Multiple, huge pieces of antique furniture? Multiple flights of stairs? No problem for these guys. The whole process, from initial enquiry to move completion, was carried out in a super-friendly and efficient way, faster than quoted and they even came early (checking by phone beforehand that this was OK). Thanks, TJ, James and Golden Girl. Will recommend Man with a Van to everyone.
Thanks Karen, glad to hear it went well.
Cheers, happy to hear it went well.
I needed some chairs picked up from an auction site and I needed it within 24 hours. Man with A Van to the rescue! A solid quote, van was there on time, with two of the nicest guys you could imagine. Alex and Costa were efficient, polite and respectful and...fun! I certainly recommend Man with A Van and I know that I will be using them again.
Glad we could get it sorted for you.
2 bed unit, medium distance and the guys were excellent. Delievered quickly and professionally. Everything went according to plan and they helped me place some items that I wasn't sure about.
Thanks for the review, glad we could help out.
Our guys were absolutely fantastic. Professional and courteous and on time. They took great pride in their work and looked after my furniture like it was their own. Thanks for a great, no stress move.
No worries Louise, glad to lend a hand.
Lovely men Ollie and Costa who did our move and they were so careful with our furniture and artwork. The booking process was also very easy and efficient. Would definitely use man with a van again!
Thanks Alice, glad to hear it went smoothly.
Great guys, efficient, thoughtful and strong!
I had a complicated 2 day job with different drop offs and locations etc. The team were helpful, professional, friendly and really quick and efficient. These guys are genuinely good helpful guys and a brand you can trust. Thanks Men With All The Vens!
Job was done when I needed it to get done. No fuss. Great guys. Friendly. Stuck to the quote and were quick. Highly recommend this company to anyone that wants a pressional job done right.
Happy to hear it, cheers.
One bedroom apartment moving into but from a 2brm house!
They arrived early, very prompt & professional! I was so impressed & would recommend MWAV to everyone!
Happy to help, thanks Sarah.
Hard working and very efficient team!
Thank you Zak and Johnnie for moving our 1 bedroom furniture and being punctual, handling the items with great care and completing the job in the given timeframe! I would warmly recommend this team for their excellent manners and great logistics as well as for great diplomacy in navigating and complying with the building management rules. Thank you for your excellent service!
Thanks Naomi, every move is different and I'm glad we could make yours easier.
Mattress delivery between Melton and Hawthorn. Absolutely brilliant. Due to heavy traffic cost was more than expected HOWEVER the boys were happy and helpful. Definitely use again. Thanks Man with a van.
We moved a large 2 bedroom flat, to a big house. We had a LOT of stuff. We had 3 crew and the team were perfect (Thanks Troy and team!) they estimated the time and space perfectly and even moved our pizza oven! Cannot thank you enough. If we are crazy enough to moved again we will be back!
No worries Belinda, glad that we could get it all shifted, even the trickier pieces.
Move was medium to large size. 2 bed 3 story townhouse to a 2 story 2 bed townhouse. Short distance to travel. Started a little later than organised but that suited us fine. Much appreciated. Guy's were friendly and did a wonderful job.
Great to hear, thanks Vanessa.
I only had a few boxes, suitcases and odds and ends for a small, short move. The removalist was very efficient and overall a really nice guy. My apologies for for making him late for his next job. Thanks heaps.
No worries Kay, first priority is always the job we're already doing. Happy to hear you found us to be an efficient service.
I entertain big and often have to move furniture, some large sofas and rugs etc. The Man always comes on time, they work quickly and efficiently, never a scratch on the woodwork. Great job.
1 bedroom home. Arrived at the correct time. The job took the exact time as quoted. Very polite and friendly. Happy to do other heavy lifting other than what was requested. Have used this service 3 times and every time was very happy with the service. Will always recommend to a friend.
Thanks for spreading the word, Claire.
Excellent customer service right through the process with thoughtful communications and timely pickup and delivery. Very polite and hard working young men and the item was set up for me exactly as requested. Thoroughly recommend Man with a Van.
That's great to hear, thanks Liz.
They're a tireless crew, Nic and Dougal. Thanks for the praise Katie.
We have used Man With A Van several times with office moves. They are polite, helpful and punctual.
Highly recommend using them for any move big or small. The process is really smooth.
Hi I'm moving from Parkville to West Brunswick in Oct. It's a double storey 3 bedroom townhouse into a Cal bungalow. Settlement in Oct - what is the ball park cost?
Are these reviews for Sydney or just Melbourne?
Hi Arna, We're a Melbourne-based service. Thanks, Alex.
Listing monitored by Man With A Van representatives.


* Blank spaces contained confidential information which has been filed separately with the Securities and Exchange Commission pursuant to Rule 24b-2 under the Securities Exchange Act of 1934, as amended.
All terms used herein and in the Purchase Agreement, and not defined herein, shall have the same meaning as in the Purchase Agreement.
1. Remove and replace, in its entirety, the "Table of Contents" with the revised Table of Contents attached hereto to reflect the changes made by this Supplemental Agreement No. 18.
2. Remove and replace, in its entirety, Table 1-D to the Purchase Agreement with the revised Table 1-D attached hereto to reflect changes relating to the Rescheduled Aircraft.
3. As a result of accelerating the Rescheduled Aircraft, advance payments in the amount of [ * ] U.S. dollars ([ * ]) will be due within two (2) business days after Customer's acceptance of this Supplemental Agreement No. 18.
4. Customer and Boeing hereby acknowledge and confirm that Letter Agreement 6-1162-RRO-1144R4 is hereby cancelled and replaced in its entirety with Letter Agreement 6-1162-RRO-1144R5.
5. Boeing's offer to re-schedule the Rescheduled Aircraft will expire on March 31, 2011.
In consideration of the strong business relationship between Boeing and Customer and Customer executing Supplemental Agreements No. 8, Nos. 13 through No. 16 and No. 18, Boeing has agreed to [ * ].
Further Customer agrees and acknowledges that Attachment A can not be revised/modified in any way unless specifically agreed to in writing by Boeing.


The Conservatives have gained four percentage points in a week with Ukip voters fleeing the sinking ship according to the Telegraph's exclusive ORB poll.
As much as 46 per cent of those who are very likely to vote say they will cast their ballots for Theresa May's party, up from 42 per cent last week.
Labour remain on 31 per cent while Ukip are stuck on nine per cent - more than a quarter less than the share they achieved in 2015.
Ukip were all but wiped-out in the local council elections losing all but one of their councillors. Our poll shows that this result may well be replicated come the general election on June 8.


text:
Q: Can't seem to disable root login I am trying to disable root password login and only allow root login with a ssh key on debian 7.
cat << EOF >> /etc/ssh/sshd_config
PasswordAuthentication yes
UsePAM no
PermitRootLogin without-password
AllowUsers root test
Port 433
LoginGraceTime 1m
ClientAliveInterval 600
ClientAliveCountMax 0
EOF
service ssh restart

I run these commands as part of a deployment script and yet still I am able to login as root afterwards using the root's password (and not using a ssh key).
I've read quite a few tutorials and I can't seem to see why this is happening.

A: Have you checked the contents of '/etc/ssh/sshd_config'?
Your command does not rewrite this file, it appends to it. And the first line in this file (by default) is 'UsePAM yes'.
And this option will be used, as it comes earlier...
If you do not have a valid ssh key, the root will be asked for password in this case, because you have 'UsePAM yes' (http://www.techrepublic.com/blog/linux-and-open-source/specify-who-can-log-in-via-openssh/).
P.S. You command appends the config line to file every time you run it. You need either directly edit the sshd_config, or change your "deployment script" to rewrite it, instead of appending to it.

redpajama_set_name: RedPajamaStackExchange


Derbyshire Snooker Open Tour Handicapped 14/15 event 1.
After the success of last seasons open tour ranking events Cueball Derby will host the 2014/15 open tour event, kicking off with event 1.
£15 entry fee paid on the day with registration at 10am, play starts at 11am.
EASB Premier Junior Tour Event 8.


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  Amsterdam.

              Dec 2-7, 2017
            Supported by the Rice ECE Bybee Travel Award

                      Trip Motivations

                      A Trip Overview

                    Published on Nov 30, 2017

  swiper, no swiping!

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text:
Tag: Station
1883: Accident on the Great Eastern Railway at Aldeburgh Station
By admin 9 October 1883 25 January 2017 News
The 5.22 p.m. train from Saxmundham to Aldeburgh, due at Aldeburgh at 5.45 p.m., and composed of tank engine No. 25, one composite carriage, two third class carriages, and the guard's break-van, left Leiston on Saturday at the advertised time with about 28 passengers.
As the train ran into Aldeburgh Station several of the passengers remarked that they appeared to be going too fast, and that no whistle was sounded. Persons near the station also noted this fact, and saw the guard's van skidding under full break, and fire flying from the wheels. Just through the arcade which covers the station a spare composite carriage was standing near the buffer stops, adjoining the fence and roadway.
The train, with apparently undiminished speed, dashed through the arcade, past the station, and, colliding with the spare carriage, drove it and the massive buffer stops quite across the road, and within a few inches of the low wall fronting York Villas, the buffers of the carriage being, strange to say, within about four feet of the front door of the house where the regular engine driver lives. The engine itself was partly buried under the end of the carriage, and went some feet into the roadway, whilst the following carriage marvellously escaped telescoping, being merely buffer-locked.
The passengers fortunately escaped with a slight shaking, but a pumper named Fryer, who was riding on the engine, is said to be somewhat injured. The train was run by a certificated fireman named Hughes, who, together with his fireman, states that the break was applied at the proper time, but that it failed to act. Hughes is suspended pending an inquiry into the matter.
A somewhat remarkable escape occurred in connection with the accident. Just before the spare carriage was forced through the fence, two little girls were looking through at the approaching train, and the fence in falling arched over them quite close to the carriage. One of the girls was for the moment unable to extricate herself, but the other pluckily caught hold of her sister's arm and fairly hauled her out, neither of them appearing very seriously alarmed.
The highway being completely blocked, it was necessary to speedily clear a crossing for road traffic elsewhere, and this was soon done by Mr. Taylor, the stationmaster, who had previously wired to Ipswich for a breakdown train and gang. Meantime, about eight passengers wanting to go by the 7.0 p.m. were forwarded on to Leiston by Mr. Ball's 'bus and other conveyances.
The break-down train and gang arrived at 9.15 p.m. in charge of Mr. J. Flower, district superintendent, who was also accompanied by Mr. Johnstone, district engineer, and Mr. Robinson, locomotive district superintendent. Soon all was activity, and by the aid of two very ingeniously constructed camp-fires, the gang proceeded to remove the obstruction from the highway, and to re-place the engine and carriage upon the metals. This was, of course, a work of time, but the quiet energy of the men, under the able supervision of Mr. Flower and the other officials, shewed that even greater difficulties might be surmounted if necessary. Crowds of people were present watching the proceedings with considerable interest, and many of them stayed till the small hours of the morning. The engine was got on the rails about 3.0 a.m. and placed in the shed ready for work again yesterday (Monday), being found to have sustained little or no injury. The highway was cleared at 4.0 a.m., and at 5.30 a.m. the breakdown train and gang, in charge of Mr. Flower, returned to Ipswich.
The Ipswich Journal, Tuesday 9 October 1883
Tagged Railway, Station

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Become The Most Sought After And Respected Leader in Your Company. This Systematic Approach will Help Brand You As The Expert. Free Video Guide Details How To Duplicate & Replicate With Speed. Don't Wait Enter Your Email Now!


"When there`s champagne on the table, there needs to be a New Year`s salty cake as well."
Boil the potatoes and carrot, boil the eggs separately while leaving one whole to form the symbol for 2019 - the pig.
Mash the warm boiled potatoes with a fork and season with spices to taste. Divide them into 2 parts. Lay out a form with a ring (10 1/4″ (26 cm)) with plastic wrap and pour half the potatoes, while pressing them with a spoon.
In a bowl, beat the mayonnaise, yoghurt, salt to taste and if desired a pinch of black pepper and powdered garlic. Smear the potato layer with this sauce, sprinkle grated eggs, pickles and ham cubes on top.
Pour on sauce and grated carrot, finish off with potatoes. Fold in the edges of the plastic wrap, leave the salty cake to harden for an hour in the fridge.
Take it out and invert into a plate, smear with sauce on top, sprinkle grated cheese.
Decorate with olives, dill, carrots and pickles. Form the body of the pig from the egg, make cuts on top and stick in ears, a tail and snout made of ham. Use black pepper grains for the eyes.


K-Pop Girl Group DREAMCATCHER is Coming To Manila This March!
PH InSomnia, you better have your savings ready now because DREAMCATCHER is set to perform in at the SM North EDSA Skydome on March 24 as part of their Invitation from Night City Tour!
DREAMCATCHER - composed of members JiU, SuA, Siyeon, Yoohyeon, Dami, Handong, and Gahyon - is a pop-metal group which debuted in 2017 under Happy Face Entertainment. The group has caught the attention of music critiques because of the unique "Young Metal" concept and intoxicating choreography.
Since their debut, the group has already released four mini albums. They have recently made their comeback last February 13 with the album The End of Nightmare with the title track "PIRI".
Tickets for the show are now on-sale via SM TIckets, are priced at P3000 for General Admissions A, B, and C and P6000 for VIP with Hi-Touch.
The show is made possible by fans through MyMusicTaste, which lets them request their favorite acts to their cities.
For more information about the show, you may check out MyMusicTaste's official website and DREAMCATCHER's official website, Facebook and Twitter pages.


text:
Paul Bartel | Scenes from the Class Struggle in Beverly Hills
comebacks, or let's misbehave
Bruce Wagner (screenplay, based on a story by Paul Bartel and Bruce Wagner), Paul Bartel (director) Scenes from the Class Struggle in Beverly Hills / 1989
Bartel's dark and witty comedy of 1989 begins with a huge orange tent being draped over what is supposed to be a Beverly Hills house. Anyone living in Los Angeles would recognize immediately that the house was being fumigated and the home shown is not at all in Beverly Hills but in the swankier Hancock Park section of the city, where the houses are more palatial than in the wealthy city to its west.
Two misnomers of this film's title, accordingly, are, at least I interpret it, no real class struggle occurs, both servants and masters being readily willing to crawl into each other's bed and, at least in one case, to form a "lasting" relationship, and, even were to have been a "struggle," it has not occurred in Beverly Hills!
Having decided to leave her philandering, gynecologist husband, Lisabeth Hepburn-Saravian (the marvelous Mary Worono) has order up the fumigation as part of the cleaning-out process. She, along with her brother, Peter (Ed Begley, Jr.) and his new wife, To-Bel (Ametia Waler)--who pay a surprise visit to Lisabeth--must temporarily camp ou next door in the equally large mansion of Lisabeth's friend, Clare Lipkin (Jacqueline Biseet), who along with Lisbeth's daughter, Zandra (Rebecca Schaffer) and Clare's son, Willie (Barret Oliver), Lisbeth's handsome houseboy Juan (Robert Beltran), Clare's chauffeur Frank (Ray Sharkey, her aphoristic-spouting maid Rosa (Edith Dias), and the ghost of Clare's recently self-strangulated husband Sidney (Paul Muzursky) fill the house with their pyschological conundrums and sexual peccadillos. Add to this bizarre assorment of individuals Clare's "thinologist" Dr. Mo Van De Camp (Paul Bartel)--a firm believer in binge and purge eating--occasional guest, Michael Feinstein, playing himself, and the return of Lisbeth's erring husband, Howard (Wallace Shawn), and chaos breaks out.
The lovely Zandra is having sex with the chauffeur, Frank, who has also indirectly been responsible for Sidney's strangulation while masturbating, and, as a bisexual, has the hots for Juan. The ailing Willie spends a great deal of his time in bed taking naps with Rosa when he isn't watching porn tapes provided to him by Juan. Although just married to To-Bel, Peter is quickly attracted to Clare, an admirer of his absurd-sounding dramas, and soon finds his way into her bed. To-Bel is fucked "animal-style" by Frank and she provides her services as well to the inquisitive Willie. Meanwhile both the wealthy women, Lisabeth and Clare, contemplate sex with the servants at the very moment Frank and Juan make a bet on who can bed Lisabeth and Clare first. If Juan loses, Frank wants Juan to try sex with him. Even in his ghostly manifestation, Sidney would like to return to his wife's arms, while Howard, who coincidently had an affair in Hawaii with To-Bel, would like to crawl back under the covers with Lisabeth.
A bit like a more frenzied Smiles of a Summer Night, Bartel's lusty work entertains with the naughty comings and goings of these confused misfits, whose bizarre couplings are revealed at brunch in front of a shocked and terrified young woman reporter, interviewing Clare about her attempt at a comeback as a television actress. In a sense, each of the film's figures are seeking a sort of comeback, a new yet familiar direction or audience in which to channel their loves.
Near film's end Lisabeth pairs up with Juan, but not before Juan, claiming to lose his bet to Frank due his macho protection of Lisabeth's virtue, joins Frank in a homosexual coupling; Clare, determined to finally devote some time to herself, leaves her son in the protection of the quite mad (Juan insists that she is burned-out as a housekeeper) Rosa; Zandra takes off with the slimy Doctor to the depths of Africa to help with his "hunger project" (he warns her they will have to share a tent); To-Bel returns to her former gynecologist lover, Howard; and Frank, presumably, will continue to bugger everyone in sight. Only the self-enchanted playwright Peter is left in the lurch—but then, there's always Frank!
True to the model of what have been calling the Los Angeles sub-genre of film, almost everyone in this work, except Clare, are outsiders—all attempting to find a new home and relationship. Although, at film's end, only Willie, Rosa and Frank stay in Los Angeles, the others will surely take Los Angeles on their diaspora. And all, except perhaps for Peter, the outsider who does not find a place for his heart, are certain to return to the city where such misbehaving folk are most at home.
Watching Scenes from the Class Struggle in Beverly Hills again the other evening, I almost felt like it was old home week, for I have make the acquaintances of four of the actors in this film. I have known Mary Woronov now for several years, both as an artist and an actress who gained early fame for her acting in several Andy Warhol films. She was also a colleague of mine at Otis College of Art + Design.
In the early years after moving to Los Angeles, I used to stop by a restaurant-bar across the street from our condominium on my way home, a place frequented by former LAMA Photography curator Robert Sobieszek, who often shared a table with Paul Bartel and filmmakers and writers, all attended by then restaurant manager and later art gallerist Sara Lee, who married Robert.
I met and spoke to Wallace Shawn for a long while after one of his plays was produced in Los Angeles at the Museum of Contemporary Art, talking, in particular, about the possibility of publishing one of his plays on my Sun & Moon Press.
Moreover, several years ago, when I was attempting to put together a book on film by writers and filmmakers, a friend took me to visit director Paul Muzursky, with whom I had a long and pleasant conversation about his films and those of others.
George Clooney | Good Night, and Good Luck
Applause, Applause
George Clooney (director); George Clooney and Grant Heslov (screenplay), Good Night, and Good Luck (2005).
Good Night, and Good Luck, George Clooney's and Grant Heslov's movie about Edward R. Murrow, is the kind of film that audiences always applaud. My companion, Howard attended the movie twice before I took in a showing on a weekday afternoon, and at each performance, we concurred, the audience so responded.
Certainly the focus of this film—Edward R. Murrow's head on attack of then Senator Joseph McCarthy and the Senate Committee for UnAmerican Activities—an act of great bravery on Murrow's and CBS's part—is worthy of audience appreciation. Murrow's reporting, his incisive appeal to his viewers that Americans were able to encounter ideas that threatened their system without censorship and arrestment of those involved, and his outright disdain for McCarthy's methods of innuendo and lies is well documented and in this film is represented through an almost noir-like dramatization of real events interspersed with actual television and film footage of the period. The world McCarthy and his committee had created is brilliantly presented by Clooney and cinematographer Robert Elswit in cinematic terms through extensive use of rack-focus camera shots and a blurring of the background in many scenes, along with jumpy, held-hand camera effects that recreate the sense of early television and suggest the psychological condition of people involved in a time when it was sometimes difficult to clearly see the broader picture of world politics and where even the tiniest of questionable political behavior might jeopardize one's career. W. H. Auden and others described the period as "The Age of Anxiety"; certainly it was a time that simply made one nervous to do anything out of the ordinary—or even sometimes within the ordinary , all which Clooney and Heslov reiterate through several dramatic episodes, particularly in scenes revealing the hidden marriage of Joe and Shirley Wershba (played by Robert Downey, Jr. and Patricia Clarkson) [studio executives did not permit employees to be married] and the continual need for self-evaluation of personal sympathies or even relationships with those who might have had seemingly Communist connections [CBS news announcer Don Hollenbeck (played by Ray Wise) is attacked by newspaper columnists for having "pinko" connections which brings on his suicide; and, when Murrow (brilliantly played by David Strathairn) and Fred Friendly (played by Clooney himself) demand their staff tell them of any possible communist connections, one staff member suggests he should leave the team for having previously been married to a woman who had attended Communist Party meetings before he met her]. In short, it was a time of deep paranoia that effected everyone.
On that fateful night in 1954, Murrow's "See It Now" broadcast begin the downfall of McCarthy and his years of destructive effects on the American psyche, effects that still have consequence in today's battles between the political left and far right. But if Murrow won the proverbial battle, he lost the "war," so to speak. Soon after that brave journalistic act—one now recognized as among the most outstanding moments in American journalism—CBS and its head William Paley (played here by Frank Langella) cancelled this regular news program, moving its diminished series of five shows to Sunday nights. And it is this fact that, it seems to me, is really the issue of this motion picture. Clooney and Heslov document the McCarthy attack effectively, but they have another, perhaps more far-reaching theme to present: the general decline of American journalism, and the rise of MTV-entertainment television and newspaper coverage. The movie begins and ends a few years after Murrow's famed show with a lecture he made to the American press about the ever-increasing lack of serious news coverage.
Accordingly, Clooney's film, although presented as a kind of realist costume drama, is more than that, is a film that continues to have important significance today. It is unfortunate that the film only suggests—although quite forcibly—these issues. When one thinks about the declining coverage of serious events on US television, where local news stations now spend most of their time—at least in my city of Los Angeles—on car chases and local and national disasters; when one perceives that even the half-hour of national news coverage reveals little about major international events; when one recognizes that journalists today often do not seem interested in pressing for the truth behind political statements and presidential edicts or, when they do, like Judith Miller, they often connive and fabricate; when one understands that most books sections across the country have disappeared or, as with the New York Times Book Review and The Los Angeles Times Book Review have chosen to refocus their attentions on more popular genres and best-selling publications; when one puts this into the context of Murrow's impassioned plea for more serious and complex reporting, one is perhaps made "nervous" again. Do we as a populace even know now when we're being lied to? Do we even recognize today that our news is incomplete—or worse—simply not existent? I am always depressed when I return home to my family in Iowa, where in the thin pages of the Cedar Rapids Gazette—just as in most smaller citys—the entire news coverage is presented in brief AP notices? Yet my mother is convinced that she knows everything that's happening of importance in the world; "I keep up with the news," she proudly says.
Finally, it comes down to a societal and institutional disdain for Americans themselves, a feeling by a few who believe they hold knowledge (and often have no better grasp of it that anyone else) that the general populace cannot and will not assimilate complex information. A few years ago I had lunch with then-editor of the Los Angeles Times Book Review, Sonja Bolle. When asked what books I was soon to publish on my Sun & Moon Press label, I replied that we had just published a translation by the French Oulipo writer, Raymond Queneau. "O, I love Queneau," she gushed, much to my surprise. "He's a wonderful writer. But, of course, we couldn't possibly do a review of his work!" "Why not?" I naively responded. Oh, our readers couldn't understand a review about his literature. You know, most newspaper readers read at the sixth grade level.
I was appalled, not so much by the journalistic cliché we have all heard many times, but by the absolute misunderstanding, it seemed to me then and does yet today, of who her audience was. "Do you think," I asked, "that it is the least literate part of your audience who reads the book section? Why even have a book section if that's the case?
There are many readers for different reasons," I concluded. "We live in a very diverse time. And furthermore, I don't believe that any reader of a newspaper is a complete idiot. Don't you owe readers something more than your disdain?" I could have been talking to the wall.
Accordingly, I wonder, when those many audiences applaud Clooney's excellent film, just what it is that they are applauding: Murrow's bravery for attacking a bigot? Murrow's advocation of a more serious journalism? Clooney's presentation of these issues? Or perhaps it is for all these reasons and more. I would like to think that in applauding Good Night, and Good Luck these audiences are simply asking to be treated as Murrow treated his, as intelligent adults.
Copyright ©2006 by Green Integer.
Nicholas Ray | The Lusty Men
being scared
David Dortort, Alfred Hayes, Horace McCoy, Andrew Solt, and Jerry Wald (writers, based on a novel by Claude Stamush), Nicholas Ray and Robert Parrish (directors) The Lusty Men / 1952
You have to forgive this film for its utterly inappropriate title, The Lusty Men—it might as well have been titled The Randy Cowboys. Clearly, one or more of its numerous writers tossed out the title to attract prurient interest, or some studio head demanded a more "sexy" come-on. But, fortunately, it has nothing to do with Nicholas Ray's sensitive portrayal of rodeo performers and their addictions to that self-destructive sport. Despite sometimes tense male-to-male relationships and both central characters' love for the film's central woman character, played by Susan Hayward, there is nothing even slightly "lusty" about their acts.
Injured by a Brahma bull he attempts to ride, veteran rodeo rider Jeff McCloud (Robert Mitchum) decides to retire, returning to his childhood home, a now crumbling, run-down place owned by Jeremiah (Burt Mustin). The place, however, would be perfect for a local couple, Wes and Louise Merrit (Arthur Kennedy and Hayward), who attempt to save money to buy it from Wes's meager earnings as a cowhand.
Hired to work at the same ranch, Jeff attracts the attention of Wes, who, without telling his wife, is determined to enter a local rodeo. When he does well, he becomes determined to join the rodeo circuit with Jeff as his trainer-partner, over the objections of his wife. Since he can make far more at a single rodeo that he can save from his own annual wages, he stakes his chances on riding, insistent that we will pull out the moment he makes enough money to buy the derelict farm. As he tells Jeff, who is a kind of worn-out, slightly cynical philosopher throughout the film:
Wes: A fella's bankroll could get fat in a hurry, rodeoin'.
Jeff: Bahh… Chicken today, feathers tomorrow.
Wes: Now if he played it smart when he had the chicken.
As a rodeo wife, however, Louise begins to perceive the other side of "rodeoin', as she meets former friends of Jeff, such as Booker Davis (Arthur Hunnicutt), who, once a champion, is a now crippled old man.
Jeff: Old Book used to be one of the best bronc riders in the
Wes: What happened?
Jeff: Punchy. Bronc shook his brains loose. He's head wrangler
for Dawson now.
When another competitor, Buster Burgess (Walter McCoy) is killed by a bull, he leaves behind a bitter wife, Grace (Lorna Thayer). Depressed by what she has observed, Louise decides to stay away from the rodeo activities, allowing another woman, Babs (Eleanor Todd) to move in on her husband. When he is invited to a party Babs is throwing, Louise attends the affair, pouring a drink over her rival's head.
Meanwhile Jeff warms up to Louise, at one point, when she has been offered the possibility to take a shower in Rosemary Burgess' trailer, comically encountering a suddenly jealous friend:
Buster: (entering Rosemary's trailer to find Jeff sitting inside. The
can be heard running in the background). Who's in the shower?
Jeff: Lady.
Louise: (from the shower) Jeff, can you hand me a towel?
Buster: (Jeff starts to get up but Buster stops him) I'll get it.
(He walks in on Louis in the shower and she screams.) That
ain't Rosemary!
Jeff: Nooooooo.
But when Jeff attempts to suggest a relationship with Louise, she remains true to Wes. His answer represents the kind of witty, understated dialogue behind much of Mitchum's acting and reveals Ray's brilliant manipulation of his characters:
Jeff: (to Louise) I do think I ought to kiss you just once,
though, for all the times I won't.
Throughout, Jeff has represented riding as an act that requires respect, arguing for a healthy fear for what they do, presenting the idea, once again, in his philosophy of alternatives:
Jeff: I've been scared, I've been not scared."
But as Wes continues winning, having now won more than enough to buy the house, he loses the necessary "being scared" about his profession, lashing out against his partner for his sometimes skeptical comments and for taking part of the money based on Wes's own feats. When the two part ways, Jeff determines to go back to "rodeoin" even though he is clearly now out of shape.
In the first two events, roping and riding, he does well. But in the bronc riding contest his foot becomes caught in the stirrup after he has brilliantly ridden the horse, and he is killed, demonstrating to the hard-headed Wes, just how dangerous the business is. Wes quits the rodeo circuit, returning home with his loving wife.
One might argue that Ray's film represents a kind simple and predictable plot, but the dialogue and acting make it one of the best of his earliest works, reiterating his ability to turn a series of character encounters into a more serious moral parable, as he does in later films such as Johnny Guitar and Rebel Without a Cause.
Robert Dornhelm | Echo Park
Michael Ventura (screenplay), Robert Dornhelm (director) Echo Park / 1985
Echo Park is the kind of movie critics like to describe as "endearing," a small, off-kilter film that overall does not quite hold together, but has charming moments nonetheless. The film does have a great deal going for it: wonderful props—a rambling old house ready, so it seems, to fall down the hill at any moment, a lit-up pizza truck that looks like it's decked out for Christmas—presumably all the creation of the film's art director Bernt Capra (father of my typesetter-assistant, Pablo); a wonderful cast of characters, including Susan Dey, Tom Hulce, Michael Bowen, Shirley Jo Finney, Timothy Carey and the young Christopher Walker; an often heartfelt story; and a 1980s backdrop of the then young and down-and-out Los Angeles neighborhood of Echo Park, along with its scraggly palms and golden sunsets. The character types, however, are just that, outsized stick-figures whose loony lifestyles make them hard to believe; you know a film is a bit over-the-top when Cheech Marin plays the film's so-called "straight" man!
May (Dey), a bartender-waitress at a dreary local pub, is having a hard time of it, trying to keep life in order while staying a step ahead of her quickly maturing son, Henry (Walker); to help raise money she determines to rent out a room in her already over-cramped half of the dilapidated house. Director Dornhelm brings out nearly every extreme character actor in Hollywood as hopeful roommates before delivering up a local pizza boy, Jonathan (Hulce) whose friendly face and clean looks gets May's attention. Next door to her is August, an Austrian body-sculptor with dreams of becoming another Arnold Schwarzenegger. In fact, each of these figures wants to become someone other than they are—at least by trade. May wants to be an actress, and lamely expresses that hope week after week by posting newspaper announcements: "Experienced actress available for immediate roles." Jonathan quietly and moodily writes songs. And August is torn between creating a machine to harness the energy of actors' genes in order to renovate the worn out bodies of others and seeking a career as an bit actor in television ads. Henry just wants to survive the childhood through which he is struggling.
One comprehends that these unlikely folk are thrown together so that they can miraculously help each other achieve the impossible dreams they seek. And that's Ventura's and Dornhelm's problem: their plot is so predictable that it is hard for them to move forward without the film turning into a kind of TV sit-com about all the crazies a city like Los Angeles attracts.
Of course, despite some initial resentments and hesitations, Jonathan and Henry (whom he rechristens "Hank") eventually bond while delivering pizzas throughout the neighborhood in his brightly lit-up truck. May gets an audition and procures a job with a substantial wrinkle—the role is as a party-going stripper! But, after a while and a few lessons from her employer, Hugo (John Paragon), she gets used the job and even somewhat enjoys it. August, the most ridiculous dreamer of them all actually gets a TV ad as a kind Hun-like dragon slayer sprayed by Viking deodorant. Jonathan even gets a bit of attention from a local band, but seems so passive that he cannot even sing his song for them ("It's not finished yet.").
We can also expect, obviously, a few more serious setbacks. August is turned away from an Austrian consulate party where he had hoped to meet his hero, Schwarzenegger. When he is turned down in his attempt to make films advertising his new invention by Syd (Marin) the owner of the local gym where he works, he violently explodes and is arrested. And—we could see this one coming a mile off—Jonathan and Hank deliver pizzas to a party where May is already half-naked. The shock of seeing his mother actually doing what she pretends is a performance, sends the boy into the streets with Jonathan and May at the chase, the mother despairing of the damage she has done to her son.
Yet August is sprung from jail, Hank returns to his surrogate father and real mother, and May actually gets asked to audition for a real TV ad. The whole group springs into a kind a ritualistic dance as they imagine their dreams slowly taking shape.
Into this madhouse comes August's father, direct from Austria, having been telephoned by the police upon his son's arrest. Encountering his son in the midst of this insane gathering he raises his hand to slap August's face. Suddenly writer and director take the group's dance into the mountains of Austria with the adult characters loping through the pastures as if they were attempting to channel Maria Van Trapp in The Sound of Music. What are they trying to tell us, one must ask? Earlier in the film, May, in conversation with August, admits that when she has sex she is just "fucking," while when he has sex, he is, as he puts it, "making love." The suggestion is that in his true madness, August is the biggest dreamer of them all. Have these characters, accordingly, been transported into the lunatic state of mind that August inhabits? Or is it simply evidence that a bit of patriarchal control has been played out before them, allowing them to restore their lives?
Echo Park is an endearing, small, off-kilter film that does not quite hold together.
But here again, as I argue for this LA sub-genre, an outsider has found his way among a society of misfits. Or perhaps the misfits have found their way into the outsider's societal bliss.
Jan Švankmajer | Něco z Alenky (Alice)
drawers and doors
Jan Švankmajer (writer and director) Něco z Alenky (Alice) / 1988
The great Czech animator's first full feature film, Alice, is not so much a retelling of Lewis Carroll's beloved Alice in Wonderland as it is a kind of "riff" on Carroll's work, or, to contextualize it more with the academic community, is a deconstruction of the original Alice. Indeed, the Czech title for the film means "Something from Alice," suggesting that the work is a product of Alice's creation as opposed to a hallucinatory tale which occurs to her. Throughout his film Švankmajer makes sure the viewer perceives that this is Alice's tale, as he presents all the film's dialogue (dubbed in the version I saw into English) through closeups of Alice's lips as she speaks the words of The White Rabbit, The Mad Hatter, etc.
The director's vision loses something by not more fully playing up the bizarre narrative of the original, but gains a great deal through its theatrical reenactment of the basic elements of Carroll's tale through stop-motion photography of dolls, puppets and other objects—even a slab of red meat—and his reversals of filmed scenes and quick transformations of the central character as she moves from a large human being to her doll-shaped imitation and even into another doll-encased self from which she eventually escapes but cutting away its outer wall, as if she were eating herself away from her own cocoon.
This director's Alice, far from being a genteel Victorian child of Carroll's fantasies, is a rather bored, rock-throwing girl, determined even from the very first scenes to get into trouble. Švankmajer's Alice (Kristýna Kohoutová), living in a derelict room filled with the detritus of not only her own childhood, but of the mysterious family in which she lives, is surrounded by a world that, quite literally, is falling apart. A bit like Czechoslovakia itself under the Soviet rule, doors are in bad need of painting, walls veer up more like ancient images of decay, covered over with peeling wallpaper and layers of yellowing lace, than a world of Victorian protection.
The moment the child's taxidermically stuffed rabbit comes to life, escaping its glass case, Alice almost passively follows, determined, just like the always late rabbit, to escape her own role in the suffocating world in which she is also encased.
Following the hare into a drawer of a decaying table, this animator's Alice also finds herself descending into a kind of hole, a warehouse-like elevator, announcing each floor, as the child discovers herself among entire shelves of bottled up specimens—ancient animals, pharmacological substances, and jams (some of which of filled with nails and nettles). The magical underworld in which Alice finds herself is just as antiquated and outdated as the house in which she lives. Besides the issues of her shrinking and expanding size, Alice is faced time and again with obstacles of drawers and doors. As she attempts to open drawer after drawer, the handles come off in her hand, and she is forced to pry them open in various ways, through nimble manipulation of her fingers or using other devices. Some drawers contain only dangerous weapons, scissors, knives, etc.; other contains important keys or liquids which help her or hinder along her paths. Opening decaying door after door, with keys large and small, Alice is faced with numerous problems, including her inability to enter because of size or the fear of entering by shouts of "we're full" and other threats.
Locked away in a room where she almost drowns from her own tears, with a mouse staking territory upon her own head, she is freed only to become again locked away in a children's playhouse like a giant caught in a Lilliputian world on the attack. At one point even socks become animated enemies, boring away holes in the very floor on which she stands. One of the socks, stealing an eye for itself and a pair of dentures, becomes Carroll's famed Caterpillar. But the dance of his kindred brothers is more like a serpent kingdom which attempts to charm even her own stockings off her feet.
Perhaps the most wonderful scene is Alice's encounters with two marvelous puppet-toys, the Mad Hatter and the March Hare, as they move up and down the tea tables with the Mad Hatter calling out for clean cups while rewinding his friend up so that they might continue their meaningless conversations.
The Red Queen, who demands their heads, is a playing card—quite literally, the Queen of a deck of cards and a card acting out her theater in front of various Victorian-like theater sets. This Alice has no idea what to say in the short trial which proceeds her own possible beheading.
In short, Švankmajer's world presents less of a fantastic pageant than a psychological playing out of the young girl's own frustrated limitations, a girl caught in a glass case as surely as the White Rabbit had been in his. Upon "awakening," Alice discovers all of her beloved toys still surrounding her—except the Rabbit, whose case remains cracked open, the figure missing. So we cannot be certain whether she has merely had a horrible dream and suffered a "real" nightmare induced by her culture itself. If you see this film in a theater, leave the children at home. It's hard to imagine them pondering the significant differences—and terrorizing consequences—of these two alternatives.
Pedro Almodóvar | Le ley del deseo (Law of Desire)
loving the wrong people
Pedro Almodóvar (writer and director) Le ley del deseo (Law of Desire) / 1987
It some respects it's hard to say exactly what Almodóvar's 1987 film, Law of Desire is truly about. True, there is a lot of "desire" spread around the movie's few figures: handsome, middle age film director Pablo Quintero (Eusebio Poncela) clearly desires his current young "boy-toy" lover, Juan Bermúdez, and, apparently, sleeps with him on a regular basis—despite the fact that the young man is "straight." It is apparently for that reason that he sends the boy away, hoping to cure himself from his infatuation with Juan.
Pablo's sister, Tina Quintero—a transsexual played by a woman, Carmen Mauro—desires a career on the stage and falls in love, at present, with women, living in quasi-lesbian like relationships. She also dearly loves the daughter, Ada (Manuela Velasco) of her former lover, also named Ada (performed, in a typical Almodóvar switch, by the beautiful transsexual Bibi Andersen).
Another young man, Antonio Benítez (Antonio Banderas) seeking a career in acting, almost explicably becomes obsessed with Pablo, seeking to replace Juan's role in Pablo's life. Like Juan, he too appears to be "straight," but is completely ready and willing to make love to Pablo, getting fucked for the very first time upon their second encounter. In Almodóvar's fuzzy screenplay, however, it is hard to know whether he truly sexually desires Pablo or whether he desires the career Pablo may offer a good lover. In any event, it does not pay off; Pablo's next project in a stage version of Cocteau's The Human Voice, basically a monologue for a woman; the director offers his sister the part, with the young Ada playing a delightful minor role. Pablo's script, Laura P., is never completed.
As in nearly all of Almodóvar's often masterful films, the colors and decor are beautiful, the characters equally attractive or, as in the case of Carmen Mauro, fascinating to watch. But in Law of Desire these figures circle round each other with little apparent logic, creating sexual or psychological flashes that, at times, seem more voyeuristic in their effect that dramatically essential.
The central dramatic thread is kept alive by the young Antonio who moves in and advances on Pablo with all the force and skill of a trained commando group taking over a terrorist compound; snooping through Pablo's correspondence, reading his scripts, overhearing conversations, and ingratiating himself with the filmmaker. Perhaps Almodóvar is telling us something about his own personal experiences. Certainly, the film seems to have no possible direction but the route it takes, creating a kind of Fatal Attraction-like subplot, where Antonio stalks Pablo's former lover Juan, first attempting to rape him or, at least, to possess him as an accessory to the director (he has also purchased an exact copy of a shirt Pablo wears), but eventually killing the young boy in the process.
With that act, it appears, Almodóvar did not have clue where to take the plot, creating an inexplicable detour where Pablo, having determined to visit Juan, is chased by the police and, after crashing into a tree, winds up in the hospital with temporary amnesia. There has always been something soap-opera-like about Almodóvar's stories, and often that is part of their charm. But this time, the unexpected twist of the story seems to have been created only so that Tina, in an attempt to bring back Pablo's memory, reveals that she has been responsible for their parents' separation, having had a affair with their father while still a young boy, and transforming her sexuality after their parents' divorce, to go on living with him—introducing a strange Freudian wrinkle that takes incest about as far as it can go. At least we now understand why Tina has become a lesbian!
Oh, but I forgot to mention, she now has a new boyfriend. Although Pablo regains his memory, he fails to ask the boyfriend's name until it dawns on him who Juan's murderer might be. Negotiating with the police and Pablo by holding Tina and Ada as hostages, Antonio wins an hour alone with his former lover. Another quick jump into bed closes with Antonio shooting himself, Pablo bent over the dead body with what appears to be new remorse. Had he really come to love this intruder?
It really doesn't matter, of course, since the entire film has been little but a dance of figures all in love with the wrong people.
Fortunately, the very next year Almodóvar swung back with a new finely tuned farce that was comically brilliant, Women on the Verge of a Nervous Breakdown.
Woody Allen | Crimes and Misdemeanors
the sum total of our choices
Woody Allen (writer and director) Crimes and Misdemeanors / 1989
Arguably Allen's most complex and rich film to date, Crimes and Misdemeanors is a existentialist study in moral ethics. Using a symbolic motif of eyes and different ways of seeing, Allen positions his numerous characters on two opposing sides, those who live within a moral system, either religious or social, and those that dismiss and/or violate moral values, believing if you can get away with it, any act is as good as another.
Family man and ophthalmologist, Judah Rosenthal (Martin Landau), has lived basically a good life, allowing his wife, Miriam (Claire Bloom) and his children a well-off existence and, if we are to believe the speakers at a banquet celebrating him, providing the community major philanthropic efforts, helping even to create a new hospital. Yet, like all men, he has made mistakes, been involved in financial indiscretions (although all has been paid back with interest) and has secretly had an affair with a airline stewardess, Dolores Paley (Anjelica Huston). As the movie opens, Dolores, fearful of losing Judah and angry because he has not divorced threatens retribution. Dolores has already sent Miriam a letter—which Judah has intercepted and destroyed—and warns him that she will tell his wife the truth about their relationship. Although Judah pleads with her and tries to reason, Dolores, at wit's end, is emphatic about going through with the revelation, something which terrifies Judah, sure that his wife would be unable to accept it and that his carefully lived existence will whirl out of control.
One of his patients, Ben (Sam Waterston), a rabbi—a man quickly going blind—advises Judah to tell his wife the truth, suggesting that often such events even strengthen relationships. Speaking of his brother Jack (Jerry Orbach), a shady mafia-like figure, he tells Ben:
Jack lives in the real world. You live in the kingdom of God.
I'd managed to keep free of that real world but suddenly it's
found me out.
At another moment during Ben's advisement, he responds:
Ben: It's a human life. You don't think God sees?
Judah: God is a luxury I can't afford.
In short, Judah, up until now, a blessed man, is suddenly, like Job, faced with despair.
So determined is Dolores to reveal both their relationship and his financial acts that Judah feels he has no choice but to turn to his brother, Jack, who arranges a "hit"—the murder of Dolores, an act that Judah witnesses, after the fact, when he goes to Dolores' apartment to retrieve letters and her diary.
At the other end of the spectrum is the loser, Clifford Stern (Woody Allen), whose own relationship with his wife, Wendy (Joanna Gleason), is falling apart, and whose career as a documentary filmmaker is going nowhere. For years he has been working on a documentary of a little known American philosopher, Louis Levy (psychologist Martin S. Bergmann). As fascinating as the clips we see from that film—counterpointing the very issues of morality played out in Judah's and other characters' lives—it is also clear that Clifford's "talking head" piece will never get finished and that no one will want to produce it.
Wendy's brother, Lester (Alan Alda) is a highly successful television producer—focusing, evidently, mostly on comedies ("If it bends, it's funny. If it breaks it's not funny," he keeps repeating) who in self-congratulation is seeking to have a documentary made about his own life, and out of deference to his sister, asks his brother-in-law, Clifford, to direct it. A serious-minded filmgoer, Clifford cannot abide Lester, but agrees to take on the project just so that he can raise enough money to support his other work.
Here, once again, it appears, another character is ready to sacrifice his moral principles, giving into a corrupt figure. But, as usual, Allen's cinematic self is too much a loser even to be corrupted, shooting reel after reel of Lester's bull-shit philosophy and interweaving it with scenes of Mussolini's comic-like posturing speeches, even catching the glib Lester (perhaps Alda's most perfect role) shouting at his staff and trying to seduce a young actress. When Lester becomes furious after seeing the rushes, Clifford quips, "What is this guy so upset about? You'd think nobody was ever compared to Mussolini before."
Meanwhle, Clifford's life has become even complex, having fallen in love with Lester's associate producer, Halley Reed (Mia Farrow), who shares the filmmaker's admiration for Levey. But by film's end Lester has invited her to London and, upon their return to New York, announces their engagement. The great philosopher Clifford so admired has suddenly committed suicide leaving a note:
Clifford: He left a note. He left a simple little note that said
"I've gone out the window." This is a major in-
tellectual and he leaves a note that says "I've gone
out the window." He's a role-model! You'd think he'd
have left a decent note.
In his quiet (and this film is quiet) way, Allen's movie has, accordingly, asked some major questions: "Is there no justice?" "Do the wicked and "sub-mental" (as Clifford describes Lester)
receive no punishment?" or, the put it another way, "Is there no God?"
It appears that only the saintly, now blind, Ben—who is also Clifford's brother-in-law—can truly see the truth, that "without law, it's all darkness." It is perhaps fitting that the last poignant scene of this thoughtful film takes place at the wedding of Ben's daughter. In the warm, golden wash of cinematographer, Sven Nykvist's lighting, Judah, escaping the after wedding dinner for a few moments, encounters Clifford in the lobby, and sits down beside him. Describing the events of his life within a hypothetical discussion, he again brings up Allen's moral conundrums. Judah, it appears, having gotten away with his dreadful crime—a drifter has been accused of Dolores' murder—has almost overcome his moral dilemma, arguing that, over time, any moral crisis will pass. Cliff, clinging as always to his dark view of his fate (Allen is, after all, the eternal Job), insists that one is fated always to bear one's burdens for all "crimes and misdemeanors," a dark revelation if one perceives this statement within the context of Allen's own not-so-perfect life. A quote from Professor Levy perhaps summarizes Clifford's position best:
We are all faced throughout our lives with agonizing decisions.
Moral choices. Some are on a grand scale. Most of these are
on lesser points. But! We define ourselves by the choices we
have made. We are in fact the sum total of our choices.
Judah may have found some sense of peace, but at what cost? Certainly he is no longer, particularly in his own eyes, a good man, which, of course, is why he is sharing his tale again, and surely will continually to retell until the day he dies. It is a kind of confession that can find no absolution whatsoever.
Jean-Pierre Gorin and Jean-Luc Godard | Tout va bien (All's Well)
inventing history
Jean-Luc Godard and Jean-Pierre Gorin (screenplay and directors) Tout va bien (All's Well) / 1972
Starring Yves Montand and the American actress Jane Fonda, Gorin and Godard's Tout va bien has often been described, somewhat mistakenly, as Godard's return to commercial film after his four year involvement with the Dziga Vertov Group films, for which he created works, as J. Hoberman described them, that were "were openly tendentious in their more or less Maoist analysis of the political situation in various countries." While clearly espousing strong leftist positions—Fonda's journalist character even describes herself as being the authority on leftist causes—Tout va bien is also a work which questions and even mocks Godard's own work of the past. Indeed, it begins almost cynically, arguing for a movie that might make enough money to support the endless costs (an early scene showing checks, one by one, being torn away for all the actors, sets, costumes, designers, etc.) by bringing together major stars—which, of course, is what Godard's film features. Yes, the narrator admits, there must be a society in which the characters exist, but the central genre it proposes for itself is a "love story." And, in the very first scene, we see Montand and Fonda, walking, hand in hand, repeating lines from the "what do you love about me" scene between Michel Piccoli and Bridgett Bardot in Contempt. And, in some senses, Tout va bien repeats the film about film tropes of Godard's Pierrot le Fou of 1965.
More importantly, Montand plays a filmmaker, formerly part of the New Wave, who has now turned to making (quite awful, if the scene we are shown is any evidence) commercials, a "more honest" way to make money. Although both husband and wife have formerly been involved in the French revolutions of the 1960s, they now speak of their involvement with some distance and questioning of their own sentiments and actions. Fonda's journalist figure can no longer bear the "single-voiced" broadcast scripts she is forced to repeat and yet does not evidently have the ability to craft her own.
The main action of the film is an almost accidental confrontation between the two and a group of activist laborers in a meat-packing plant, who, tired of union inaction, take over the plant, destroying files and offices on the very day that the journalist has had an appointment with the manager to speak about modern management techniques. Having locked away the manager in his own office, the plant revolutionists capture Fonda and Montand—who has inexplicably joined her for the interview—throwing them into the office with the manager.
There the manager, in a spot-on satire of corporate managerial self-justifications, lectures the two before, out of disgust with the manager's words, the journalist begins interviewing the holed-up workers, each of them attempting to tell her the "real" truth about working conditions and the society in which they live, while simultaneously feeling as they speak that they failed to say anything new.
The entire factory, its outer walls pulled away, becomes a kind of stage-like set which reveals the factory's innards as the workers tell their tales, often with Montand and Fonda seen performing the workers' boringly repetitive acts of filling sausages and carting off carcasses of cattle. While Godard and Gorin's Brechtian presentation may, indeed, point up social inequalities, it is also a comic representation, with no one becoming any wiser in the process. Fonda is not even sure that her studio will air what she writes (indeed, no recounting is broadcast). After three days of this "no exit"-like existence, the three are freed, the laborers brutally arrested.
The couple has perhaps learned something in the process, and both are changed to a certain degree. The Montand figure returns to "real" filmmaking, despite financial losses; Fonda's figure tears up the copy she is set to broadcast and is ready to leave her job. Moreover, the couple can no longer find comfort in each other, for, in an important sense, they can find no comfort in their selves. What Godard and Gorin reveal is that, despite their political affinities, the two no longer can make sense of most political acts. Did what the revolutionary laborers do help them or merely silence them further, lock them away from the society at large? Were their actions, represented in the film as both heroic and ridiculous, of any significance?
The question is asked once again, as the directors show us another assignment that the journalist undertakes as she visits a large French grocer, reminding one of a kind American Wallmart. Into this world of row after row of ringing cash registers, the activists return, challenging an old-fashioned leftist who cannot ever answer for the rhetoric in his book before filling up their shopping carts with mounds of food and other goods and, after capturing the store's microphone, announcing to all customers that everything is free. For a few minutes, it appears, their actions have created the desired effect, as the silent shoppers suddenly fill their carts and move toward the doors without passing by the expectant clerks. But here too, the revolution ends, as the police, in full riot gear, move forward, clubs in hand, beating the customers and revolutionaries both as they proceed. Has anything been won?
In short, the film, while espousing Godard' politics, becomes itself an intense questioning of his and others' deep beliefs. What can alter the course of corporate greed, of a masculine-dominated marriage, of a culture that no longer seems to embrace change? And, in that sense, Tout va bien is perhaps a more moving expression of how to make films "politically" than were Godard's Dziga Vertov films. In the end, the only answer to these questions seems to come in the notion that what is important is that each of us ask these questions, write them down and attempt to answer them, play them out in our minds, so to speak. Whatever answers we come to will be the definition of our histories, of history itself—as differently as each of us respond. For me, that is a profound realization: the fact that the most important thing is that the questions are asked and answered to the best of our abilities by each of us, not simply received from a dominating party or group.
At film's end, the directors even allow that the marriage between the couple might be saved— or perhaps not. But Montand returns to Fonda, Fonda to Montand. Whether their meeting again will result in good or bad, no one can say, but it is the coming together of people, a meeting of the minds, that truly matters.
In hindsight, Tout va bien, a film that was disastrously attacked upon its first showing, seems a perfect bridge in Godard's long and distinguished career, a work that was not afraid of questioning his own methods and direction.
Paul Bartel | Scenes from the Class Struggle in Be...
Jean-Pierre Gorin and Jean-Luc Godard | Tout va bi...
William Wyler | How to Steal a Million
Yasujirō Ozu | Ukigusa monogatari (A Story of Floa...
Peter Morgan | The Queen
Jean Renoir | The Diary of a Chambermaid
Wayne Kramer | The Cooler


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New York Jets, Giants: The Good Grief Bowl will produce no winner
ESNY Graphic, Getty Images, AP Photo
The Good Grief Bowl between the New York Jets and Giants will produce no winner and one extremely magnified loser.
FLORHAM PARK, NJ—Good grief, Adam Gase. A 1-7 record coupled with the perception that Sam Darnold has regressed, the 2019 New York Jets story through half a season is anything but spectacular.
Good grief, Pat Shurmur. A 2-7 mark through nine games could and should easily be 1-8 if not for a missed gimme field goal in Tampa. Sure, nobody expected much from this New York Giants team this season, especially with a rookie quarterback at the helm, but the Jints terrible stretch of football marches forward without missing a beat.
Good grief, Charlie Brown. Snoopy has officially left the building. He's bolted from the Garden State amidst the ugliness.
If each preseason tilt is truly dubbed the Snoopy Bowl, Week 10 of the 2019 NFL season brings us the Good Grief Bowl.
New York sports is in the gutter and these two franchises are leading the way. The two organizations' combined record this season stands at 3-14. Since the start of the 2018 season, the combined record is an ugly 12-37. If 2017 is taken into account, the combined record moves to a frightening 20-61.
Losing football games is one thing. Many owners can handle losing, especially if there's a perceived plan in place. What's never tolerated is embarrassment.
The level of embarrassment Jets fans feel at the moment can't properly be conveyed. After an exciting Sam Darnold return-to-action against Dallas, horrible losses to New England, Jacksonville and, of course, winless Miami has forced the franchise to reach a new low point.
For the players, one week at a time is the only motto they can live by.
"At the end of the day, we can't worry about that (Jets losing 16 of their last 18), Jets offensive tackle Kelvin Beachum said after Wednesday's practice. "We just have to focus on this week."
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In terms of embarrassment, of course, Gase has recently doubled-down on his Miami rhetoric on a Monday conference call.
"It's the NFL," Gase said. "You can't be embarrassed by this s—."
The fans don't agree. One season of devastation is tolerable. But when a playoff-less drought is reaching a decade and Super Bowl-less drought is now a cool 50 years, embarrassment is all that remains.
At this point, does it even matter if the Jets knock off the Giants?
Yes. It does.
Fans always remember these matchups. For a couple of franchise who've shared a stadium for nearly four decades, and who have never made a trade with one another (save for the recent Leonard Williams swap), records are thrown out the window once every four seasons.
For Jets fans, the Al Toon game remains the high-water mark. On Dec. 18, 1988, Ken O'Brien and the Jets offense sent a gut blow to Bill Parcells's Jints, who eventually finished 10-6, on the outside of the NFL Playoffs, looking in.
The Giants' high point has to be the Victor Cruz game in 2011. A 99-yard scamper changed Big Blue's fortunes just before the first half came to a close. The team then went on one of their familiar Eli Manning-miracle runs to a Vince Lombardi trophy.
Unfortunately, the 2019 version will make headlines for all the wrong reasons. The nation will enjoy making fun of the two New Jersey football franchises stuck in the mud. Can you imagine the pregame segments on Sunday morning? Rob Riggle is about to have himself a time.
It's ammo that adds to the overall feel of the game and the outcome for the losers.
Should one of these two teams find themselves completely overrun, one owner may react with swift justice. A Giants blowout of the Jets might be the only recipe for a Gase ouster. A Jets spanking of the Giants might have John Mara thinking hard about Shurmur.
One fanbase will breathe a little easier come Monday. The other will be out for blood. The only way the two of them can screw this one up is if 10 overtime minutes are played to completion.
It's not Jets-Giants. Snoopy has left the state. Twenty-nineteen brings the Tri-State area the Good Greif Bowl, a name perfect for cruel and unusual punishment towards the fans, and livelihoods in this game may just be at stake.
Come Monday, one big-time loser will be identified while another just moves on to live another day. There will be no winner this time around.
NEXT: Joe Douglas, Le'Veon Bell & The Correct Path To Jets Prominence
Al Toon
ESNY Graphic
John Mara
Pat Shurmur
Sam Darnold
Snoopy Bowl


Moving a data center is hard. It takes a ton of work to move years of cruft, drift, tech debt, and forgotten relics to a completely different place.
Last month, I shared with you the first five lessons I learned from shipping an ancient data center. This month, I'm going to share with you five more, with the focus on knowing why you should or shouldn't migrate and the impacts of doing so.
When you start constructing the designs of your new networks, subnets, and permissions (hopefully using IAC), take note that your cloud network environment doesn't follow the same rules of an on-premises data center. I saw one example of an unnecessarily complicated firewall sandwich for external zones. Another design had three DMZ layers and nearly a dozen other segmentation zones, split at the subnet boundary for each Availability Zone (as if someone was designing VLANs). Don't do this.
When designing your new cloud environment, start simple, but segment at the largest level, then go smaller. Concepts like VPC Peering make it easy to have multiple VPCs in your new environment. You can route only what you need between VPCs, then start breaking up subnets inside each VPC into easy-to-use segments. If you don't need to strictly control one-way communication (think DMZ), then NACLs may not be needed, so very large subnets may be just fine. Controlling access of ports and protocols through security groups work perfectly fine and allow for simpler nesting.
Do yourself a favor: if you're migrating workloads to AWS, put them in a separate VPC than the cloud native workloads. Since the migrated workloads won't likely be running in auto scaling groups and using IAM profiles to call resources, why bother coupling the legacy workloads with the cloud-native services?
All major cloud vendors will gladly take your legacy dinosaurs. Why wouldn't they? They will likely be up 24/7, which means you'll need to purchase Reserved Instances for 1-3 years. If you don't, you'll be paying 30-70% more at the on-demand price. Using most tools, lifting and shifting ecosystems is difficult. You lose a lot of comfort you've experienced on-premises, such as clustered storage and daily backups, just to move the workload to a data center your admins don't fully control. They will lose the recovery comfort for servers by means of hypervisor console access or crash carting.
Moving pets to the cloud is not modernization. It's feigning innovation. If you're telling yourself you'll move the servers, and then automate them on the next project, it is unlikely. In fact, I've never seen it done after the fact.
None of them were stateless.
None of them could auto scale.
All of them needed to be backed up.
Had to be moved by ecosystem, sometimes with other ecosystems.
Make sure you want this migration more than you want the benefits of your data center. It is expensive to migrate and you will lose comfort for almost no cloud-native benefits.
Most companies don't have the budget to fully train their personnel or the luxury of spending months properly planning and executing their migrations. Even if your company paid for full training and planned for a year, if you have no one on the migration team with experience, you will get it wrong, guaranteed.
Whether you're building a hybrid cloud or migrating some or all workloads, get help from professionals who know how to build for cloud. They can analyze your workloads and provide recommendations to save you from making expensive or catastrophic mistakes.
Furthermore, when you get advice from individuals who have done this, do not ignore it. You would be amazed how often companies pay expensive consultants for help moving to the cloud and then ignore the consultant's recommendations. One company I worked with got their migration to cloud so wrong, it took them $150M to learn their mistake. Guess what? In the end, the help "fired" the company who hired them, after two years of trying to help them move to the cloud the right way. Six months later, the company scrapped the whole cloud move. True story (and a very juicy one). Don't be that company.
What am I calling an "ecosystem?" An ecosystem is a full system and the ancillary systems that interact with it. Need a brief example?
What can be moved "as-is?" If servers can be replicated with a tool, or migrated as OVAs, great. But some things will have to be updated, such as drivers, IP addresses, DNS settings, firewalls, any nasty manual pointers.
What must change? Will that F5 now be an ALB? Will the web/app servers work in an ASG? Will the SQL cluster need to be changed from traditional cluster to "Always On?" Will firewall rules need to be opened to come back over the WAN (or DirectConnect) to the data warehouse? Also, don't forget to check those scheduled tasks. Those are often filled with static pointers that would need updating.
What must be synced (just as important, what can be left behind)? If you're not using a vendor appliance to sync data, and resort to Robocopy or Active Directory, how long does it take to ship a full copy? How long does it take to ship deltas when the change ceases (in other words, when you stop replication to make the final sync and cutover)? Is your data change rate overrunning your ability to sync it? Ran into that before, time to ship data with an appliance or use some Snowball magic.
In what order must the move happen? This is typically bottom up: data, files, services, app, web, Endpoint. The order is important to understand for a "fast as possible" outage to cutover.
Are any applications connecting to this ecosystem that are sensitive to new latency? In other words, if my business is in Kentucky and I'm moving to AWS in Virginia, will 40ms+ cause an issue until I can move the other applications?
Keep in mind, this is mostly lifting and shifting an ecosystem. An ecosystem that can be deployed to AWS is, of course, much easier. Not many ancient data centers have CI/CD pipelines to redeploy 10 year old applications.
There is no perfect time to make the paradigm shift, but there are certainly bad times to do it (like during a big lift and shift project). If you're finding yourself migrating a data center absent of pipelines and automation, build the framework for these tools in your cloud directly or use hosted solutions. Designate a team to manage getting these tools off the ground, then have them train your developers and administrators on how to use them. This is a painful evolution so give your personnel time to adapt. Some will refuse to abandon the old ways, that's okay. They can manage the crap you migrated.
You've moved your old stuff to the cloud. You have new tools and a new cloud with a green field ready for planting. Time to build all new products or replace migrated workloads with cloud-native applications he right way. You've crossed the bridge, congrats.


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NEW YORK (Reuters) - U.S. stocks were poised to rise at the open on Tuesday, underpinned by a slew of sturdy corporate results, as the market regained its footing following its largest selloff in months a day earlier.
Wall Street kicked off a global equities selloff Monday, with the S&P 500 suffering its worst drop since June, after weaker-than-expected U.S. data added to concerns over growth in China and the outlook for some emerging economies.
Equities in Japan and Seoul fell to multi-month lows overnight and Europe followed suit, weighed further by earnings disappointment.
Macroeconomic events have been a recent focus for investors in the wake of a recent rout in emerging market currencies, which triggered action by some central banks. That pressured bond and stock holdings and forced investors to exit in favor of assets perceived as relatively safe, like the yen and U.S. and German government debt.
The concerns drove the price of protection against further drops on the S&P 500 to its highest in 13 months. The CBOE Volatility Index on Monday rose 16.5 percent to close at its highest since December 28, 2012. The VIX is up 56 percent so far in 2014.
S&P 500 e-mini futures rose 11 points and were above fair value, a formula that evaluates pricing by taking into account interest rates, dividends and time to expiration on the contract. Dow Jones industrial average futures rose 70 points and Nasdaq 100 futures added 18 points.
Of the 250 companies in the S&P 500 that have recently reported earnings, 69.7 percent have beaten analysts' profit expectations, while 66.0 percent have exceeded revenue expectations, according to the latest data from Thomson Reuters.
Michael Kors Holdings Ltd reported a 77 percent jump in third-quarter profit as shoppers snapped up its handbags and accessories, sending its shares up more than 19 percent in premarket trading.
Bank shares could get a bump as U.S-traded shares of UBS and Itaú Unibanco rallied in premarket trading. Itaú, Brazil's largest private-sector lender, reported record fourth-quarter profit that beat analysts' estimates. UBS swung to a larger-than-expected fourth-quarter profit and announced higher dividends and bonuses. ADRs of both banks rose more than 6 percent in trading before the opening bell.
Shares of Yum Brands Inc rose 4.5 percent premarket after the KFC parent reaffirmed its 2014 profit outlook and said a resurgent bird flu in China had not hurt national sales in its top market.
Shares of Furiex Pharmaceuticals doubled in price in premarket trading after the drugmaker said an experimental drug met the main goal of a pair of large clinical trials by significantly alleviating diarrhea and abdominal pain associated with irritable bowel syndrome.


The Washi is made from the bark of Mulberry tree.
This is a piece that experiment the process of changing Washi back to a tree, then to a forest, then to a mountain.
The shape of the piece will be extended when the Butoh dancer will find the rope and pull it.
The human has moved the mountain, so that means human dominate the land.
But actually, the land that the human dominate, submerge him.
From the moment I went to high school, I started to move from a place to place.
Every place where I lived had an unique atmosphere, so I had to get used to these places and meet different people.
Every time, I wonder if I have been dominated by the land, or if I dominated it.
The mountain made from washi is approximately the same size of a human.
I wanted to know, if I take of the size difference, which party will dominate the other.
From a technical point of view, the piece is composed by two columns linked by a rope.
This structure allows the expansion of the washi mountain.
As a consequence, the piece can be folded and is easy to move from a place to another.


We rent steel barricades in Santa Barbara County when a customer needs to delineate lines and manage pedestrian traffic flow at outdoor public events, construction sites or emergency shelter operations.
No crowd size is too large or too small for us to rent you the necessary amount of barricades at a public or private community event site in Santa Barbara, CA.
Why Rent a Barricade in Santa Barbara County from Cal-State Site Services?
For over 25 years we have been renting barricades in Santa Barbara.
Our barricade rental prices are the best value in Santa Barbara.


Running back COREY GRANT of the Jacksonville Jaguars was the NFL preseason rushing leader with 191 rushing yards. Rookie wide receiver DEDE WESTBROOK of the Jaguars led the league in receiving yards with 288. The leading passer was Dallas Cowboys rookie quarterback COOPER RUSH with a 135.9 passer rating.
The Seattle Seahawks finished the 2017 preseason with the top-ranked offense, averaging 408.8 yards per game. The Baltimore Ravens led the league in defense with a 206.3 yards-per-game average.


Macrons are the little lines on top of a vowel that indicate it should be pronounced long rather than short. If you're not sure where to use macrons when typing Māori, try the Māori Dictionary (there's also an app).
Tom Robinson has advice for how to use macrons in html/xhtml.
Below are a couple of ways to modify your computer keyboard to add macrons to Māori words in everyday applications like Word.
You can try holding down the letter on your keyboard and see if a little menu appears with all possible accents/macron. Then type in the number of (or click on) the accent/macron you want.
7. Click on little flag icon and select Māori. The keyboard should stay enabled.
Now, whenever you want to add a macron, use OPTION-vowel. For example, if you hold down the Option key and type a, you will get ā.
6. Type a backtick ` before the vowel that needs a macron. So `a will give you ā.
The keyboard should stay enabled until and unless you select another.
Check out the advice on kupu.maori.nz.
Kupu o te Rā (Emailed word of the day).


In this week's episode, I keep it short and to the point and drop the music from the show, resulting in an ultimate savings of 3 minutes. Not as short as I thought it would be in the end! Other things talked about: stuff I learned since episode 1; some new notebooks I picked up from Dollarama; my weight loss struggles; the Ottawa Champions; Pokemon Sapphire; and the nerdiest of all, Tasker for Android. Enjoy!
A New Podcast! Sort of.


Learn how to wipe out medical debt in bankruptcy.
I have accrued over $25,000 in medical bills that I cannot pay, and that's not counting the $12,000 I've already put on credit cards. If I file for bankruptcy, can I have my medical bills discharged?
Medical debt is one of the most common reasons people seek bankruptcy relief. Read on to learn more about how you can wipe out medical bills through bankruptcy.
How is Medical Debt Treated in Bankruptcy?
When you file for bankruptcy, your debts are separated into different categories. Certain debts receive special priority treatment and can't be eliminated through bankruptcy. Fortunately, medical debt is not one of them.
To learn more about how different types of debt are treated in bankruptcy, see Secured, Unsecured, and Priority Claims in Bankruptcy.
Depending on the type of bankruptcy you qualify for (or is in your best interest), you may be able to eliminate your medical obligations by filing for either Chapter 7 (most common) or Chapter 13 bankruptcy (more complicated).
If you qualify for Chapter 7 bankruptcy, your discharge will wipe out your medical bills along with your other general unsecured debts. There is no limit to the amount of medical debt you can discharge in Chapter 7 bankruptcy. However, to qualify for a Chapter 7, your disposable income must be low enough to pass a means test.
For more information, see The Chapter 7 Bankruptcy Means Test.
Any medical bills you paid with your credit card will also be discharged (along with the rest of your credit card debt).
In Chapter 13 bankruptcy, medical bills are lumped in with your other general unsecured debts in your repayment plan. The amount you must pay general unsecured creditors depends on your income, expenses, and nonexempt assets.
Each creditor then receives a pro rata portion of the total amount going towards these debts in your plan. This is typically only pennies on the dollar. However, keep in mind that you may not be eligible for Chapter 13 bankruptcy if your medical bills and other debts exceed the allowed Chapter 13 debt limits.
To learn more about your options, consult with a bankruptcy attorney, or check out our sections on Chapter 7 and Chapter 13 Bankruptcy.


A compass needle undergoes forced oscillations under the influence of a uniform magnetic field and a rotating magnetic field with angular velocity (black arrow). The compass needle has a moment of inertia , a friction constant , and a magnetic moment ℳ. This is a simple example of a system that shows chaotic motion. In a real experiment it is impossible to repeat a particular motion from initial conditions and because the system is chaotic.
The differential equation to solve is .
Enrique Zeleny "Compass Needle in Uniform and Rotating Magnetic Fields"


text:
Q: background zoom on ipad and iphone I do not understand why my background is zooming around 1500% in, when I look on my site on an Iphone or Ipad.
The CSS code for my background is here:
    html {
          background-image:
          -webkit-background-size: cover;
          -moz-background-size: cover;
          -o-background-size: cover;
          background-size: cover;
          background-repeat: no-repeat;
          background-position: left top;
          background-attachment:fixed;
   }

UPDATE after comment
Iphone
[![Iphone][2]][2]
Ipad
[![Ipad][3]][3]
Desktop
[![Desktop][4]][4]

A: iPhones and iPads "have" a screen resolution of 1920 x 1080, did you add these tags to the top of your site:
<meta name="viewport" content="width=device-width, initial-scale=1.0">
<meta name="viewport" content="height=device-height, initial-scale=1.0">


Susan Budd is a native New Yorker who grew up in Ridgewood, a quaint neighborhood on the Brooklyn-Queens border. Her parents kept their horses in nearby Forest Park and fostered in their children a great appreciation for animals. Growing up, Susan enjoyed the companionship of dogs, cats, fish, a rabbit, and a parrot in addition to her human family.
As a young adult, Susan studied philosophy, wrote poetry, and played guitar. She was part of the local music scene and enjoyed hanging out at the recording studio and going to rock concerts and music festivals.
In college she joined the march for nuclear disarmament and organized an environmental awareness campaign. She also became a vegetarian when she learned of the plight of factory farm animals. She has been a vegetarian ever since. After earning her degree at the City University of New York Graduate School, she tutored Vietnam veterans and developmentally disabled young adults.
A poet and a philosopher by nature, Susan has devoted her mind to exploring the nature of consciousness, seeking self-knowledge through introspection, dreams, and fantasy, and attaining wisdom through the study of metaphysics and the spiritual disciplines of the East and West.
These days Susan spends her time lecturing in philosophy and literature, composing poetry and prose, and taking in the art and culture of New York City. She still loves nature and music and animals. Dancing makes her happy and good books give her joy. Seeking the purpose of life is the purpose of her life.


This 10cm high figurine of a terracotta warrior was scanned using the Eora3D laser scanner at low resolution. 8 scans were taken using the low resolution mode (1 million point per scan) on the supplied turntable.
The resulting scans did not align in the Eora3D app, resulting with the usual 'tornado' effect (aligning the turnable is very difficult). So each scan was exported and registered using CloudCompare.
As you can see from this mesh, it is far from perfect, but better than my last attempt.


text:
Bunty Aur Babli (2005)
Bunty Aur Babli (in Bollywood Movies)
Bunty Aur Babli (2005) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Bunty Aur Babli on your mobile, tablets and ipads
Plot: Rakesh{Abhishek Bachchan} and Vimmi{Rani Mukherji} are two ambitious wannabes from small towns where their dreams are written off as outrageous daydreaming. They run away from their homes when bump into each other and decide to con for once to be financially sound until they make it big. Ironically, they find it too exciting. One follows the another as they adopt fake names [Bunty and Babli] for the same and they soon become the most popular anonymous criminals of the nation. At the heart of it kicks off their romance and they decide to continue their newly-found 'talent' as their means of living. Little do they know that their shenanigans have caught the fancy of ACP Dashrath Singh {Amitabh Bachchan} big time. He leaves no stone unturned in putting them behind the bars. Meanwhile, Rakesh and Vimmi have a child and decide to quit conning for their child's sake. However, its only then when Dashrath Singh manages to get their grab. But he release them after initial incredulity about their changed intentions. Years later, Dashrath resurrects them from their commonplace but dull living to employ their conning abilities, only for nation's aid this time.
Starcast: Amitabh Bachchan, Abhishek Bachchan, Rani Mukerji, Kiran Juneja, Lilliput, Pratima Kazmi, Prem Chopra, Puneet Issar, Raj Babbar, Rajesh Vivek, Aishwarya Rai Bachchan, Rameshwari, Ranjeet, Ravi Baswani, Sanjay Mishra, Tania Zaetta, Shri Vallabh Vyas, Veerendra Saxena, Yunus Parvez, Aabhas Yadav, Aveek Mukhopadhyay, Anuj Mathur, Anupam Shyam, Atul Srivastava, J. Brandon Hill, Brijendra Kala, Chandrashekhar Gautam, Chintoo Mohapatra, Devashish Makhija, Imtiaz Khan, Javed Abedi, Joginder Arora, Kapila Agarwal, Kunal Kumar, Manik Dhingra, Manoj Goyal, Middat Khan, Mithilesh Chaturvedi, Mona Lisa, Mukesh Bhatt, Narender Barua, Parminder Chawla, Pankaj Malik, Prashant Gautam, Pushpendra Sen, Raj Singh Chaudhary, Rajiv Gupta, Rajneesh Nigam, Pramod Rana, Rati Shankar Tripathi, Rumaan Kidwai, S.A. Mehdi, Sanjay Shivalkar, Shaad Ali, Shakeel Khan, Sharmishta Roy, Shlok Jain, Trishla Patel,
Director(s): Shaad Ali
Genre: Adventure, Comedy, Crime, ,
Downloads: 33549.0
IMDb Rating: 6.2/10 (5627 votes)
BluRay (Uploaded on: 25 Jul 2012)
Bunty Aur Babli (2005) BluRay.mp4 (342 MB) { 20226 hits } - MediaInfo - SS


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Each Item Is Inspected and tested properly.
We are a Local Pat Testing family business, pat testing West Yorkshire businesses in Bradford Leeds Keighley Shipley Halifax Wakefield and Huddersfield.
We Properly Test each Item, opening plugs and checking all wires.
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Support Local Comics Retailers On May 2nd And Receive Two FREE Samplers Featuring POKÉMON, JOJO'S BIZARRE ADVENTURE And YU-GI-OH!
VIZ Media announces its participation in the 2015 Free Comic Book Day with a special FREE Shonen Jump manga (graphic novel) sampler featuring action-packed previews of JOJO'S BIZARRE ADVENTURE: PART 1 - PHANTOM BLOOD and YU-GI-OH! The company's all-ages Perfect Square imprint also participates with a FREE POKÉMON ADVENTURES X•Y manga sampler highlighting the latest series from the venerable hit entertainment brand.
Scheduled for Saturday, May 2nd at thousands of retail locations nationwide, Free Comic Book Day is an annual promotional campaign developed by the North American comic book industry to bring new readers of all ages and interests into independent comic book stores. Free Comic Book Day began in 2002 and is coordinated by the industry's single largest distributor, Diamond Comic Distributors. Readers can visit freecomicbookday.com to find a local participating retailer in their area.
VIZ Media participates this year as a Gold Level Sponsor and offers two FREE exclusive releases (available while supplies last).
Check out the kinetic action of two smash hit titles from VIZ Media's Shonen Jump imprint – JOJO'S BIZARRE ADVENTURE and YU-GI-OH!
Dive into the paranormal action saga, JOJO'S BIZARRE ADVENTURE (rated 'T+' for Older Teens), by creator Hirohiko Araki. The legendary manga series is now available in English for the first time, in a deluxe hardcover edition featuring color pages and newly-drawn cover art! JOJO'S BIZARRE ADVENTURE is a groundbreaking title, famous for its outlandish characters, wild humor and frenetic battles. A multigenerational tale of the heroic Joestar family and their never-ending battle against evil! Don't miss the print debut of JOJO'S BIZARRE ADVENTURE: PART 1 - PHANTOM BLOOD, Volume 2 on May 5th; MSRP: $19.99 U.S. / $22.99 CAN.
Manga creator Kazuki Takahashi's famed series, YU-GI-OH! (rated 'T' for Teens) depicts the fantastic adventures of tenth-grader Yugi, a boy who always had his head in some game – until he solved the Millennium Puzzle, an Egyptian artifact containing the spirit of a master gambler from the age of the pharaohs! Possessed by the puzzle, Yugi becomes Yu-Gi-Oh, the King of Games, and challenges evildoers to the Shadow Games...weird games with high stakes and high risks! Catch the print debut of the latest YU-GI-OH! 3-in-1 omnibus edition, Volume 2, on May 5th; MSRP: $14.99 U.S. / $16.99 CAN.
Sample the action, exotic locales and imaginative characters of the latest POKÉMON ADVENTURES manga series – POKÉMON ADVENTURES X•Y – based on the Pokémon X and Pokémon Y video games and the newest story arc for the popular entertainment property to join Perfect Square's expansive catalog of POKÉMON manga and anime titles.
In POKÉMON ADVENTURES X•Y (rated 'A' for All Ages) some of your favorite Pokémon game characters jump out of the screen and into the pages of this action-packed comic! The new series is written by Hidenori Kusaka with artwork by Satoshi Yamamoto. Legendary Pokémon Xerneas and Yveltal's battle against each other is destroying Vaniville Town. Can X and Y save the town and its residents?! Also catch a special bonus mini-feature of the original Pokémon ADVENTURES series as well as Pokémon ADVENTURES BLACK & WHITE!
For more information on Shonen Jump and other manga titles published by VIZ Media, please visit: www.viz.com.


Champs Elysee is a language school offering a range of language courses to students.
Clarke Bond Partnership is a structural engineering company which provides structural designs involving buildings and other structures.
Dave Cockwell is a boat company offering a range of boat building and repair services.
Harley Avon Productions Ltd provides a range of audio-visual presentation services to businesses and other customers.
Independent Composites is a boat company offering a range of boat building and repair services.
Spike Island is a flooring specialist providing a range of floors and fitting services.
The Cottage Inn is a pub offering a place to socialise or relax with drinks.
The Olive Shed Office is a Mediterranean style restaurant serving traditional dishes from European and African countries such as Spain, Italy, Greece, Turkey and Morocco.


Look through the listings of Member users that have joined Meeting South Africans that are tagged with Widow. Meeting other members that have similar interests is an ideal way to find things to do on a first date. Register for a 100% Free Account to Meet Someone Tonight!


A reaction between an elementary particle and its antiparticle in which the two particles disappear and photons or other particles and antiparticles are created; energy and momentum are conserved. An electron and a positron, for example, interact and produce two gamma-ray photons. Hadrons, such as the proton and the antiproton, also undergo annihilation, as do quarks and antiquarks.
A process in which an antiparticle and a particle combine and release their rest energies in other particles.


text:
Blue Collar Solitude is the first studio album by American band Kilgore (Smudge), released on November 7, 1995, through label Warner Bros. Records.

Track listing

Personnel
Jay Berndt – lead vocals
Bill Southerland – drums
Jason "Smitty" Smith – bass guitar
Michael Pelletier – lead guitar
Brian McKenzie – lead guitar, backing vocals

References

1995 albums

redpajama_set_name: RedPajamaWikipedia