Bara no sôretsu] (1969) * Funky Forest: The First Contact (2005) * Glen or Glenda (1953) * Godmonster of Indian Flats (1973) * Goke, Body Snatcher from Hell (1968) * Goodbye Uncle Tom (1971) * Gothic (1986) * Gozu (2003) * La Grande Bouffe (1973) * Greaser's Palace (1972) * The Greasy Strangler (2016) * Gummo (1997) * Häxan [Witchcraft Through the Ages] (1922) * Head (1968) * Heavenly Creatures (1994) * Hedwig and the Angry Inch (2001) * Hellzapoppin' (1941) * Help! Help! The Globolinks [Hilfe! Hilfe! Die Globolinks] (1969) * Holy Motors (2012) * The Holy Mountain (1973) * The Horrors of Spider Island [Ein Toter hing im Netz] (1960) * The Hourglass Sanatorium (1973) * Hour of the Wolf [Vargtimmen] (1968) * House [Hausu] (1977) * Howl's Moving Castle (2004) * How to Get Ahead in Advertising (1989) * Hugo the Hippo (1975) * The Hypothesis of the Stolen Painting (1978) * I Can See You (2008) * Idiots and Angels (2008) * If…. (1968) * I'm A Cyborg, But That's OK [Saibogujiman Kwenchana] (2006) * The Immaculate Conception of Little Dizzle (2009) * Indecent Desires (1968) * Inherent Vice (2014) * Ink (2009) * INLAND EMPIRE (2006) * Innocence (2004) * Institute Benjamenta, or This Dream People Call Human Life (1995) * It's Such a Beautiful Day (2011) * I Will Walk Like a Crazy Horse [J'irai Comme un Cheval Fou] (1973) * Jacob's Ladder (1990) * Japanese Summer: Double Suicide (1967) * John Dies at the End (2012) * Johnny Got His Gun (1971) * Keyhole (2011) * Kin-Dza-Dza (1986) * Kontroll (2003) * Kung Fu Hustle (2004) * Kwaidan (1964) * L'Age d'Or (1930) * The Lair of the White Worm (1988) * Last Year at Marienbad [L'Année Dernière à Marienbad] (1961) * The Legend of Suram Fortress [Ambavi Suramis Tsikhitsa] (1984) * Lemonade Joe [Limonádový Joe aneb Konská Opera] (1964) * Léolo (1992) * L'Immortelle (1963) * L'Inhumaine (1924) * Liquid Sky (1982) * Lisztomania (1975) * Little Otik [Otesánek] (2000) * The Lobster (2015) * Lost Highway (1997) * Love Exposure (2008) * The Love Witch (2016) * Lucifer Rising (1981) * Lunacy [Sileni] (2005) * The Lure [Córki Dancingu] (2015) * Maelstrom (2000) * Malpertuis (1972) * Mandy (2018) * Maniac (1934) * Manos: The Hands of Fate (1966) * The Man Who Fell to Earth (1976) * Marquis (1989) * Meet the Feebles (1989) * Meshes of the Afternoon (1943) * Metropolis (1927) * The Milky Way [La Voie Lactee] (1969) * Millennium Actress (2001) * Mind Game (2004) * Monty Python's The Meaning of Life (1983) * Mood Indigo (2013) * mother! (2017) * Mr. Nobody (2009) * Mulholland Drive (2001) * My Winnipeg (2007) * Naked Lunch (1991) * Natural Born Killers (1994) * Neon Genesis Evangelion: The End of Evangelion (1997) * Never Give a Sucker an Even Break (1941) * Night of the Hunter (1955) * Night Train to Terror (1985) * Ninja Champion (1985) * The Ninth Configuration (1980) * Nosferatu (1922) * No Smoking (2007) * Nostalghia (1983) * Nothing but Trouble (1991) * November (2017) * Nuit Noire [Black Night] (2005) * O Lucky Man! (1973) * Orpheus (1950) * A Page of Madness [Kurutta ippêji] (1926) * Pan's Labyrinth (2006) * Paprika (2006) * Perfect Blue (1997) * Performance (1968/1970) * Persona (1966) * Phantasm (1979) * The Phantom of Liberty (1974) * Phantom of the Paradise (1974) * Pi (1998) * Pierrot le Fou (1965) * The Pillow Book (1996) * Pink Flamingos (1972) * Pink Floyd the Wall (1982) * Playtime (1967) * The Pornographers (1966) * Possession (1981) * Prospero's Books (1991) * Reality (2014) * The Red Squirrel [La Ardilla Roja] (1993) * The Reflecting Skin (1990) * Reflections of Evil (2002) * Repo Man (1984) * A Report on the Party and Guests (1966) * Repulsion (1965) * Robot Monster (1953) * The Rocky Horror Picture Show (1975) * Roma (1972) [AKA Fellini's Roma] * Rosencrantz & Guildenstern Are Dead (1990) * Rubber (2010) * Rubin & Ed (1991) * The Ruling Class (1972) * Run Lola Run (1998) * The Saddest Music in the World (2003) * Sans Soleil (1983) * Santa and the Ice Cream Bunny (1972) * Santa Claus (1959) * Santa Sangre (1989) * The Saragossa Manuscript (1965) * Save the Green Planet! (2003) * A Scanner Darkly (2006) * Schizopolis (1996) * The Science of Sleep (2006) * Scott Pilgrim vs. the World (2010) * The Secret Adventures of Tom Thumb (1993) * A Serious Man (2009) * Seven Servants (1996) * Shadows of Forgotten Ancestors (1964) * Shanks (1974) * Shock Corridor (1963) * Silent Hill (2006) * Sin City (2005) * The Singing Ringing Tree (1957) * Sita Sings the Blues (2008) * Skidoo (1968) * Skins [Pieles] (2017) * Society (1989) * Solaris [Solyaris] (1972) * Songs from the Second Floor (2000) * Sorry to Bother You (2018) * Spider Baby (1967) * Spirited Away (2001) * Stalker (1979) * Steppenwolf (1974) * Strange Frame: Love & Sax (2012) * Street of Crocodiles (1986) * Survive Style 5+ (2004) * Suspiria (1977) * Sweet Movie (1974) * Sweet Sweetback's Baadasssss Song (1971) * The Swimmer (1968) * Swiss Army Man (2016) * Synecdoche, New York (2008) * Tales from the Quadead Zone (1987) * The Taste of Tea (2004) * Taxidermia (2006) * Tekkonkinkreet (2006) * The Telephone Book (1971) * The Tenant (1976) * Teorema (1968) * The Testament of Orpheus (1960) * Tetsuo: The Iron Man (1989) * That Obscure Object of Desire (1977) * Thundercrack! (1975) * Tideland (2005) * Time Bandits (1981) * The Tin Drum (1979) * The Tingler (1959) * Titus (1999) * Tokyo Gore Police (2008) * Toto the Hero [Toto le Heros] (1991) * Trash Humpers (2009) * The Tree of Life (2011) * The Trial (1962) * The Triplets of Belleville (2003) * Tromeo & Juliet (1996) * True Stories (1986) * Tuvalu (1999) * Twelve Monkeys (1995) * Twin Peaks: Fire Walk with Me (1992) * Uncle Boonmee Who Can Recall His Past Lives (2010) * Underground (1995) * Under the Skin (2013) * Upstream Color (2013) * Urusei Yatsura 2: Beautiful Dreamer (1984) * Valerie and Her Week of Wonders (1970) * Vampire's Kiss (1988) * Vampyr (1932) * Vertigo (1958) * Videodrome (1983) * Visitor Q (2001) * Viva la Muerte [Long Live Death] (1971) * Waking Life (2001) * Waltz with Bashir (2008) * Wax, or the Discovery of Television Among the Bees (1991) * Weekend (1967) * Werckmeister Harmonies (2000) * Why Don't You Play in Hell? (2013) * The Wicker Man (1973) * Wild at Heart (1990) * Willy Wonka and the Chocolate Factory (1971) * The Woman in the Dunes (1964) * Wool 100% (2006) * WR: Mysteries of the Organism (1971) * Yellow Submarine (1968) * You, the Living [Du Levande] (2007) * Zardoz (1974) * Zazie dans le Metro (1960) * A Zed and Two Noughts (1985) * Zéro de conduite (1933)
April and the Extraordinary World [Avril et le Monde Truqué] (2015) * The Baby of Mâcon (1993) * Bad Girls Go to Hell (1965) * Bad Lieutenant: Port of Call New Orleans (2009) * Big Man Japan (2007) * Casino Royale (1967) * Celine and Julie Go Boating [Céline et Julie vont en bateau] (1974) * The Congress (2013) * Donkey Skin (1970) * Electric Dragon 80000V (2001) * The Fabulous Baron Munchausen [Baron Prásil] (1962) * Gemini (1999) * Green Snake (1993) * The Happiness of the Katakuris (2001) * Jesus Shows You the Way to the Highway (2019) * Juliet of the Spirits (1965) * Keep an Eye Out [Au Poste!] (2018) * The Lighthouse (2019) * Mad God (2021) * Mirror [Zerkalo] (1975) * Prometheus' Garden (1988) * Saint Bernard (2013) * She's Allergic to Cats (2016) * Singapore Sling (1990) * A Snake of June (2002) * Son of the White Mare [Fehérlófia] (1981) * Titane (2021) * Under the Silver Lake (2018) * Walker (1987) * The Warped Forest (2011) * The Wolf House (2018)
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Discussion in 'New Members Say Hello' started by mpurser, Feb 23, 2012.
Welcome to ACL, looks like you got the word from over at Carolina christmas forum, I hope you find the forum to be very helpful and feel free to ask any questions and jump into the chat and say hello any time.
Lots of RGB blinky info here.


RAPID CITY, S.D. (KEVN) - Big numbers came out of the State Capitol late January as the South Dakota Tourism reached record growth for 2018.
"I think that the push that the state and Visit Rapid City and the Black Hills Badlands and Tourism Association are doing really drove a lot of visitors here," said Logan Steffens, general manager at the Holiday Inn Rapid City Rushmore Plaza.
Visitor spending in South Dakota totaled $3.98 billion, an increase of 2.5 % in 2018.
Visitation grew to 14.1 million visitors, up 1.4% than the previous year.
With the average hotel occupancy at 58%, one manager says the Year of 2018 can be called a decent one.
"It was a great summer. A lot of people taking advantage and with more hotels going up, you know it's making rates a bit cheaper so it's a little bit more of a value proposition to come out and see Mt. Rushmore and the Badlands and the Black Hills," Steffens continued.
Tourism generated $298 million in state and local tax revenue. and without it, each household would pay an additional $865 more in taxes each year, according to a release from the South Dakota Department of Tourism.
"The targeted marketing, extensive media coverage, public relations outreach and the hard work of industry members all contributed to the success," said James Hagen, Secretary of the Department of Tourism in a release.
"A lot of competition in town which kinds of keeps everybody watching each other making sure that the prices are staying in a reasonable way but we did see a lot of those groups and associations on those last minute tourists come through," Steffens said.
In employment, nearly 55,000 jobs were sustained by the tourism industry in 2018, a whopping 8.9% of all South Dakota jobs.


text:
Wełdkowo (niem. Groß Voldekow) – osada w Polsce położona w województwie zachodniopomorskim, w powiecie białogardzkim, w gminie Tychowo. W latach 1975–1998 osada należała do województwa koszalińskiego. Według danych UM, na dzień 31 grudnia 2014 roku osada miała 45 stałych mieszkańców. Osada wchodzi w skład sołectwa Smęcino. Najwyżej położona miejscowość gminy (135 m n.p.m.).

Geografia
Osada leży ok. 1 km na północ od Smęcina, przy drodze wojewódzkiej nr 169.

Historia
Majątek rycerski, lenno rodu von Kleist, do których należał do 1842 r. Późniejszymi właścicielami były rodziny: von Wenden, von Kameke i von Holtz.

Zabudowa osady
 ruiny XIX wiecznej neogotyckiej kaplicy rodu von Holtz. Wokół kaplicy zwarty kompleks leśny buczyny pomorskiej, której wiek niekiedy przekracza 100 lat tzw. "Tychowskie Bieszczady". Znajdują się w odległości ok. 3 km na północ na wysepce leśnego stawu utworzonego w wyniku spiętrzania wód jednego z dopływów rzeki Chotli.

Przyroda
Szpaler kasztanowców prowadzący do dawnego dworu i parku.

Ok. 1,7 km na północny zachód od osady, w lesie, rośnie dąb szypułkowy o obw. 450 cm - pomnik przyrody.

"Źródliska Chotli" (zespół przyrodniczo - krajobrazowy), źródliska tworzące głębokie jary wyżłobione w poziomie wysoczyznowym, porośnięte w większości drzewostanem liściastym.

Komunikacja
W miejscowości nie ma przystanku komunikacji autobusowej.

Przypisy

Tychowo (gmina)

redpajama_set_name: RedPajamaWikipedia


text:
Name: Leah Thomas
Place of Birth: Santa Clara
Date of Birth: 30th May 1989
Bigla-Katusha/Paule Ka
Trek Segafredo
Leah Thomas Articles
2023 Women's WorldTour transfers summary
With only a week to go until the transfer window shuts for Women's WorldTour teams, it's safe to say that all but the latest of
Leah Thomas leaves Trek Segafredo due to injury
American rider Leah Thomas has left the Trek Segafredo team after a mutual agreement. Despite having a contract until the end of the 2023 season,
Elisa Longo Borghini triumphs in Tre Valli Varesine
Elisa Longo Borghini has won the Tre Valli Varesine for women. The 30-year-old Trek-Segafredo rider, who also won the Giro dell'Emilia last Saturday, broke away
Women's World Championships Time Trial 2022 Race Preview
The Women's World Championships Time Trial has gone back and forth in recent years, with only Annemiek van Vleuten able to do consecutive victories in the last 10 years. Ellen van Dijk is the only other multiple winner in that time, winning in 2013 and last year's 2022 edition.
Trek Segafredo 2022 Roster Preview
2021 Season Summary Lucinda Brand took the first success of the season, winning the World CX Championships in January. Ellen van Dijk then took the
Movistar Team Women 2022 Roster Preview
2021 Season Summary Unsurprisingly, Annemiek van Vleuten was the main focus of the team. She took the bulk of the team's wins, including the Tour

redpajama_set_name: RedPajamaCommonCrawl


WEST SACRAMENTO, Calif. – For the first time in his professional career, Dusty Bergman is an all-star, and he's loving every minute of it.
Bergman, the 1996 Carson High graduate, has compiled a 5-3 record and a 2.44 ERA for the Salt Lake Stingers in the hitting-rich Pacific Coast League. Those numbers earned him a spot in tonight's Triple-A All-Star game (7:15 p.m., ESPN2) at Raley Field.
"This is the first time, period," he said after Tuesday's workout. "Last year they took the starters with the best ERAs. It's a great honor. I'm glad I get to represent our team.
The ability to throw the breaking ball for strikes has been key for the former Carson left-hander. Bergman said he was able to get by without a good off-speed or breaking pitch earlier in his career because of his ability to work both sides of the plate with his fastball.
"I've been throwing the breaking ball real good," Bergman said. "I went to Fall Instructional League in Arizona during the last off-season.
Bergman said Eric Bennett, who was the pitching coach at Cedar Rapids (Single-A), helped him immensely.
The 27-year-old Bergman, who now throws a four-seam fastball, a two-seam sinker and a slider, wants no part of leaving the game. He is hoping for another opportunity to get back on the Angels' roster.
What makes Bergman's numbers all the more impressive is that he doesn't have a defined role out of the bullpen, which could be tough for some guys to handle. Not Bergman. He'll take the ball anytime during any part of the game.
Bergman, who was a starter at times in the early part of his career, has certainly found his niche coming out of the bullpen.
Bergman, who was called up last year when the Angels' bullpen was hit by injuries, would love to redeem himself for a shaky debut. The Angels lost three relievers all within a week of each other, and Bergman was promoted.
The young lefty was shelled for three runs and four hits in his opening inning. He threw a scoreless second inning, but didn't get another opportunity before being sent back down to Salt Lake.
"That's not how you want to start your Big League debut; a big fly ball and five straight hits," Bergman said. "I settled down. I gave up a hit the next inning and then got three outs.
Bergman is no longer on the Angels' 40-man roster, but he doesn't believe that's why he hasn't been called up this year.
"The Angels don't care," said Bergman, who is 34-46 with nine career saves in his seven-year career in the minors. "Only one guy that has been called up this year has been on their 40-man roster.
Bergman said he got specific instructions from Angels' pitching coach Bud Black during spring training.
Bergman knows that getting outs are the key, and if he can keep doing that, another call-up will be in his future. Until then, he'll keep his thoughts to business at hand, and hopefully that means leading the Stingers to a division title.


sounds nice. Point 4 are the best!
That`s right. But the FM13 needs the new interior... same as FH16 2012.
I can not wait to see some video footage of the WS 4800.
Klasse der Release - Plan.
will the mack rs700 be for ats?
mackr600fan wrote: will the mack rs700 be for ats?
Good news, keep it up.


Visiting Lake Baikal was my childhood dream. Finally I had an opportunity to make my dream come true! Stanislav, Sedov, and I were sent to photograph Lake Baikal as a part of the AirPano project.
People from "Baikalika" (a travel company that organized our photo expedition) met us at the Irkutsk airport. Their huge battered Nissan Safari jeep impressed us at first sight. It was a serious car made to concur off-road and ice conditions. I noticed large wooden boards on top of the jeep and said as a joke: "Are we going to build a house?"
"No. We'll need those in case we go under ice," said our driver Alexei.
"Oh, is there a chance that we will?" I asked.
"Well, while I've only had my car fully sink into the water once, there were several times when the water reached the roof of the car." replied Alexei.
His answer made me realize that we were in for a not-so-boring trip.
The drive from Irkutsk, on the deserted ice road, to our final destination, Olkhon Island, took us about 4 hours. We even had time for a quick stop at a roadside Buryati café where they served delicious moderately-priced food. There was a severe snowfall over Baikal a few days before our arrival, so we were not sure if we would see clear ice at all. As you can imagine, we were very anxious. One look down from the mountaintop brought a sigh of disappointment: the Small Sea Strait (a part of Lake Baikal separating Olkhon Island and the western shore of the lake) was white as far as we could see it. The ice road that connected mainland with the island was cleared down to the ice level, but there were one-meter high snowdrifts along each side. However, we were not completely out of luck. A few kilometers down the road it became obvious that snow didn't cover the lake surface completely: we saw ice patches shining between piles of snow; and when we reached the shore and saw meter-long icicles hanging from the rocks, our spirits lifted. Now we knew what we were going to do during following several days -look for clear ice!
We reached the village of Khuzhir, the administrative capital of Olkhon, in the dark; and we had to be at Cape Hoboy, the most-southern point of the island, by sunrise. This is where the Small and the Large Sea Straits of Lake Baikal connect. In the winter, fishermen constantly make new ice routs across the frozen lake to avoid ice cracks, so there are a lot of different roads.
We left our hotel in the dark. The thirty kilometers to Cape Hoboy were covered in snow, so we had to push our way through half-meter snowdrifts. Locals couldn't remember such an unprecedented snowfall over Baikal Lake at all! However, as soon as we passed Cape Hoboy in the morning dusk and reached the Large Sea Strait, the snow stopped as if it was turned off. There were huge snowdrifts on the Olkhon side; and there were only small snow patches that looked like snake scales on the shiny surface of the lake on the other side. The ice was perfect: a clear, smooth surface speckled with white air bubbles and adorned with a whimsical pattern of cracks. There is a local saying, "When you see Baikal ice for the first time, it drives you crazy." It worked for me for sure! Like a child, I jumped, slid, and rolled on ice, staring at ice cracks and colorful ice ridges. However, my euphoria passed quickly as we had to get ready for our first flight.
The sun peeked through the clouds and Baikal started to glitter. The flight went well. The view from above turned out to be very unusual. It seemed that the entire lake was covered with a spotty armor: patches of snow formed a chaotic but beautiful giant pattern. This is how Lake Baikal looks only in a very snowy winter.
"Why do they call Baikal the Big Sea? It's only 10 kilometers wide across this point."
"Ten kilometers?" Alexei was surprised, "No. It's over 70 kilometers wide!"
We were shocked: it was over 70 kilometers to the eastern shore, which we could clearly see; and it was about 30 kilometers to the western shore where every hill was perfectly visible. It looked like one could just walk there effortlessly. According to Alexei, we were not the only people that got caught by the optical illusion: an absolutely clear air and almost-kilometer-high ridges around the lake create an effect of apparent proximity.
And then we found a cave in a waterfront rock... Walls of the cave were covered with two-meter-thick ice, and hundreds of icicles hanged from the ceiling — an unearthly beauty! Cape Hoboy also greeted us with the largest ice hummocks. It is hard to imagine the way gigantic blocks of turquoise ice got piled one on top of another. We didn't see how Lake Baikal breaks one-meter thick ice, but our driver told us that it was a magnifying, and at the same time, terrifying sight.
The morning frost was so strong that it created additional technical difficulties for our RC helicopter. However, we managed to bring our "bird" up to 250 meters high and took unique pictures of Cape Hoboy. The weather during our first day was in our favor: frost sealed up numerous ice cracks, allowing us to drive on ice to the Uzury village, which was almost unreachable during spring time. In addition, we were awarded for our determination by another miracle of nature — the halo, a circle of rainbow-colored light around the sun.
We spent the following day-and-a-half shooting various sights of Olkhon Island, covering dozens of kilometers on ice. There was only one path through the ice hummocks that was large enough for our car, so every time we had to take the same path crossing one-and-the-same permanent crack in the ice that connected both shores of the Small Sea Strait. Suddenly it got warmer at the lake. One evening on the way back from a photo shoot we saw glistering water instead of ice in the wide open crack! Alexei stepped on the gas, our jeep roared, shook us hard, and sprayed icy water everywhere — we jumped to the other side. To be honest, it took only a couple of seconds. Stas only asked from the back seat, "What happened?" We stopped to have a look: edges around the ice crack were broken, which meant that this path was closed for us for good.
We were supposed to go to Listvyanka village in the morning. They found the clearest ice there. Unfortunately, Cape Olkhon didn't like our early departure — it snowed at night and the entire ice surface turned white. Driving on ice in such conditions would be suicide, so after a short brainstorm we decided to try to outrun the bad weather and drive 500 kilometers to Listvyanka on an asphalt road. We hoped to get there before snow covers the ice.
As we got closer to Irkoutsk, the weather warmed up to +7˚C. Ice near Listvyanka was in fact much clearer than at Cape Olkhon, but we still couldn't find an absolutely clear spot. However, due to extreme temperature changes, ice started to crack all over the place. Ice cracks grew like mushrooms after rain. Lake Baikal groaned and cursed as far as we could hear it. With great effort we made it to Bolshie Koty (Big Cats) settlement and — what a miracle! — we found our perfect ice. Unfortunately, very strong wind didn't let us fly, and so we decided to look around. Alas, opened cracks and water stopped us from further driving. Our only option was to stay put at the clear ice spot and wait for the wind to calm down. It took us 4 hours, but now we have a perfect aerial panorama of pure Baikal ice. Yes! The pattern of ice cracks resembles an Arabic calligraphy. Beautiful.
Happy and satisfied, we get back on the ice road and suddenly find a wide path leading to the center of the lake. In 5-7 kilometers we spot little houses on ice: it turned out to be a research camp of the Baikal Research Institute. We get our RC helicopter up in the air near the camp to capture the last rays of the sun. Our 500-kilometer drive was not for nothing! An amazing sunset was our parting gift from Lake Baikal. On the following day the weather suddenly went bad. We couldn't fly over the mouth of Angara River due to the horrible wind.
During our short trip to Lake Baikal we managed to photograph a number of beautiful places, which you can see in our virtual photo tour.
And now allow us to share few interesting facts about Lake Baikal.
Lake Baikal is the deepest lake on the planet, and is one of the most famous landmarks of Russia and the world. In 1996 Lake Baikal was declared a UNESCO World Heritage Site. The surface area of the lake is 31,722 sq. kilometers (12,248 sq. mi), which is comparable to the size of Belgium and Denmark. Its shore length is 2,000 kilometers (1,300 mi), and maximum depth is 1,642 meters. Besides Lake Baikal, there are two more "thousanders" in the world: Lake Tanganyikain in Central Africa (1,470 meters) and the Caspian Sea (1,025 meters). This is not a coincidence: like the enclosed Caspian reservoir, Baikal is also called "a sea" for its size and significance.
Add your review about "Lake Baikal, Russia"
verdaderamente no se puede pedir mas. esto es lo espectacularmente magnifico!!!!!!!!!!!!!
Fantastic pictures ,great web site.
Thank you for letting me appreciate this lustrous ice cold side paradise with the warmth of my couch !!!!
this is a look which most of us will never see in person. What a treat !
I wonder if this site under World Heritage ?
wiem, jakie ono jest- przeogromne i zadziwiające.
Gratulacje dla twórców tych panopram.
All your panoramas are great! I just wanted to express my admiration to the song played along Lake Baikal panorama.
Thank you very much, Zoran! Wait our new panoramas!
Fabulous! Also thanks for your extended descriptions about your yourney's and the Lake Baikal itself in this case.


Located in a prestigious business hub, the hotel and conference centre Auditorium Madrid allows for easy access to Juan Carlos 1st's fairgrounds and the international airport of Madrid-Barajas. Within a 15 minutes ride from the centre of Madrid, the hotel is also conveniently located for the highways and arterial roads in the Capital.
Buses Nos. 281, 282, 283, 284, 285, 221, 222, 223, 224, 224A, 226, 227 and 229 (from Avenida de América's exchange station with coaches and underground lines).
From Madrid: drive into national road no. 2 to Zaragoza, and then continue on road "Via de Servicio Coslada/San Fernando".
From Barajas airport: exit no. 12 on the M-21 to"Colonia las Mercedes / Colonia Llorente", and follow signs to "Calle de Yécora" and "Avenida de Aragón".
Free shuttle service available from/to Barajas airport (nos. T1, T2, T3 and T4) and from/to the city centre (from Avenida de América's exchange station with coaches and underground lines).
From Valencia via A-3: exit no. 6, change with M-40 to exit no. 9ab (signposted Zaragoza-Airport), change with 9b/M-22 or E-90/A-2 and merge into Coslada/San Fernando service road, drive straight on to the hotel which is 300 meters after the gas station.
From Extremadura via A-5: exit no. 28 to M-40 (Toledo), take exit no. 9ab or no. 9b/M-22 (signposted Zaragoza – airport). Merge into Coslada/San Fernando service road, drive straight on to the hotel which is 300 meters after the gas station.
From Burgos via A-1: exit no. 13 to M-40, airport, then exit no. 9 (signposted Zaragoza-airport), merge into Coslada/San Fernando service road, drive straight on to the hotel which is 300 meters after the gas station.
From Zaragoza via A-2: exit no.12 to service road"Via de Servicio Coslada/San Fernando", exit no. M-21 2B to "Colonia las Mercedes / Colonia Llorente", and continue on to "Calle de Yécora", "Avenida de Aragón".


It is officially the witching month and as everyone gears up for Halloween, some of the best hotels in Tokyo have revealed how they will be getting into the spirit of the occasion.
The Strings by InterContinental Tokyo is offering a special Halloween plate from now until October 31st.
Comprising three types of chocolate – dark, milk and white – four varieties of cocktail, edible spooky decorations and a syringe of fake blood, it is bound to excite those who love the season.
Guests are invited to squirt the rum, peach liqueur and cranberry juice cocktail into chocolate shells that end up looking like ghoulish eyeballs.
The flavours of the other specially created cocktails tap into the associations with Halloween, reports the Japan Times.
There's a rum, carrot juice, maple syrup, ginger and lemon juice concoction; a white chocolate liqueur, milk, pumpkin puree and caramel syrup blend; and an avocado puree, banana liqueur and pineapple juice cocktail.
Visitors can get the entire array for 2,500 yen (£19.63), although it is worth noting that this does not include taxes or service charge.
Meanwhile, the Asakusa View Hotel in the Asakusa neighbourhood of Tokyo is going even further and offering stays with a real Halloweeny feel.
Guests who dress up during their visit will be rewarded with special treats in a bid to fill the restaurants of the hotel with seasonal characters.
A special Halloween version of the popular meal plan will also be available for 9,000 yen (£70.60) per person, including taxes and service charge.
For the fee, diners will enjoy specially decorated plates in the Café de Capitan establishment, located on the first floor at dinnertime.
Breakfast is also included, with a buffet at the 26th-floor sky grill Musashi or sixth-floor Japanese restaurant Karuta.


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EXCLUSIVE INTERVIEW: Starz 'Vida's Tanya Saracho Talks Writing, Being Latinx, and More
We all have a bucket list of people we'd love to talk to once in our lives. People who exemplify a craft, have stolen our hearts with their wisdom, or who are changing the world for the better because of…
Starz 'VIDA': Season 3 Will Be Last
VIDA, The critically acclaimed series by Tanya Saracho, just announced that it will be airing it's final season when the show returns Sunday, April 26th on Starz and Starzplay. This comes as a shock to fans of the LGBTQ and…
Starz 'Vida' Season 2 is Premiering in May with All 10 Episodes!
YOU HEAR THAT NOISE? THAT SCREAMING IN THE DISTANCE? THAT'S ME FREAKING OVER STARZ VIDA SEASON COMING MAY 23RD! As if my queer Latina heart couldn't handle anymore goodness in my life, all 10 episodes of Vida will drop in…
'Vida' 1×01 Review: Two Sisters, One Funeral, and Lots of Flan
Vida's series premiere flies directly in the face of peoples' fears that they wouldn't be able to understand a story such as this unless they themselves were Latinx or queer. A lot of the success of Vida and it's relatability is due to the…
Starz First Look at "Vida" Treats Latinx Stories Like…Any Other Story
Anytime Hollywood tells me they're going to take on a Latinx story I'm like, "Here we go again." I'm wary and ready to expect: Latinx women with bright red lipstick, popping gum, cholas, and the maid of some random hotel…


It takes all of us to achieve our vision.
The Ohio Junior Classical League is made up of dedicated student officers and adult volunteers who work tirelessly to ensure the best possible experience every year. Elected by members of the OJCL, student officers work with three incredible State Chairs in order to seek the best with the highest as their goal.
If you're curious about our roles, check out the Constitution and By-Laws.
If you'd like to ask us a question, please contact us.
Favorite Part of JCL: Nationals certamen-the competition is intense and I meet lots of new friends.
Favorite Part of JCL: Hanging out with people who are equally obsessed with classics.
Favorite Part of JCL: The sense of community that comes from all the different schools and individuals who all band together for the love of Latin (and Certamen!).
Favorite Part of JCL: Spirit!
Favorite Part of JCL: Our silly traditions (ooooh, ahhhhh) and welcoming atmosphere.
Favorite Part of JCL: Losing my voice cheering at General Assemblies!
Favorite Part of JCL: The variety of contests and activities held throughout the year.
Favorite Part of JCL: The nerdy, wonderful people I've met and the lifelong friends I've made.
Favorite Part of JCL: Nationals certamen- the competition is intense and I meet lots of new friends.


Brass Triumphant is a four-movement work and was composed for the Cory Band during their 125th anniversary year of 2009.The first movement is a celebratory fanfare featuring a strong melody as the thread which runs throughout the whole work. The second movement is powerful in nature and reflects struggle and endeavour. The third movement is a beautiful slow melodic poem subtitled Mist of the Forest. A melody carried by the euphonium honours the great Welsh folk melodies we all know and love. The lollipop finale is a rollercoaster ride, taking us to the very edge of band technique. The hymn tune O Iesu Mawr appears though heavily disguised and is a reminder of the composer's Welsh Heritage.The Cory Band under Dr. Robert Childs gave the World premiere of this work during the World Music Contest Gala Concert in Kerkrade, Netherlands July 2009. It later received its British premiere during September of the same year in Birmingham's Symphony Hall, again performed by the Cory Band under the direction of Robert Childs.
Gareth Wood's Concerto for Tenor Horn was commissioned by the Welsh Amateur Music Federation with additional funding from the Arts Council of Wales and the PRS Foundation. The work was written for Owen Farr and the National Youth Brass Band of Wales.It is in a traditional three movement form demonstrating the agility and lyricism of the tenor horn. The soloist begins alone with a singing melody in 5/4 time, and is soon joined by the Eb tuba and solo cornet. The rest of the band later emerge, leading the music into a strident Allegro. After a short tutti the soloist takes charge and a dialogue of melodic and rhythmic ideas follows. After a brief return to the opening theme the movement closes with a flourish. The second movement is a true Adagio. A profound beginning, almost hymn like, leads into a gentle melody which builds into a large tutti for band. A rhythmic section follows, rhapsodic in nature ending in a return to the melody used at the very beginning of the concerto. After another short tutti section the movement gently fades away. The finale is a combination of technical fireworks and an almost latin melody, both soloist and band finishing with great aplomb!Gareth Wood's Concerto for Tenor Horn received its world premiere by Owen Farr and the National Youth Brass Band of Wales under the direction of Dr. Robert Childs during their Summer Course of 2006 at Bangor University's Pritchard-Jones Concert Hall, North Wales.


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Robert "Bobby" Davison (* 17. Juli 1959 in South Shields) ist ein ehemaliger englischer Fußballspieler und aktueller -trainer. Der Stürmer war in den 1980ern Publikumsliebling und Torjäger von Derby County, bevor es ihn zu Leeds United zog, wo er später mit zwei Einsätzen in der Saison 1991/92 einen geringen Anteil am Gewinn der englischen Meisterschaft hatte. Zwischen 2008 und 2009 war er Trainer des ungarischen Klubs Ferencváros Budapest, nachdem dieser von einem englischen Unternehmer übernommen worden war.

Profikarriere

Erste Stationen (1980–1982)
Davison war zunächst in regionalen Spielklassen für die Seaham Red Stars aktiv, bevor ihn im Juli 1980 mit Mick Buxton der damals bei Huddersfield Town aktive Trainer verpflichtete. In seinem einzigen Jahr für den Drittligisten blieben die Einsätze aber zumeist auf die Reservemannschaft beschränkt und bei nur zwei Gelegenheiten durfte er sich in Profiligaspielen beweisen. Am 30. August 1980 stand er gegen Rotherham United als Ersatz für Steve Kindon erstmals in der Startelf; es folgte im späteren Saisonverlauf nur noch eine Einwechslung. Für 20.000 Pfund ließ ihn Huddersfield schließlich im August 1981 zum Viertligisten Halifax Town ziehen.

Bei dem von Mickey Bullock trainierten Team führte er sich bei seinem Debüt mit einem Treffer im Ligapokalhinspiel gegen Leicester City (1:2) viel versprechend ein und mit 20 Ligatoren in der Saison 1981/82 entwickelte er sich zum treffsichersten Schützen seines Klubs. Auch zu Beginn der anschließenden Spielzeit zeigte er sich in guter Form. Seinem ersten Dreierpack in der Football League Trophy gegen Hartlepool United folgten weitere drei Tore beim 4:2-Erfolg gegen den FC Wimbledon im November 1982 – Davisons wohl bester Partie für die "Shaymen". Dies weckte insgesamt Begehrlichkeiten bei höherklassigeren Klubs und Anfang Dezember 1982 fiel die Wahl auf Derby County. Halifax konnte sich trotz des enttäuschenden Abgangs seines damals besten Spielers mit einem vergleichsweise hohen Transfererlös trösten, der den finanziell klammen Klub angeblich auch vor dem kurz bevorstehenden Bankrott rettete.

Derby County (1982–1987)
Als Peter Taylor, als Kotrainer und Weggefährte von Brian Clough bereits zwischen 1967 und 1973 bei Derby County beschäftigt, 1982 ein weiteres Mal und nun als Cheftrainer zu den "Rams" stieß, war Davison seine erste – zudem ausgesprochen günstige – Verpflichtung. Schnell zeigte sich dieser als Glücksgriff und als Torjäger war er in fünf aufeinander folgenden Jahren treffsicherster Schütze seiner Mannschaft. Nach drei ersten Einwechslungen entwickelte er sich mit Schnelligkeit, kämpferischer Einstellung und nicht zuletzt vielen Toren zum Publikumsliebling. Für seinen Ex-Klub Halifax Town hatte er zuvor in der Saison 1982/83 gleich drei Mal in den zwei Ligapokalpartien gegen Derby getroffen, was nicht zuletzt mitentscheidend für die Kaufentscheidung gewesen sein mag. Die 26 Pflichtspieltore in der Spielzeit waren zudem die beste Ausbeute eines Spielers von Derby County seit der Zeit von Ray Straw 26 Jahre zuvor.

Im Gegensatz zu seinen persönlichen Erfolgen enttäuschten die Mannschaftsleistungen aber insgesamt und 1984 stieg Derby County sogar in die drittklassige Third Division ab. Unter dem neuen Trainer Arthur Cox erlebte man dann wieder glücklichere Zeiten und zwischen 1985 und 1987 setzte Derby County unterstützt von insgesamt 36 Davison-Ligatoren in zwei Jahren zum direkten Durchmarsch in die oberste englische Spielklasse an. Den Avancen von Erstligaklubs hatte sein Verein dabei in der Zweitliga-Meistersaison 1986/87 – dabei vor allem von Seiten des FC Watford – noch widerstanden, aber im November 1987 wechselte er für eine Ablösesumme in Höhe von 350.000 Pfund zum Zweitligisten Leeds United. Dabei war der Beginn der Spielzeit 1987/88 mit nur einem Tor in 13 Ligaspielen für Davison in Derby etwas enttäuschend verlaufen, aber die Transferentscheidung hinterließ beim eigenen Anhang große Enttäuschung. Als er in der Saison 1991/92 noch einmal kurzzeitig auf Leihbasis zurückkehrte, bestätigte er mit acht Toren in zehn Liga-/Pflichtspielen – darunter war sein 100. Treffer für Derby – seinen Status als "Legende" des Vereins. Weiteres Zeichen dafür war seine Konstanz zur Mitte der 1980er Jahre die Tatsache gewesen, dass er in 105 Ligapartien ohne Unterbrechung aufgelaufen war.

Leeds United (1987–1992)
Bei Leeds United war Davison Teil des von Trainer Billy Bremner initiierten Kaderumbaus und spätestens als Howard Wilkinson Bremner im September 1988 nachfolgte, war er Schlüsselspieler der "Whites". In der Saison 1988/89 war er mit 14 Ligatoren treffsicherster Schütze und im Jahr darauf steuerte er zehn weitere Tore zum Aufstieg in die höchste englische Spielklasse bei. Wie in Derby war Davisons Zeit dort aber erneut nicht von Erfolgen geprägt und er verlor in der Saison 1990/91 seinen Stammplatz an den Neuzugang Lee Chapman. In der Rangordnung hinter Chapman und Rod Wallace platziert, bestritt er fünf Ligapartien in der Spielzeit und hatte damit nur marginalen Anteil daran, dass sein Klub einen guten fünften Platz erreichte. Dies änderte sich auch nicht in der Meisterschaftssaison 1991/92 – hier verzeichnete er nur zwei statistisch wenig bedeutende "Joker"-Einsätze. Stattdessen half er in seinem letzten Vertragsjahr in Leeds als Leihspieler aus, wozu neben der bereits erwähnten Kurzrückkehr nach Derby noch ein Engagement beim Ligakonkurrenten Sheffield United ab März 1992 gehörte.

Karriereausklang (1992–1996)
Im August 1992 wechselte er für eine Ablösesumme von 50.000 Pfund zum zweitklassigen Klub Leicester City, wo er jedoch seine vormaligen Torjägerqualitäten nicht mehr abrufen konnte. Nach lediglich sechs Ligatoren in knapp 15 Monaten ging er im November 1993 ablösefrei ein weiteres Mal zu Sheffield United, das sich in der Premier League im Abstiegskampf befand und diesen letztlich verlor. Davison hatte dabei enttäuscht und war ohne eigenes Tor geblieben. Nach wenigen Wochen in der folgenden Saison 1994/95 ging es im Oktober 1994 eine weitere Spielklasse tiefer zum Drittligisten Rotherham United. Dort war er mit 21 Ligaspielen nach längerer Durststrecke einmal wieder integraler Bestandteil einer Mannschaft, der er mit seiner Erfahrung sowie vier Toren kurzzeitig weiterhelfen konnte. Der mittlerweile 36-jährige Davison absolvierte noch ein Ligaspiel für Rotherham in der Saison 1995/96. Dazu kam ein Leihgeschäft mit dem ebenfalls in der dritten Liga aktiven Hull City, bevor er sich nach dort elf weiteren Einsätzen aus dem Profifußballbereich der Football League verabschiedete.

Davison heuerte im Juli 1996 bei Ex-Klub Halifax Town an, das mittlerweile in der semiprofessionellen Football Conference angekommen war. In der Mannschaft von John Carroll konnte er aber keinen dauerhaften Stammplatz für sich beanspruchen, schoss nur ein Tor und wechselte beim AFC Guiseley ins Trainerfach, während er noch bis in die Saison 1999/2000 hinein parallel für den neuen Klub als Spieler auflief.

Traineraktivitäten
Ursprünglich ab 1997 nur im Trainerstab des AFC Guiseley arbeitend, übernahm Davison im Februar 1998 das Chefrolle in dem Team, das in der Northern Premier League Premier Division kickte. Kurz nach dem Abstieg in der Saison 1999/2000 trat er im Oktober 2000 von diesem Posten zurück. Zu seinen nächsten Aufgaben gehörten ab Juni 2004 die des Trainerassistenten von Colin Todd bei Bradford City und im Februar 2008 als Teil des Trainerstabs von Sheffield United.

Nach der Übernahme der Fußballabteilung des ungarischen Klubs Ferencváros Budapest durch den Eigentümer von Sheffield United kam Davison im April 2008 etwas überraschend zu seiner ersten Cheftraineranstellung im Profifußball. Gemeinsam gelang dem mittlerweile in die Zweitklassigkeit abgestiegenen Traditionsverein die Rückkehr in die erste Liga, was aber trotzdem nicht der Beginn einer längerfristigen Arbeitsbeziehung darstellte. Im Oktober 2009 endete Davisons Engagement in Ungarn; stattdessen startete er im November 2010 bei Leeds United eine neue Aufgabe als Jugendtrainer. Dazu begann er, dem englischen U-19-Nationaltrainer Noel Blake zu assistieren.

Literatur

Weblinks

 Statistische Daten der Post War English & Scottish Football League A – Z Player's Database
 Daten der einzelnen Spielzeiten

Einzelnachweise

Fußballspieler (Huddersfield Town)
Fußballspieler (Halifax Town)
Fußballspieler (Derby County)
Fußballspieler (Leeds United)
Fußballspieler (Sheffield United)
Fußballspieler (Leicester City)
Fußballspieler (Rotherham United)
Fußballspieler (Hull City)
Fußballspieler (AFC Guiseley)
Fußballtrainer (England)
Fußballtrainer (Ferencváros Budapest)
Brite
Engländer
Geboren 1959
Mann


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Home Breaking News TNT Announces New Primetime Shows Coming in 2013-2014
TNT Announces New Primetime Shows Coming in 2013-2014
Dwayne Johnson brings audiences 'The Host' - Photo by Frank Masi/TNT
TNT has unveiled its summer and fall programming slate as well as details on shows that are in development. Among the new series set to debut this summer are King & Maxwell with Jon Tenney and Rebecca Romijn, The Hero with Dwayne Johnson, 72 Hours hosted by Brandon Johnson, and Cold Justice from the producer of Law & Order. They'll be joining returning series Rizzoli & Isles, Falling Skies, Major Crimes, Perception and Franklin & Bash.
And later this year the network will premiere Lost Angels from Frank Darabont, Save Our Business with entrepreneur Peter Jones, Marshal Law: Texas from producer Jerry Bruckheimer.
TNT Original Series 2013-2014 Lineup:
The Hero – Series Premiere: Thursday, June 6, at 8 p.m. (ET/PT)
72 Hours – Series Premiere: Thursday, June 6, at 9 p.m. (ET/PT)
Falling Skies – Two-Hour Season 3 Premiere: Sunday, June 9, at 9 p.m. (ET/PT) – Regular Timeslot: Sundays at 10 p.m. (ET/PT)
Major Crimes – Season 2 Premiere: Monday, June 10, at 9 p.m. (ET/PT)
King & Maxwell – Series Premiere: Monday, June 10, at 10 p.m. (ET/PT)
Franklin & Bash – Season 3 Premiere: Wednesday, June 19, at 9 p.m. (ET/PT)
Rizzoli & Isles – Season 4 Premiere: Tuesday, June 25, at 9 p.m. (ET/PT)
Perception – Season 2 Premiere: Tuesday, June 25, at 10 p.m. (ET/PT)
Cold Justice – Series Premiere: Tuesday, Sept. 3, at 10 p.m. (ET/PT)
Lost Angels – New Series: Late 2013
S.O.B. (Save Our Business) – New Series: Late 2013
Marshal Law: Texas – New Series: Late 2013
Dallas – Season 3: Early 2014
Life Flight – New Series: Early 2014
Nashville Confidential – New Series: Early 2014
Boston's Finest – Season 2: Early 2014
Inside Job – New Series: 2014
The Last Ship – New Series: 2014
Legends – New Series: 2014
TNT Scripted Development
Portal House
This project is the story of a group of young scientists who, while investigating what they believe to be a haunted house, stumble upon a portal into the time-space continuum. Things then take a turn for the worse when one of their own vanishes into the portal.
– Executive Producers: Steven Spielberg, Justin Falvey, Darryl Frank, Scott Rosenberg (writer), Jeff Pinkner (writer), Josh Appelbaum (writer) and Andre Nemec (writer)
– Production Company/Studio: Amblin Television
This re-imagining of the classic post-modern Blake Edwards-Craig Stevens' series centers on a gentleman private eye who is not above getting his bespoke suit and tie dirty, if that's what it takes to bring down the bad guys, save his hometown and win back the love of the gal he left behind.
– Executive Producers: Steven Spielberg, Justin Falvey, Darryl Frank, Julie Andrews, Lou Pitt, Scott Rosenberg (writer), Jeff Pinkner (writer), Josh Appelbaum (writer), Andre Nemec (writer)
The Last Cop
Life can seem to pass in the blink of an eye, but for LAPD cop Mick Branigan it actually did in this project based on the hit German series. After almost 20 years in a coma, Mick awakens to a changed world – his loving wife has moved on, his teenage daughter doesn't know him, and his old police force bears no resemblance to the one he knew in the '90s.
– Executive Producers: Sylvester Stallone, Kevin King, Mikkel Bondesen, Chris Fedak (writer) and Kristen Campo (co-executive producer)
– Production Company/Studio: Fuse Entertainment, Fox Television Studios
A Bend in the Road
This character drama based on Nicholas Sparks' book is set in a resort town. Sheriff Miles Ryan is known for his keen ability to solve crimes and his deep understanding of the town's citizens. But what Miles doesn't realize is just how many secrets are buried beneath the very streets he walks – the most unsettling having to do with the unsolved murder of his wife.
– Executive Producers: Nicholas Sparks, Theresa Park and Brandon Camp (writer)
– Production Company/Studio: Nicholas Sparks Productions, Warner Horizon Television
Guilt by Association
Based on the debut novel by Marcia Clark, lead prosecutor in the O.J. Simpson trial, this project centers on Rachel Knight, a gutsy Deputy District Attorney in the Special Trials Unit of the D.A.'s office for L.A. County. She works closely with a tough-as-nails female LAPD detective named Bailey Keller and a stylish female prosecutor named Toni LaCollette, both of whom routinely crash at Rachel's place.
– Executive Producers: Marcia Clark (writer), Dee Johnson (writer) and Nelson McCormick (director)
Lew Archer
Based on the title character from Ross McDonald's popular novels, this project from The Closer creator James Duff and Close to Home creator Jim Leonard follows the sleuth many consider to be "the original P.I."
– Executive Producers: James Duff, Jim Leonard (writer) and Steve N. White.
– Production Company/Studio: Warner Horizon Television.
This primetime soap focuses on two rich lovers: Caz, whose father, Jeremy owns Terra Winery, and Daphne, Jeremy's young wife. When Jeremy announces that he has amended his will to leave them each 50% of the business, their rivalry gets the better of them. They make a unique bet to determine who has the best seductive powers.
– Executive Producers/Writers: Sara Parriott and Josann McGibbon
– Production Company/Studio: Prospect Park, Universal Cable Productions
TNT Unscripted Development
From executive producer Denis Leary, Burn is an action-packed docudrama told through the eyes of Detroit firefighters, who are charged with the task of saving a city that many have written off as dead. Burn will take viewers closer than ever to the fires and the lives of the men and women who fight them, exploring human struggles, hope and personal courage in the face of overwhelming odds.
– Executive Producers: Denis Leary, Tom Putnam, Brenna Sanchez and Jim Serpico
– Production Company/Studio: Apostle Pictures, Inc. and Callbox
Cop Swap
From legendary producer Dick Wolf comes a unique unscripted format. Each week, two law enforcement officials from diverse backgrounds and departments immerse themselves in each other's lives and jobs in an effort to learn something that will make them better officers, partners and citizens of the law. When all is said and done, the cops reflect on their mutual journeys, and reveal new perspectives on what it means to protect and serve.
– Executive Producers: Dick Wolf, Tom Thayer and Rasha Drachkovitch
– Production Company/Studio: Wolf Films, 44 Blue Productions
From the iconic toy and game company Hasbro comes the reality version of the popular game. Eight two-person teams will play a game of real-world Monopoly with a huge cash prize at stake. Just like the iconic game, the ultimate goal is to amass as much property and wealth as possible in this game that requires strategy, business acumen, people skills and chance.
– Executive Producers: Stephen J. Davis, Kevin Belinkoff, Dan Cutforth and Jane Lipsitz
– Production Company/Studio: The Magical Elves, Hasbro Studios
From the producers of The Biggest Loser and MasterChef comes the biggest treasure hunt America has ever seen. Teams of antique and collectible enthusiasts from across the country compete in an epic scavenger hunt for the chance to win thousands in cash.
– Executive Producers: Eden Gaha and Paul Franklin
– Production Company/Studio: Shine America
Source: TNT
bend in the road
last cop
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Contemplate the notion that with every thought you are creating your future. This has sometimes been a scary thought for me because I am not always thinking about sugar and spice and everything nice. When you become aware that your thoughts become your reality, you realize the great responsibility that comes with this knowledge. There is no one to blame for your circumstances except yourself.
If you are a regular reader of this site, then you know that I have approached this subject in articles such as You Get What You Expect, A Strong Desire for Skates, and Believing is Seeing.
It was a magical feeling when 7 1/2 years ago we moved from New Orleans into a 100-year-old house on the historic east side of Kalispell, Montana. Located in a real life Willoughby, the house was in small town neighborhood within walking distance to Main Street. The address was 1127, (the date my husband and I had met), it had a porch swing (something I had always desired), a picket fence, and it was painted a shade of pale yellow (similar to the color of homes that I had seen on a favorite TV show called Millenium, which was set in the Pacific Northwest). These were all things I had thought about and/or daydreamed of at some point in my life.
Feeling very much in the flow when we arrived in Kalispell, David and I felt everything was going our way. As described above, the house had all of the obvious signs to tell me that I had manifested a little house in Kalispell. We decided to take it.
It was a wonderful life living in that little house and also living in a small town, but after 6 years it was time to move on. Throughout our married life, 6 and multiples of 6 have always been moving years. David and I are both very well aware of this trend and because of that I have always gotten antsy at the 6 year mark of living anywhere. After 6 years in Kalispell, I began thinking about moving and wondering what circumstances would bring it about.
It took another year and a half before we moved and at some point during that time I decided to make a vision board. Not because I was trying to manifest a particular house to move into, but because I thought it a good way to help me visualize my dreams of all kinds. I cut out a picture of what I considered a Montana dream home and put it atop a sill in the kitchen where I would constantly see it – above the sink where I spent an unimaginable amount of time doing dishes because I didn't have a dishwasher (except for my daughters who took turns doing the daily grind). I intended to add additional pictures of my wants and desires and paste them to a piece of poster board. I didn't complete my vision board, but the picture of a log home with big windows remained on the sill above the sink up until the day we moved.
This is the picture I cut-out.
This is the picture I cut out of a magazine for my vision board.
It turned out that there were no particular reasons that would require our moving; just the desire to do so.
Now for the part about manifesting one's dreams. The home my family and I have moved into looks very similar to the picture I had cut-out for my vision board; so much so that it would be thoughtless of me not to notice and recognize the power of the mind at work. With the help of my husband who had a desire 7 years ago to move into the wooded area in which we now live, I truly believe this little cabin in the snowy woods is the manifestation of our dreams.
Numerous events in my life have come to pass after I have put my attention on them giving evidence that my thoughts are creating my future. Therefore, one must seriously consider that consciousness shapes reality – if there is such a thing as reality.
Marlene's This and That law of attraction, Montana, RMKK adventure, spritual. permalink.


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Inga gracilifolia är en ärtväxtart som beskrevs av Adolpho Ducke. Inga gracilifolia ingår i släktet Inga och familjen ärtväxter. Inga underarter finns listade i Catalogue of Life.

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gracilifolia


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Women Who Inspire Us: Roma Guy
National Women's History Month honoree 2018
Last spring, you may have watched When We Rise, ABC's miniseries on the history of the LGBT rights movement. If so, you've seen part of Roma Guy's story. A social justice activist and policy leader, Guy moved to San Francisco with her partner Diane in the 1970s, and joined the women's and LGBT rights movements.
This month, we join the National Women's History Project in honoring Roma Guy as part of National Women's History Month. We're inspired by Guy because her work on behalf of women had an important focus on public health.
As a Peace Corps volunteer and training director in West Africa, she spent nine years working in health education and literacy. She has since spent decades involved in advocating for public health policy change in the United States. Specifically, Guy has focused on protecting girls' and women's health, reproductive justice, HIV care and universal health care.
Several organizations she co-founded are still thriving today, including The Women's Building, a women-led community space that advocates for self-determination, gender equality and social justice, and La Casa de las Madres, San Francisco's first shelter for battered women.
Click to find out more about Roma Guy and the other honorees for National Women's History Month.
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GRAHAM has been involved in the music business most of his life entertaining all over the UK and Europe. Unfortunately, he is now unable to entertain due to having suffered a severe stroke.
Graham has been involved in the music business most of his life entertaining all over the UK and Europe. Unfortunately, he is not able to perform live now due to having suffered a severe stroke however he entertains every Sunday on Country Roads.
We here at Black Diamond FM are proud to have him behind the mike for two hours on a Sunday playing favorite Country Music just for your pleasure.


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Brandon Whyde goes acoustic in Earshot's Studio 1
Nashville recording artist Brandon Whyde and his band, The Devil's Keep, recently paid a visit to Earshot's Studio 1 to record one of Brandon's new tunes, Mississippi Blood. Brandon and his band were in Indy to play at Sun King Brewery's 6th Anniversary Celebration.
Mississippi Blood features Brandon Whyde on vocals and guitar, Chris Weller on upright bass, Benji Ballard on drums, and Earshot's Mina Keohane on accordion and vocals.
The acoustic version of the tune was engineered and mixed by Brice Bowman and recorded "old school" – using just three Neumann condenser mics. Preston Long shot and edited the video and CMG's Marc Wellington provided color correction and finish.


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