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A Need for Speed
When speed is a concern, don't take the bus.
Essentially, that's the philosophy for what is widely anticipated as the next I/O industry standard -- the switched fabric InfiniBand. InfiniBand's primary purpose is to address the speed concerns that the bandwidth limitations in the shared bus systems of current Intel servers can't accommodate, particularly as server clusters continue to multiply.
InfiniBand is like a Ferrari when compared to the bus. The top-of-the-line bus architecture, the PCI-X -- which is scheduled for release this fall -- maxes out at 1 GBps. Intel servers using the InfiniBand backplane, expected to be available by the middle of next year, will be able to handle up to 6 GBps. per link with a throughput up to 2.5 GBps. And that's just for starters.
As InfiniBand continues to evolve, the need for external storage and communications devices may eventually be supplanted by smaller components within a server's I/O structure. The process of scaling up would become much more seamless and much less risky.
"It's really architected to handled multiple protocols, multiple traffic types all at once," says Bill Lynn, marketing manager for advanced strategy at Adaptec Inc. (www.adaptec.com), a storage solutions firm. "This inner processing holds a phenomenal amount of promise. A lot of people underestimate the complexity involved here. This is a revolutionary change, not evolutionary. This reaches all the way into the guts of the chips."
This is not just a pipe dream. Virtually all the major players in the industry -- IBM Corp. (www.ibm.com), Intel Corp. (www.intel.com), Compaq Computer Corp. (www.compaq.com), Hewlett-Packard Co. (www.hp.com), Dell Computer Corp. (www.dell.com), Microsoft Corp. (www.microsoft.com), and Sun Microsystems Inc. (www.sun.com) -- form the steering committee for the InfiniBand Trade Association (www.infinibandta.org). More than 170 companies, including Adaptec, have joined the ITA. This indicates the intense level of commitment to the future of InfiniBand. Adaptec was one of several companies that took part in the first formal InfiniBand presentation at the Intel Developer Forum Conference in August, just before the expected release of the InfiniBand 1.0 specification.
"With high-density rack mounts becoming phenomenon, the need for this sort of product was clear," says Tom Bradicich, co-chairman of ITA and the director of Netfinity architecture and technology at IBM. "Certainly the PCI bus system is going to be around for while. But the bus system does not scale well. It does not have good failure characteristics given the amount of I/O in today's world. InfiniBand has 64,000 end nodes, far more than the 12 to 15 you see in bus systems. The enemy was a fragmented I/O structure, and InfiniBand addresses that."
Does this mean InfiniBand is destined to be in every I/O system in a few years? Not necessarily, says Jonathan Eunice, an analyst at Illuminata Inc. (www.illuminata.com).
"The first two years of an industry standard's life is always a speculative period because there are no actual product applications to depend on," Eunice says. "There are always hopes and expectations, but there are no promises or guarantees. I think this is a no-brainer, but I can list 10 or 20 no-brainers that died or never went anywhere."
Eunice offered two examples. The FDDI (Fiber Distributed Data Interface) ANSI protocols for sending digital data over fiber optic cable were too expensive and got derailed by more practical alternatives. Intel I20, another product designed to eliminate I/O bottlenecks by using special processors to handle the details of interrupt handling, buffering, and data transfer, also was touted by top industry players. It was brought down by alternatives at the chip and board level, and also suffered when some industry leaders backed off from their support.
"The main way InfiniBand can fail is if the Ethernet folks develop a high-volume product before the InfiniBand technology flourishes," Eunice says. "Ethernet is already understood so well by the high-volume player, it has a natural advantage over any other multiple-gigabit alternative. If an Ethernet alternative to InfiniBand could be developed quickly, it would reduce the need for InfiniBand on the high end."
Eunice doesn't see this scenario happening because of the cost factor. The key ITA members have a strong history with the embedding of switches and mechanisms in silicon. The technical difficulty and cost involved in doing the same with Ethernet intelligence has proved too massive a hurdle to overcome for several years now.
"Let's say the high performance of InfiniBand versions -- while technically compelling -- take three, four, or five years to reach the market," Eunice says. "If more practical incremental extensions are developed to TCP/IP in that time frame, that's the kind of strategic threat that could impact InfiniBand."
While InfiniBand appears to be an answer for high-end users, some analysts wonder where everyone else fits into the picture. Simpler systems may not have the protocols necessary to accommodate what InfiniBand requires. Bradicich says that to date, IBM has developed chip sets for the high end, but has yet to complete sets for the lower range. So what if someone with a lower-range system is looking to dial up in the future? When can they get off the bus? What sort of system configuration costs will be involved?
"Certainly, we believe InfiniBand will be very popular with high-end systems. It offers capabilities that, to date, have only been found on mainframes as channel-based I/O, which are nowhere near as fast as InfiniBand," says Jim Pappas, director of initiative marketing for the Intel enterprise platform group. "But we think it will be very useful for other classes of servers as well in that it really addresses server density as needed."
Pappas says switched fabric architecture has actually been around for the best part of a decade, but has now evolved to the point where it can be used relatively inexpensively. He believes the numerous players involved will find solutions to address all levels of scalability in a cost-effective manner. This is an interesting problem for products like Windows NT/2000 databases and middleware, which aren't known for readily embracing clustering.
While it's difficult to gauge the effectiveness of migrating to the first incarnation of InfiniBand at different scaling levels, most people in the industry agree that this technology -- or something close to it -- is necessary.
"We're faced with a whole new set of problems in terms of reliability and scalability that we just can't get around," Lynn says. "A lot of the concepts within InfiniBand have been in the mainframe realm for awhile. This is definitely a way to get to a mainframe class of machine using standard components."
[Sidebar] Is Microsoft's Tie to InfiniBand Dependent on .NET?
Microsoft Corp. is one of the seven major industry players that make up the steering committee for the InfiniBand Trade Association, which is dedicated to the development of a new common switch fabric I/O technology to replace the speed-limited shared bus structure. InfiniBand is due to be incorporated into product releases around the middle of 2001.
InfiniBand has wide support: There are more than 170 companies in the InfiniBand Trade Association (ITA, www.infinibandta.org). Most analysts believe it will become the industry standard. Considering these factors, it would stand to reason that Microsoft (www.microsoft.com) is strongly committed to this high-speed technology that has been called the most revolutionary industry innovation in the last 10 years.
Well, maybe not.
InfiniBand is a technology where highly scaleable systems that embrace clustering will see the most benefits. Microsoft Windows NT/2000 databases and middleware don't embrace clustering. Microsoft system designs don't necessarily allow for multiple development. If effect, InfiniBand flies in the face of what has worked very well for Microsoft.
"I believe at this point Microsoft has embraced InfiniBand as more of a marketing strategy," says Jonathan Eunice, analyst at Illuminata Inc. (www.illuminata.com). "If the InfiniBand model is based on more and more connectivity, if InfiniBand is based on clustering being on the march toward pervasive deployment, then Microsoft has a problem as constituted."
Eunice points out that Exchange and BackOffice are obvious examples of tools that aren't cluster savvy. For the most part, the benefits of InfiniBand will be lost on existing Microsoft products right up to Windows 2000.
"The entire Microsoft software stack isn't cluster stupid, but neither is it cluster intelligent," Eunice says. "Microsoft has talked about moving toward highly clustered operations for five year now. But they haven't made much progress because they haven't needed to focus on it. They have a shelf full of successful products compared with their competitors. They've never been pushed toward clustering to any degree."
Michael Stephenson, lead project manager for the enterprise server group at Microsoft, says Microsoft products do embrace aspects of clustering.
"Microsoft today provides a number of clustering
technologies in Windows 2000 and other products that help customers increase the scalability of their systems and provide higher availability," Stephenson says.
"Windows 2000 Advanced Server and Datacenter alone provide Network Load Balancing," he explains. "This enables customers to cluster up to 32 systems to handle network requests. For instance, this could be used to cluster together a number of Web servers to handle higher capacities and provide higher availability. [Then there's] Cluster Services. This is failover clustering for applications that have state associated with them. This would typically be used on servers running databases. Two-node fail over is available in Advance Server and four-node in Datacenter Server."
Regardless of how much clustering current Microsoft products can do, it's easy to understand why the temptation in Redmond would be to produce more of the same.
"For a company the size of Microsoft, no matter how good its intentions with an initiative like InfiniBand, inertia is a tremendous barrier to overcome," said Eunice. "Microsoft has had so much success with its current deployment, it wouldn't be surprising to see it be reluctant to move on to something else. Let's remember, Microsoft was on board for Intel I2O [another alternative to the shared bus that was touted as the next industry standard] and many people believe their slowness of support had a negative effect on I2O."
I2O's lost momentum allowed alternatives to gain the edge. But there's a difference in this case. Microsoft announced a move toward its .NET approach, which happens to be friendly toward clustering. If .NET takes off as Microsoft hopes, InfiniBand will go along for the ride.
"We're talking about an approach with .NET where the reasoning lends to more components -- service providers and ASPs both favor smaller components, which are better suited to clusters," Eunice says. ".NET would be executing code and using services as components. This is the thinking of future models at Microsoft under this approach, but it's really just speculative at this point."
If .NET doesn't take off, will Microsoft pull back from InfiniBand? Stephenson insists the company is committed to the new I/O technology.
".NET is Microsoft's vision for building a new generation of Internet services, while InfiniBand is a new specification for doing high-bandwidth I/O," Stephenson says. "Microsoft is excited about the scalability and reliability gains that InfiniBand will bring to the .NET platform in the future."


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Program for Neurology Research and Discovery
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Dr. Feldman Keynote Speaker at 2019 Indo U.S. U.K. Conclave
Chennai, India – Eva Feldman, M.D., Ph.D., Director of the Program for Neurology Research & Discovery, was one of two keynote speakers at the 2019 Indo U.S. U.K. Conclave, hosted by the M.V. Hospital for Diabetes & Professor M Viswanathan Diabetes Research Center. The theme of the September event was preventing nerve and kidney disease in patients with diabetes.
Dr, Eva Feldman at 2019 Indo U.S. U.K. Conclave
Dr. Feldman gave a presentation entitled "Diagnosis of Diabetic Neuropathy in the Clinical Setting: What Should a Clinician Know?" A member of the board of directors for the M.V. Hospital for Diabetes, Dr. Feldman was making her fifth trip to India. Her collaboration with Vijay Viswanathan, M.D., Ph.D., head & chief diabetologist at the M.V. Hospital, dates back to her first visit to India in 2014. Drs. Feldman and Viswanathan are together conducting studies in M.V. Hospital to determine the prevalence of nerve, kidney and eye disease in patients with newly diagnosed prediabetes and diabetes, and comparing these findings to parallel studies being conducted in the USA. The goal is to understand how different diets, climate and lifestyles, along with genetic risk factors, influence the development of damage to vital organs in diabetes. In June 2019, Dr. Feldman was the lead author of "Diabetic Neuropathy" in Nature Reviews Disease Primers (one-page summary) where Dr. Viswanathan was a contributing author. She highlighted the work she and Dr. Viswanathan are conducting during her presentation at the Indo U.S. U.K. Conclave.
M.V. Hospital for Diabetes situated at Royapuram, Chennai, was established by late Professor M. Viswanathan in 1954 as a general hospital. In 1971 it became a hospital exclusively for diabetes care. Under Dr. M. Viswanathan's leadership, the hospital has grown to achieve the status of a teaching institution of international excellence. It has, at present, 100 beds for the treatment of diabetes and its complications. Over the years it has grown to be one of the largest referral centers for diabetes, with more than three million patients registered to-date. It is recognized as an internationally-known tertiary care center for referral of diabetic patients. Drs. Feldman and Viswanathan are currently applying to the National Institutes of Health for funding to support their groundbreaking studies.
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Click Here for More Articles on THE WIZ LIVE ON NBC!
Breaking News: Y'all Got It! Capathia Jenkins, Marcus Paul James and More Broadway Vets Join THE WIZ LIVE! - Full Cast Announced!
by BWW News Desk
BroadwayWorld.com Oct. 28, 2015
The journey to Oz can officially begin with THE WIZ LIVE!'s full cast easin' on down the road! NBC has finally revealed the complete company for upcoming holiday production, airing Thursday, December 3.
Joining Queen Latifah as the title character, Mary J. Blige as Evillene, newcomer Shanice Williams as Dorothy, David Alan Grier as the Cowardly Lion, NE-YO as the Tin Man, Elijah Kelley as the Scarecrow, Amber Riley as Addaperle, Stephanie Mills as Auntie Em, Uzo Aduba as Glinda and Common as Bouncer are...
...ensemble members Chris Borrero, James Brown III, Olutayo Bosede, Elon Van Buckley, Ta'rea Campbell, Jessica Castro, Kacie Garland, Asmeret Ghebremichael, Frankie Gordils, Khadija Griffith, Tre Holloway, Antonio Hudnell, Carlos Irizarry, Marcus Paul James, Frederic Jean, Capathia Jenkins, Mykal Kilgore, Tamika Lawrence, India R. McGee, Maurice Murphy, Antonio Moore, Danielle Polanco, Malaiyka Reid, Eric Sanchez, Sherisse Springer, Chris Silcox, Ahmahd Thomas, Raphael Thomas, Alex Wade, Donald Webber, DaShaun Wesley, Xavier Wilcher, and NaTasha Williams.
THE WIZ LIVE! is adapted from "The Wonderful Wizard of Oz" by L. Frank Baum, with a book by William F. Brown, and music and lyrics by Charlie Smalls. The production opened on Broadway in 1975 at the Majestic Theatre, starring Mills. It won seven Tonys, including best musical. As previously announced, Mills is set to return to the show on NBC, this time in the role of 'Auntie Em'.
Craig Zadan and Neil Meron ("The Sound of Music Live!," "Peter Pan Live!") serve as executive producers. Tony winner Kenny Leon will direct with Harvey Fierstein providing new written material. Fatima Robinson serves as choreographer. "The Wiz Live!" is produced by Universal Television in association with Cirque Du Soleil Theatrical.
THE WIZ tells the classic story hundreds of millions of people have read in the L. Frank Baum books and then saw in the much-beloved 1939 film "The Wizard of Oz," but retold in an African-American/multicultural context. Dorothy, a young woman from Kansas, is swept up in a tornado and relocated to a fantasy world that is inhabited by munchkins, good and bad witches, and, of course, flying monkeys. She eventually takes a path down a yellow brick road to find a wizard who can help her go home and along the way meets a scarecrow, tin man and cowardly lion, who all learn to help one another.
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Askanazy ist der Familienname folgender Personen:

 Max Askanazy (1865–1940), Schweizer Pathologe und Onkologe
 Selly Askanazy (1866–1940), deutscher Internist

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By J.D. Lafrance and Lady Fitzsimmons
Fresh from the commercial and critical success of phenom The English Patient (1996), filmmaker Anthony Minghella dove back into the literary world for his next film – The Talented Mr. Ripley (1999), based on the 1955 Patricia Highsmith novel of the same name. Adapted previously as Purple Noon (1960) starring Alain Delon, Minghella cast Matt Damon, still hot property from Good Will Hunting (1997) in the title role, and surrounded him with a new class of actors in ascension: Jude Law, Gwyneth Paltrow, Cate Blanchett, and Philip Seymour Hoffman. The end result was a lavish adaptation full of rich period detail and a fascinatingly complex performance by Damon as a social-climbing sociopath.
"If I could just go back. If I could rub everything out. Starting with myself. Starting with borrowing a jacket."
Thus begins our story with voiceover narration by protagonist Tom Ripley (Damon). We meet him at a party hosted by the Greenleaf family in 1950s New York City, where Tom makes quite the impression on wealthy shipbuilder Herbert Greenleaf (James Rebhorn). After the soiree, Tom shed 'his' Princeton blazer, revealing his for con of the film – posting as a Tiger for someone else. It pays off; the next day Herbert asks him to go to Italy and persuade his son Dickie (Law) to come back home for $1,000, which, by 1955 standards, is a tidy sum. Herbert is not happy with his son's behavior overseas – "That's my son's talent," he tells Tom, "spending his allowance."
Tom, whose current employ is playing a piano at a cocktail bar, jumps at the chance to make some serious money – and rub elbows with the upper crust in Europe. Ever the astute social chameleon, we see Tom studying up on popular jazz songs and artists because it is a passion of Dickie's and, more importantly, a way to immediately ingratiate himself. With one foot barely off the boat, Tom is already changing identities, telling fellow traveler Meredith Logue (Blanchett) that he is Dickie Greenleaf.
Tom orchestrates a chance encounter between himself, Dickie, and his girlfriend Marge Sherwood (Paltrow) on the beach in an amusing scene: Tom is all kinds of awkward as he sports lime green bathing trunks, which "compliment" his pasty white skin. I love how Dickie points this out ("Have you ever seen someone so white? Grey actually.") and how quickly Tom makes fun of himself ("It's just an undercoat."). Tom is intensely serious in his plan to take on the character of a student on holiday, the way a rich playboy takes on a lover.
The seduction begins.
Tom impresses Dickie with an uncanny impression of his father and a mutual love of jazz. They become fast friends and are soon singing jazz in broken Italian at a hipster nightclub that Minghella captures in all of its dark, sweaty glory, masterfully capturing the energy of the moment. Tom agrees to help Dickie perpetuate a ruse – they will string his father along so that Dickie can continue to spend his money.
Tom is a student of human behavior, observing people for only a short while before being able to do an impression of them. For example, he studies the way Dickie signs his name and files it away for later use. Minghella shows Tom rehearsing in front of a mirror like an actor (where he creepily imitates a conversation between Marge and Dickie with eerie exactness). Like many great thespians, Tom is a blank slate, which allows him to become fully immersed in the "roles" he plays. During lunch he reveals his talents to Dickie and Marge – "Forging signatures, telling lies, impersonating practically anybody" – and his "purpose" for being there. Every single movement – we realize now – has, from the beginning, been surgically planned and impeccably executed, a black widow weaving the web or perhaps, more appropriately, the funnel spider, launching the fatal attack from a place unexpected, at a time unthinkable.
The web is completed a mere 24 minutes and 30 seconds into the film as we watch the spider plot his "attack." This section, this leg of Tom's trip, is the film's transition to a psycho-drama; Tom is becoming Dickie, and Dickie is coming closer to the edge of the cliff. It's also worth mentioning the subtle homoerotic nuances of Damon's facial movements, the lingering looks fostered by the sensuality.
Matt Damon does a fantastic job of presenting Tom as a socially awkward nerd, disarming Dickie and Marge who "realize" that he's not threat to them. This allows them to act both good-naturedly and condescending towards him – they don't see him as an equal. Dickie and Marge are all about social niceties; these will end up being used against them. Damon is all tentative gestures and aw shucks self-deprecation…but in private, he offers glimmers of Tom's true self – something that is gradually revealed over the course of The Talented Mr. Ripley. Taking this role was a shrewd move on Damon's part. He capitalized on the buzz from Good Will Hunting by then taking a chance on a different and difficult role instead of taking the easy route, and doing a romantic comedy or something safely within his wheelhouse.
The mesmirizingly handsome Jude Law is well-cast as spoiled playboy Dickie, a young man that spends most of his time traveling all over Italy, spending his father's money. Dickie is the kind of person who's into whatever is fashionable at the moment, like Charlie Parker-era jazz, and befriends people like Tom until he loses interest in/becomes bored with them. He's a flake that thinks loving such things makes him a deep person and Law conveys this extraordinarily well. Dickie's short attention span and spoiled-brat attitude of instant gratification anticipates the prevailing attitude of what society has become today. Marge sums him up best when she confides in Tom:
"The thing with Dickie … It is like the sun shines on you and it's glorious … and then he forgets you and it's very very cold," to which he replies, "…so I'm learning…" She says, "When you have his attention you feel like the only person in the world. That's why everybody loves him."
Gwyneth Paltrow plays the perfect WASP socialite, tired of the "whole Park Avenue crowd," and fled to Paris to work on her novel. She has problems of the idle rich and initially appears to be Dickie's superficial equal. It's Marge, however, that is the first person to suspect Tom's real agenda but because she's a woman – and it's the '50s – she's dismissed as being distraught. Fresh from the phenomenal success of Shakespeare in Love (1998), Paltrow was at the height of her mainstream popularity; getting her was a real casting coup for Minghella. She definitely looks the part and conveys an air of entitlement. Ultimately, Marge is a sympathetic, even tragic character as evidenced in a nice scene between her and Tom. She explains Dickie's shifting attention from him to Freddie, hinting that she is aware of her boyfriend's affairs with other women. Marge seems resigned to her lot in life with an air of sadness that humanizes her.
Philip Seymour Hoffman plays Dickie's friend Freddie Miles and makes a dramatic entrance, befitting his larger than life persona, arriving in a sporty convertible that sends scores of pigeons scattering. He hops out and says with a mischievous grin, "I wish I could fuck every woman just once." Hoffman makes an immediate impression – a high society accent and phony laugh intact – as he grabbily steals Dickie away from Tom. Freddie is a bully that delights in putting Tom in his place by reminding him of his lower-class status. It's easy to see why Freddie and Dickie are friends – they are nasty people that treat others badly with little or no remorse for their actions. We don't feel all that bad about their ultimate destinations.
Tom loves Dickie so much that he wants to be him. Throughout the first half of The Talented Mr. Ripley, Minghella offers several moments that show Tom's fixation on Dickie. He studies Dickie's mannerisms because Tom wants to be him: eventually, he adopts the young man's identity. The second half of the film is a fascinating study of how Tom attempts to maintain two identities without anyone catching on to his deception. At times, it's a tricky juggling act that Tom works hard to maintain as he manages to narrowly avoid being discovered. Minghella gradually increases the tension as Tom's ruse gets harder to maintain, especially with the Italian police breathing down his neck.
It would be easy to say that Tom suffers from multiple personality disorder but he does not. He is one man, with one mind, given to flights of fancy that lead to human degradation of the basest kind. He daydreams, he kills. The first third of The Talented Mr. Ripley resembles a Technicolor classic Hollywood movie like Roman Holiday (1953), then shifts gears into a psychological thriller a la Roman Polanski, and finally segues into a crime thriller as Tom tries to cover his tracks – and we wonder if he's going to get away with it. The film gets darker and darker as the humanity is being drained from it every time Tom takes a life. It shows the absolute depravity that someone is capable of as Tom paints himself into a corner with the blood of his victims.
The look of The Talented Mr. Ripley mirrors its protagonist. It starts off with warm, sun-kissed colors, courtesy of John Seale's cinematography, and gradually darkens as Tom gets deeper and deeper in trouble. The seaside color palette of the Italy in the film is worlds away from the regular day-to-day color palette of the New York City where we first meet Tom. However, when it comes to both clothing and architecture, vacationing by the seaside, houses are generally not your everyday bricks and mortar – they are light blue, coral and pink stucco. The same can be said about vacationing wardrobes. Gone are the grey flannel suits and navy blazers of the Upper East Side and in are shirttails out with white pants and Docksiders. Women's hair is in ponytails, worn with bathing suits and pleated shorts. Gone are reading glasses, only to be replaced by designer sunglasses. It is the graceful ease of seaside living, for the rich, that is. As we near the third act of the movie, it is like summer vacation is over and we're back to our mainland wardrobe – darker hues and heavier materials – a prime example of this is Tom wandering the decks of the ship wearing a poor boy's black coat. Ripley is a visually gorgeous film…but beyond that, it is also rife with rich symbolism. For example, there are several times throughout where islands of rock are either passed in boats or in the background as part of the landscape. They are reminders of the magnificent L'Avventura (1960), Michelangelo Antonioni's haunting masterpiece involving whimsical young adulthood, idyllic scenery, and dark philosophical mystery.
Patricia Highsmith wrote The Talented Mr. Ripley in 1955 while moving from Massachusetts to Santa Fe before going to Europe, where she lived most of her adult life. A child of divorce, she made a living early on writing for action comic books. Tom Ripley would become her favorite character and after the first novel, she wrote four more featuring him. She said of Tom, "He could be called psychotic but I would not call him insane because his actions are rational … I consider him a rather civilized person who kills when he absolutely has to."
Producer William Horberg had read Highsmith's novel in the mid-1980s and was immediately intrigued by the story. He left Paramount Pictures in 1992 to become a producer with Sydney Pollack's company, Mirage Enterprises. He gave Pollack a first-edition hardcover copy of The Talented Mr. Ripley as a gift in the hopes that he'd be interested in making it into a film.
When Horberg made inquiries about the film rights to Ripley, he found that French producer Robert Hakim, who made the 1960 adaptation Purple Noon, still controlled the property. Horberg said, "Over the years I had heard many stories about filmmakers who pursued the property only to run into problems with him." Producer Tom Sternberg knew the Hakim family and was also an admirer of Highsmith's novel. After Robert died, his family asked Sternberg to set up Ripley as a film project in the United States.
Through his lawyer, Sternberg heard that Horberg and Pollack were also interested adapting the book. As it turned out, Hakim's widow was a big fan of The Firm (1993), which Pollack directed. She and her daughters met with the filmmaker and agreed to sell the rights to his company. Paramount agreed to finance the project and helped in its development.
Horberg and Pollack were big fans of Anthony Minghella and sent him a copy of the book. He had first read the novel in 1980 and felt an affinity for its protagonist but "not in terms of what he did, but why he did it, and what he did that was at the heart of it, which was a sort of self-loathing, a sense of inadequacy, of being an outsider, a sense of yearning, to love and be loved." He was the son of working class Italian parents and grew up on the Isle of Wight, where he felt that "every English person was a Dickie Greenleaf." He was drawn to the material because he felt it had "one extraordinary idea in it, which is the idea of a man who commits murder but is never caught. I thought that was an audacious subject for an American movie particularly, which is so used to moral closure."
He was about to make The English Patient but had to wait until his leading man – Ralph Fiennes – was finished his Broadway run of Hamlet. He finished the first draft of the screenplay as The English Patient started rehearsals in Rome and found the material so compelling that he wanted to direct Ripley as well. He asked the studio to wait until he finished his film and they did.
When it came to casting the role of Tom Ripley, Minghella saw Good Will Hunting and was impressed with Matt Damon's performance, as well as his turn in Courage Under Fire (1996). The two men met and found that they were on the same page on how to depict Tom. To prepare for the role, Damon lost 25 pounds in order to appear pale and skinny, and spent a month learning how to play the piano, finding that his playing posture informed the way Tom sat and walked.
For the role of Dickie Greenleaf, Minghella met with many American actors but found that they couldn't evoke the character's "class snobbery" and he thought of Jude Law for the role. Initially, the actor was not keen on playing Dickie but Minghella won him over. Law was drawn to the part due to being "fascinated by the challenge of trying to make nasty characters likeable." Minghella wrote the role of Marge Sherwood with Gwyneth Paltrow in mind and she was the first person he cast. Initially, she didn't understand how interesting the character was but during the rehearsal process, she discovered "how full and complicated the role is."
To prepare for making Ripley, Minghella rewatched Alfred Hitchcock's Vertigo (1958) and I Vitelloni (1953), as well as reading the memoirs of Paul Goodman and Paul Monette in order to get a handle on the cultural touchstones of the young American characters in Ripley. He also read Calvin Trillin's "Remembering Denny," about the writer's Yale 1957 classmate Denny Hansen, a closeted gay varsity athlete who went to Europe as a Rhodes scholar.
The Talented Mr. Ripley received mostly positive to mixed reviews. Roger Ebert gave the film four out of four stars and wrote, "The movie is an intelligent thriller as you'll see this year." In her review for The New York Times, Janet Maslin praised Jude Law's "star-making role for the preternaturally talented English actor Jude Law. Beyond being devastatingly good-looking, Mr. Law gives Dickie the manic, teasing powers of manipulation that make him ardently courted by every man or woman he knows." Entertainment Weekly gave the film an "A-" rating and Lisa Schwarzbaum wrote, "Damon is at once an obvious choice for the part and a hard sell to audiences soothed by his amiable boyishness … But the façade works surprisingly well when Damon holds that gleaming smile just a few seconds too long, his Eagle Scout eyes fixed just a blink more than the calm gaze of any non-murdering young man. And in that opacity we see horror."
The New York Observer's Andrew Sarris wrote, "The Talented Mr. Ripley, as a case in point, is an often brilliant but ultimately confused murder melodrama in which there is no mystery to be solved, and no characters sympathetic enough to generate suspense about their fate in the patented Hitchcock manner." However, in her review for the Village Voice, Amy Taubin criticized Minghella for turning, "The Talented Mr. Ripley into a splashy tourist trap of a movie. The effect is rather like reading The National Inquirer in a café overlooking the Adriatic." The Guardian's Peter Bradshaw wrote, "It ends up a dismayingly unthrilling thriller and bafflingly unconvincing character study. Ripley says he'd rather be a fake somebody than a real nobody – but a fake nobody is all we're offered…"
"I always thought it's better to be a fake somebody then a real nobody," Tom says towards the closing of the film. The last shot – his reflection in a closet mirror as he replays the latest murder in his mind. Tom's mirror image is a repeating motif throughout The Talented Mr. Ripley; one imagines his life as a hall of mirrors. Which one is the real Tom Ripley? Are we seeing the "real" Tom before the closet door closes into darkness and the film ends? Its final shot brilliantly, visually sums up what Tom is: a sociopath unable to truly love because when he gets too close to the object of his affection, his impulse is to destroy, lest he reveal too much of his real self.
"Cinderella Minghella." The Guardian. February 16, 2000.
Luscombe, Belinda. "Matt Damon Acts Out." Time. March 6, 2000.
Rich, Frank. "American Pseudo." The New York Times. December 12, 1999.
Simon, Alex. "The Talented Mr. Minghella." Venice Magazine. February 2000.
"The Talented Mr. Ripley: Part 1. Empire.
The Talented Mr. Ripley Production Notes. Miramax Pictures. 1999.
at September 25, 2015 No comments:
Labels: 1990s, Anthony Minghella, Cate Blanchett, Gwyneth Paltrow, Jude Law, Matt Damon, Patricia Highsmith, Philip Seymour Hoffman, thriller
The world needs dreamers – people with their heads in the clouds thinking big ideas. We need people like this for without them we would never have gone into outer space. Joe Dante's Explorers (1985) champions dreamers in a refreshingly earnest way that never feels forced and is not afraid to wear its heart on its sleeve. Unfortunately, the film was rushed into production and Dante was never allowed to edit it properly. As a result, the ending feels a little awkward but does nothing to diminish the heartfelt sincerity that exists in every frame. Sadly, mainstream moviegoers weren't interested and Explorers was a box office failure but has gone on to develop a small but devoted cult following.
It's no coincidence that the film begins with Ben Crandall (Ethan Hawke) dreaming that he's flying through the sky and then over some Tron-esque landscape while War of the Worlds (1953) plays on a television in the background of his bedroom. It's a sly commentary on Dante's part as his aliens will be nothing like the ruthless ones in that film.
Ben tells his best friend Wolfgang Muller (River Phoenix) about it on the way to school the next day. They share a common nemesis in the form of schoolyard bully Steve Jackson (Bobby Fite) who enjoys tormenting them with his friends on a daily basis. Ben befriends Darren Woods (Jason Presson), a kid from the wrong side of the tracks, who helps him out with Steve.
Dante does a nice job early on of developing the dynamic between Ben, Darren and Wolfgang who, on the surface, are unlikely friends. Darren is a mechanically-inclined cynic from a broken home while Wolfgang is a nerdy bookish type that is ruled by logic and comes from a family of eccentric geniuses. Ben is the bridge between these two polar opposites – a nice kid from a stable home who isn't particularly cool but not a nerd either – he's a dreamer. He's the glue that keeps them together.
Ben draws a circuit board he saw in a dream and gives it to Wolfgang who assembles a piece of technology that creates a transparent bubble. It can be resized, moves at incredible speeds and is seemingly indestructible. Over several nights out in the woods, the boys build a crude craft out of a tilt-a-whirl seat that allows them to all be in the bubble. They decide to use it to explore the galaxy for alien life. Dante takes this fantastical premise and grounds it in a kind of matter-of-fact realism via scientific jargon Wolfgang frequently spouts but without losing a sense of wonderment that is the film's strongest attribute.
The three young lead actors are perfectly cast. Ethan Hawke is excellent as an idealistic dreamer that yearns to be a space explorer and live out his sci-fi fantasies. He avoids slipping into cheesiness by imparting a sincerity that feels authentic. Jason Presson is also good as the cynical yin to Hawke's idealistic yang. He provides the practical knowledge to help build their craft. Finally, River Phoenix disappears into his bookish scientist constantly clad in a tie and suit jacket like a pint-sized college professor. While these kids are smart and resourceful, Dante doesn't let us forget that they are still kids who have to face bullies, have crushes on girls and do their homework. It makes them relatable so that by the time Explorers takes a turn to the fantastical we are invested in their journey.
The three actors play so well off each other and are completely believable as good friends, each bringing their own distinctive personality to the table. Just watch how they interact with each other as they launch their craft for the first time. These are resourceful young boys living out their dreams. Dante includes all kinds of nice touches that fleshes out these rich characters, like Ben's love of 1950s science fiction movies and novels, or Wolfgang's chaotic family life complete with noisy siblings and an absent-minded professor (wonderfully realized by James Cromwell) for a father.
Dante pulls out all the stops for the last third of Explorers with visually dazzling special effects that are tangibly old school, like the boys' craft that is made out of a hodge-podge of junk they found, and include some impressive makeup work by the legendary Rob Bottin. It makes me sad to think that nowadays this would all be done with CGI because the practical effects give the film a timeless quality. All of this visual eye candy does a decent job of distracting one from how jarring the last third of the film is from what came before it.
After writing two screenplays that were tailored to what was popular with little success, Eric Luke decided to work on something he really "wanted to do when I was a kid. And who cares if it's commercial or not?" He grounded his script in real-life trials and tribulations from his own childhood, including an unrequited crush on the girl next door. While the character of Wolfgang was based on a scientific kid he knew and befriended over his extensive comic book collection, Ben was the one that Luke most related to and he also had friends like Darren and Wolfgang.
Luke was working in a Los Angeles effects house when his Explorers script was discovered by producer David Bombyk. He showed it to his associate Edward Feldman and told him, "Read this. The first 65 pages of this script are terrific." Feldman read it and agreed but felt that the rest "went into a Flash Gordon-type adventure and got kind of hokey." He felt that it showed enough promise and gave the first 65 pages to Paramount Pictures. Within 24 hours they bought it and Luke was brought in do all the rewrites.
The studio was interested in hiring Wolfgang Petersen to direct. He had just come off making The NeverEnding Story (1984) and wanted to shoot Explorers in Bavaria. Feldman felt that an American story like Explorers would be "very hard to duplicate those little American nuances in a foreign country." He also felt that Petersen would have given the film "a more serious, dramatic look," and hired Joe Dante instead. At the time, the director hadn't finished work on Gremlins (1984) and was tired from making it and his segment of Twilight Zone: The Movie (1983) and wasn't sure he could do it. Paramount was persistent, however, and Dante finally agreed. The director found himself drawn to "the story [that] exists to serve the characters. This is different for me: it's more of a stretch. Although, the story has many of the same elements that I like to work with, there is more emphasis on the characters." Once onboard, the director worked closely with Luke on script revisions.
For the three young leads, a nationwide casting search was conducted with Ethan Hawke, River Phoenix and Jason Presson chosen to play the protagonists. Dante found that working with his three 14-year-old lead actors reminded him of what it was to be like a kid: "We tend to always romanticize childhood a little bit, but working with kids reminds you that it's a tough period to go through."
In order to realize that aliens in Explorers, the production hired makeup effects wizard Rob Bottin who started work right after finishing Ridley Scott's fantasy epic Legend (1985). Originally, Dante wanted the aliens to be puppets but Bottin felt that doing it that way would slow things down: "They're going to want to pump this stuff out, yet these aliens have pages and pages of dialogue." He wanted to do something that hadn't been done before and recommended they have people in suits – blending body makeup and wire-controlled appendages. He wasn't interested in the typical men-in-suits look because "doing that limits you to all these head shapes which have already been done to death." Bottin designed stalk eyes that could move independently from the rest of the head.
Dante was thrust into a rushed production schedule mandated by the studio and "if a scene didn't work out, we would just have to think of another way to do it, rather than take time to get it right." He also had to contend with script changes, which resulted in changes to the last third of the film due to "the expense of creating this otherworldly environment," and only had seven pages of material covering the boys' encounter with the aliens. Dante and his collaborators ended up adding material on the fly.
To make matters worse, the studio changed hands during the post-production phase of Explorers and the new regime told Dante, "This picture is coming out two months too late. We've got to have it two months earlier." This forced Dante and his editor to rush cutting the film and what was released was essentially a rough cut. Dante said, "The basic conceptual problem with the movie is that it's the opposite of E.T. the Extra-Terrestrial (1982) … The kids believe that they are going to find the meaning of life and God in space and they find only a reflection of themselves distorted through pop culture. That didn't turn out to be that popular!"
Explorers received generally positive to mixed reviews with most of the criticism addressing the film's third act. In her review for The New York Times, Janet Maslin wrote, "Explorers, which is lively but largely familiar until the point when it reaches its batty pinnacle, frequently shows off Mr. Dante's sense of humor to good advantage." The Los Angeles Times' Kevin Thomas wrote, "Explorers itself is bubble-thin, but it glides by gracefully on the charm of its three young heroes and their vividly envisioned adventure in space. It's also a truly gentle film, one of the precious few that actually is suitable for children." In her review for the Washington Post, Rita Kempley wrote, "The effects are ho-hum and the scenes are repetitious – there's really only about an hour's worth of movie here." Finally, the Chicago Tribune wrote, "Unfortunately, in Explorers – the latest kids space travel movie – the human kids are far more interesting than the aliens they meet. Maybe the movie's script is making the wry comment that it's not so interesting 'out there,' but I doubt it."
With Explorers, Dante has created a sci-fi film for kids but one that doesn't condescend to them but rather shows the world through the eyes of its youthful protagonists. The director is one of the great chroniclers of 1980s American suburbia, from the Norman Rockwell gone horrible wrong of Gremlins (1984) to the paranoid comedy of The 'Burbs (1989) to exploring its quirky avenues in the Eerie, Indiana T.V. show. Dante is a rare filmmaker that remembers what it is like to be a kid and to see the world through their eyes without dumbing things down or getting mired in nostalgia. Explorers achieves its sense of wonderment honestly with the help of Jerry Goldsmith's sometimes wistful, sometimes rousing score that compliments the suburban atmosphere of the first two-thirds and the otherworldliness of the last third.
Dante has always had a subversive streak as a filmmaker and it pops up in the last third of Explorers when our heroes finally make contact with aliens. Ben expects to meet some solemn being a la The Day the Earth Stood Still (1951) and instead is confronted with two beings educated by American T.V., communicating mostly in famous soundbites. It has a bit of a jarring effect after the earnestness of the first two-thirds but one can see that Dante wasn't interested in repeating what Steven Spielberg did with E.T. and instead present aliens that kids would find funny and entertaining. Dante refuses to resort the manipulative sentimentality of this film and opts instead for the sense of wonder of Close Encounters of the Third Kind (1977) only on a smaller, more intimate scale.
Lofficier, Randy & Jean. "Exploring Director Joe Dante." Starlog. September 1985.
Lowry, Brian. "Eric Luke: Exploring His Dreams." Starlog. October 1985.
Lowry, Brian. "Rob Bottin: Crafting Fantastic Faces." Starlog. February 1986.
Sayers, John and David McDonnell. "Edward Feldman: Guiding Young Explorers into Adventure." Starlog. June 1985.
Tonguette, Peter. "What You Can Get Away With: The Collegial Cutting Room Collaborators of Joe Dante, Part 2." Press Play. January 14, 2012.
at September 18, 2015 7 comments:
Labels: 1980s, Ethan Hawke, Jason Presson, Joe Dante, River Phoenix, Rob Bottin, science fiction
The Wrestler (2008) is generally regarded as Mickey Rourke's comeback film and proved that given the chance, with the right material, he could be a great actor again. This film oddly echoes another one he made 30 years prior, entitled Homeboy (1988). Interestingly, both films are underdog sports stories with the actor playing down-on-their-luck loners looking for redemption. What makes Homeboy a more interesting film than The Wrestler is that it was a personal, passion project for Rourke as opposed to Darren Aronofsky's film, which was tailored to the actor's talents. Homeboy was a film that originated with Rourke and one that he had nurtured and massaged for years, even writing the screenplay under the nom de plume of Sir Eddie Cook.
It's hard to believe that by 1988, Rourke's career was considered washed-up – at least in Hollywood where he started off strong with memorable roles in Diner (1982), The Pope of Greenwich Village (1984), and then scored his biggest commercial hit with 9 ½ Weeks (1986). This would mark a high point for the actor who's reputation for being difficult was overlooked so long as his films made money, but three consecutive underperformers saw Rourke increasingly relegated to the margins. It also didn't help that he fancied himself a boxer – an obsession that would help derail his career even further in the 1990s.
Johnny Walker (Mickey Rourke) arrives at a sea-side resort one rainy night and takes refuge in a nearby bar populated by African Americans who, by and large, look at him with contempt and disdain. It could be that he's white and it could also be the cowboy attire that he's wearing. He joins in on a dice game and pretty soon he's been accepted and is dancing on the bar with a woman while chugging from a bottle of whiskey. Johnny's handler Lou (Thomas Quinn) arrives to take him to a boxing match he's supposed to be fighting in.
To say Johnny is an unorthodox boxer is an understatement. When he first climbs into the ring he plays mind games with his opponent by testing the ropes and staring at him silently in a way that could be mistaken for being mentally handicapped. The fight starts and Johnny spends the first round taking all kinds of punches from his opponent and getting in close. He comes out fast in the second round and proceeds to knock his opponent out. This catches promoter Wesley Pendergass' (Christopher Walken) eye.
Wesley is a shifty promoter cum small-time crook who talks a good game but is clearly trouble. He also moonlights at a local strip club as a stand-up comic/song and dance man who tells jokes badly and sings even worse. Imagine Christopher Walken doing these two things, badly, in his very particular way and you get an idea of just how awesome it is to behold.
Johnny ends up frequenting an amusement park on the boardwalk, drawn to Ruby (Debra Feuer), a good-looking woman that runs a mini-horse ride. She is struggling to get by but dreams of fixing a broken down carousel her father left her before he died. Johnny soon gets roped into a dodgy scheme with Wesley that you know can only end badly. Added into the mix is Grazziano (Kevin Conway), a grizzled low-rent version of Gene Hackman's Popeye Doyle, complete with the porkpie hat. He is shadowing Wesley and Ray (Antony Alda), his junkie sidekick, just waiting for them to screw-up. The rest of the film plays out Johnny's dilemma – does he continue participating in a sport where he's only one or two fights from possibly dying or go in on Wesley's ill-conceived scheme or give it all up and help Ruby realize her dreams?
Mickey Rourke is fantastic as a punch-drunk boxer living on the margins of society. It is the kind of character he excels at playing – one that has a tragic-romantic vibe to him. Like many of the characters the actor plays, Johnny is a thinker, a brooding type that could easily be mistaken for dumb, but Rourke's performance suggests a man that observes others and takes in the entire scene before he responds or acts. We also get a brief glimpse of how he sees the world and it's in slow motion with distorted sound as if everything is underwater.
Our first glimpse of Wesley Pendergass sees him playfully trying to comb fellow promoter Moe Fingers' (Jon Polito) balding head before primping his own luxurious head of hair with a mischievous glint in his eyes as only Christopher Walken can do. It's a brief teaser for the full reveal a few beats later when Wesley works the room, poking fun at Lou: "And Lou, why was God so good to me and so awful to you?" in his trademark patter that is a thing of beauty to watch. Walken's Wesley is all smiles and flamboyant moves but in certain scenes he reveals the menace that lurks underneath the gregarious façade. He talks a big game but is strictly small-time.
Not surprisingly, the main draw of Homeboy is the scenes between Rourke and Walken. It is great to see two talented performers like them play off each other with the former portraying a man of few words and the latter playing a flashy motormouth. Each actor brings their own unique energy to their respective roles and it is a lot of fun to see them bounce their distinctive acting styles off each other.
Debra Feuer brings the tough sensibility of someone that has survived a lot of hard times but it hasn't stopped her from trying to realize her dreams. There's a nice scene where Ruby recounts memories of watching her father work that Feuer delivers with an air of wistful nostalgia while Rourke, the generous performer, just listens, giving his co-star the space to have her moment. She and Rourke have excellent chemistry together (they were married at the time) as evident in the scenes they share, bringing out the vulnerability in their respective characters.
Lou, as played by Thomas Quinn, is a burnt-out, disheveled variation of Burt Young's trainer in Rocky (1976). He perfectly encapsulates the seedy charm of this world, populated by broken down boxers and small-time criminals. Over the course of the film, he reveals that Lou really does care about Johnny's well-being, to the point that he admits his own shortcomings as a trainer to the fighter. This is a world that Rourke knows well and it is evident in the details, from the bustling gym where you can almost smell the sweat, to the seaside carnival where you can almost feel the cool wind coming off the ocean.
Mickey Rourke came up with the idea for Homeboy while he was a struggling actor. When he was younger, he attempted a career as an amateur boxer but after a few fights, a severe concussion ended that aspiration. Rourke never forgot and wanted to depict his boxing experiences on film. He based the character of Johnny Walker on someone he knew as a child, and a boxer who frequented the same gym in Miami as he did: "He had all the tools. He just had a little trouble upstairs … There was no guidance in his life. There was no love. And if you don't have a certain amount of love, you're going to turn out like a piece of shit." Rourke hero worshipped the boxer but was also intimidated by him: "There was some dark fucking thing when I looked at him. When I looked at him, I was looking at myself."
While working on Michael Cimino's Heaven's Gate (1980), Rourke met and became friends with Christopher Walken. Over dinner one night Walken told Rourke about his theory on how the dinosaurs died out. Rourke was intrigued by Walken's theory and told him about a film he wanted to make some day about a boxer. Rourke told Walken that he would play the fighter's manager. Rourke remembered, "I thought, 'Wow, here I'm having this one chance to have dinner with one of my favorite actors in the world, and he's talking about dinosaurs in outer space." Rourke initially wrote what would become Homeboy on coffee-shop napkins as far back as 1984. In an interview from 1985, he described the film as being "about a guy who never was a champion, he's a guy who was pretty much the reason I stopped boxing."
When it came time to make Homeboy, Rourke was only interested in casting friends and childhood buddies in supporting roles as opposed to well-known actors. He also cast his then-wife Debra Feuer opposite him and picked Angel Heart's cinematographer Michael Seresin to direct his first and to date only film.
While Homeboy was released in Europe, it failed to find a theatrical debut in North America when Rourke had it blocked because of a lawsuit he filed against the film's producer Elliott Kastner for failing to pay him and denying approval over final editing and music. Rourke said, "I felt violated. I learned a great lesson—never trust someone on a handshake. People's words mean nothing in this business."
Homeboy is a fascinating study of a self-destructive man. Johnny could be a half-decent fighter if he didn't drink so much and had enough in the tank to finish off his opponents. Rourke's actual boxing skills certainly give the fight scenes an authenticity. This is a film about making choices and being smart enough to make the right ones. This sometimes involves learning from many bad ones and this doesn't always happen. Over the course of the film Johnny has to figure out what's important to him and make some serious choices that will affect his life forever. Homeboy is no Raging Bull (1980) and it doesn't aspire to be like that film. It's an intimate slice-of-life story about people just trying to get by and finding compelling drama in their day-to-day struggles.
Caulfield, Deborah. "Dragon Rourke Breathes Fire." Los Angeles Times. September 16, 1985.
Dutt, Saurav. Stand Alone: The Films of Mickey Rourke. Lulu.com. 2011.
Goldstein, Patrick. "The Last Anti-Hero?" Los Angeles Times. February 24, 1991.
"Rourke in Dispute Over Homeboy." Los Angeles Times. May 27, 1989.
Smith, Gavin. "Out There on a Visit." Film Comment. July/August 1992.
Walken, Christopher. "Mickey Rourke." Interview. January 16, 2009.
Labels: 1980s, boxing, Christopher Walken, Debra Feuer, drama, mickey rourke, sports movie, Thomas Quinn
Cheech and Chong's Up in Smoke / Next Movie
Along with The Blues Brothers (1980) and Stripes (1981), Cheech and Chong's Up in Smoke (1978) and their follow-up, Next Movie (1980) were my earliest exposures to R-rated comedies. Where I grew up in Canada there was an independent television station that would show these comedies with very little censoring. Seeing them at a young age made quite an impression on me. Cheech and Chong's first two movies, in particular, were a fascinating window into not only Latino culture, but also the stoner subculture. Their unique brand of crude humor was perfect for me at that young age because it is largely childish in nature. Watching these movies now I notice all kinds of subversive humor and adult references that went over my head as a kid.
As soon as the opening groove of "Low Rider" by War comes on the soundtrack in Up in Smoke, you are instantly transported back to the 1970s as Pedro (Cheech Marin) spruces up his beaten-up pimpmobile, appropriately nicknamed "Love Machine." He's driving along the freeway when he spots what appears to be a busty hitchhiker but it turns out to be Anthony (Tommy Chong), a musician who's bailed from his high society home to kick start his career. They quickly bond over a monster joint of marijuana-laced Labrador dog shit. Pedro and Anthony soon run afoul of the cops and try to get a band together.
They end up looking for some pot while staying one step ahead of the cops. They hook up with a dealer named Strawberry (Tom Skerritt cast wonderful against type), a Vietnam War veteran who is still experiencing the war, and Anthony inadvertently gets a woman to snort Ajax cleaner (she assumes its cocaine). Her reaction is priceless. Stacy Keach plays the square, undercover cop (whose attire anticipates Herb Tarlek's fashion sense on WKRP in Cincinnati) intent on busting Pedro and Anthony and their van made entirely out of pot.
Like any good counter-culture comedy, Up in Smoke continually thumbs its nose at authority figures and the establishment, be it narcs or nuns. The film also successfully took Cheech and Chong's shtick from their stand-up and records and put it on the big screen, including a restaging of one of their classic bits, "Earache My Eye." While tame by today's gross-out movie standards, it is refreshing amiable and a fascinating snapshot of the times during which it was made.
After the commercial success of Up in Smoke, a sequel was inevitable but the comedy duo decided to use their clout to exert more creative control over their follow-up, Cheech and Chong's Next Movie by not only writing the screenplay but having Chong direct as well. The end result was an even funnier, trippier experience. The guys are up to their usual hijinks as the movie begins with them stealing gasoline (putting it in a garbage can no less) and sloppily pouring it into the gas tank of their car. En route to Cheech's work, Chong rolls a joint and lights up thereby igniting the gas fumes and creating a small explosion. Cheech visits a friend who works on a film crew (one of the aspiring actresses is played by a young Rita Wilson) and inadvertently disrupts it by telling a guy that looks like a red version of the T.V. show's the Hulk (anticipating the comic book version by 28 years!), which wall he's supposed to crash through.
We then get insight into Chong's daily routine, which consists mainly of smoking pot (along with a bug), antagonizing his neighbors by revving his motorcycle so that obnoxious smoke kills flowers, and playing his guitar incredibly loud. So loud, in fact, that when Cheech comes home he has to fight through the wall of sound to turn off the amp. Some memorable bits from this first half of the movie include Cheech and Chong tricking out their van; having a hydraulics battle with another vehicle (with Chong getting a little too enthusiastic) and then insulting a Latino family all to "Tequila" by the Champs. Best of all, Chong pulls a prank on Cheech by tricking him into snorting from a bag of cocaine that is actually powdered soap, which causes him to panic and accidentally drink from a vase of urine that Chong was going to use for his drug test.
Next Movie follows the same rambling, lack of narrative approach from Up in Smoke by going from one comic situation to another and the fun comes from how each sequence is set-up for some kind of comedic pay-off. Not every set piece has a punchline per se, sometimes Cheech and Chong merely find themselves in a funny situation. Most set pieces involve Cheech and Chong making fun of uptight "straight" people, but they also show the chaotic horribleness of a local welfare office as low income people try to get money out of the government. This sequence also gives a pre-Police Academy (1984) Michael Winslow a showcase for his considerable sonic talents. Chong just lets it play out as Winslow does his thing while he looks like he's genuinely laughing his ass off while in the background Cheech is trying to have sex with his girlfriend Donna (Evelyn Guerrero).
The story, such as it is, doesn't really kick in until halfway through when Chong meets up with Cheech's brother Red (also played by Cheech Marin) who has a big duffle bag full of weed at a hotel where they're harassed by an obnoxious hotel clerk (played by to obnoxious perfection by Paul Reubens). In Next Movie, Cheech and Chong are in pursuit of simple pleasures with the former always trying to get laid and the latter just wanting to get (and stay) high. As with Up in Smoke, this movie revolves around the duo creating chaos in the process of achieving their respective goals as they upset the natural order of straight society, which includes uptight neighbors, hotel clerks, cops, and rich socialites. The second half of Next Movie loses a bit of its momentum when Cheech and Chong are split up. For all of his gregarious gusto, Red just isn't as interesting a character as Cheech who is saddled with a thankless storyline that goes nowhere. That being said, it does end on a fantastic turn when Cheech and Red encounter a UFO, which leads to Chong giving Cheech some space coke with bizarre effects.
Richard "Cheech" Marin grew up in South Central Los Angeles and the San Fernando Valley. After college he got involved in the draft resistance movement, participating in demonstrations at draft centers and burning draft cards. As a result, and coupled with his student classification, he was reclassified and drafted for taking part in these demonstrations. In 1968, he went to Vancouver, Canada to avoid the Vietnam War and wrote articles for rock and roll magazines.
Thomas "Tommy" Chong grew up in Calgary, Canada. He played guitar as a youth and quit high school to play in a few R&B bands. He eventually quit them and ended up working at an improv club in Vancouver where he met Cheech in 1969. An editor for one of the magazines Cheech worked at knew Chong and introduced them. Cheech started writing for the improv troupe and when that fell apart he and Chong stayed together.
They formed a band and would perform sketches and engage in comic banter between songs. These would get better reactions than the music and they became a comedy act. After nine months, they moved to L.A., playing night clubs and strip clubs. According to Cheech, they were the only ones doing pothead humor at the time. They soon caught the attention of record producer Lou Adler. He had grown up among Chicano culture and understood Cheech and Chong's brand of humor.
Four eight years they worked the club circuit and recorded four very successful comedy albums. Cheech said of this time, "We did thousands of miles in eight years of touring, just me and him telling our stories." The next natural step was to make movies. In 1978, they made Up in Smoke for $2 million and it went on to gross $47.3 million, which led to Next Movie. In the first seven weeks it made more than $30 million. At the time, Cheech said, "Our movies show the state of the art of Middle America's acceptance of dope."
Before there was Bill and Ted, before Wayne and Garth, before The Dude, there were the original pothead slackers, Cheech and Chong. While they helped pioneer the stoner comedy, in their own way their brand of anarchic comedy carried on in the tradition of the Marx Brothers, which also used absurd humor to poke fun at the establishment. Cheech and Chong merely updated it to reflect the times in which they lived in – the late '70s and early 1980s. Their movies comment on class and race issues, suggesting that we'd all get along better if we chilled out and smoked more pot.
Buchalter, Gail. "Cheech and Chong's Joint Career is a Smoke Screen: At Home They're Not Potheads but Proud Papas." People. September 22, 1980.
Patterson, John. "Back with a Bong." The Guardian. December 2, 2004.
Reno, Jamie. "Cheech and Chong: Still Smokin'." Newsweek. August 13, 2008.
Labels: 1970s, 1980s, Cheech Marin, comedy, drugs, Lou Adler, Paul Reubens, Tommy Chong


When scoping or designing a UC cluster that involves Unity Connection there was always an extra core reservation for the VMware scheduler. With VMware 5.5 and the ability to specify latency sensitivity we don't need to have one core sitting idle.
The reason this is important was due to core oversubscription and the co-residency guidelines published by Cisco. For example; if your host has 12 cores you can now safely lay out the VM reservations across all 12 cores and not 11 cores. This only applies if you have an active Unity Connection VM on the host machine. All other VMs on the host must have the latency sensitivity set to "normal". Only the Unity Connection VMs will be set to "high".
So now you're wondering how do I cut it on? First it has to be modified while the machine is powered off, and if you have vSphere Web Client it is simple as "VM Options | Advanced settings | Edit | Latency Sensitivity = High".
OK – I see this yellow exlaimation point and what is about to happen? The warning is to let you know this should be performed on a VM that has CPU reservation. If you used the OVA to deploy Unity Connection and have not changed vCPU amounts or reservations you're in the clear to proceed.
Since most UC clusters and ESXi hosts specific for collaboration are not joined to vSphere you need a way to turn on latency sensitivity without vSphere Web.
Using the vSphere client edit the settings of the Unity Connection VM.
First scan to see if "sched.cpu.latencySensitivity" is in the configuration parameters.


text:
Q: How to create a single line x509 certificate that can be parsed by OpenSSL commandline tool I wanted to prepare a single line x509 Certificate string which can be parsed by OpenSSL command-line utility.
I created a private key using OpenSSL command-line utility,
openssl genrsa -out privatekey.pem 1024

And then created a public key,
openssl req -new -x509 -key privatekey.pem -out publickey.cer -days 1825

The contents of the certificate is,
$ openssl x509 -in publickey.cer
-----BEGIN CERTIFICATE-----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-----END CERTIFICATE-----

I then converted the newline symbols to \n using below awk command,
$ awk 'NF {sub(/\r/, ""); printf "%s\\n",$0;}' publickey.cer  | tee single_line_publickey.cer

The transformed certificate is,
-----BEGIN CERTIFICATE-----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\n+vm03hED1aoCs/s7rSsckAR/OjkMtQDoVer/F0izuE7ebAh4IFYXYTUD\n-----END CERTIFICATE-----\n

But OpenSSL command line tool is failing to parse this single line certificate,
$ openssl x509 -in single_line_publickey.cer
unable to load certificate
140671947637184:error:0909006C:PEM routines:get_name:no start line:../crypto/pem/pem_lib.c:745:Expecting: TRUSTED CERTIFICATE

Looks like it is not able to find the encapsulation boundaries -----BEGIN CERTIFICATE----- and -----END CERTIFICATE-----. From the RFC7468: Textual Encodings of PKIX, PKCS, and CMS Structures standard, I found that BEGIN CERTIFICATE and END CERTIFICATE labels needs to be separated by newline. Here looks like \n is not working. I tried \r\n to simulate CR+LF but still I had the same problem.
What I observed is the OpenSSL command-line tool is able to parse the certificate when I keep BEGIN CERTIFICATE and END CERTIFICATE labels in newlines.
The certificate file is,
$ cat multi_line_publickey.cer
-----BEGIN CERTIFICATE-----
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
-----END CERTIFICATE-----

And the OpenSSL tool is able to parse it,
$ openssl x509 -in multi_line_publickey.cer -noout -subject
subject=C = AU, ST = Some-State, O = Internet Widgits Pty Ltd

But here I have three lines. How to prepare this certificate as one line in a way that OpenSSL Command Line utility can parse it?

A:
I wanted to prepare a single line x509 Certificate string which can be parsed by OpenSSL command-line utility...
-----BEGIN CERTIFICATE-----
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
-----END CERTIFICATE-----

PEM encoding is detailed in RFC 1421, Privacy Enhancement for Internet Electronic Mail. Among the specifications, it says:

*

*Encapsulation boundaries are on their own lines,

*The message is Base64 encoded,

*Lines are limited to 64 characters,

*End-of-line is CR ('\r') and LF ('\n')

OpenSSL has never handled ill-formed certificates well. It has been that way as long as I can remember. A fair number of libraries don't handle EOL well. They choke on CRLF line endings as well.
In contrast, the OpenSSH file format RFC, RFC 4716, say an implementation must handle an eol that is CR, LF, or CRLF. The RFC also says certificates and keys should be written using native platform conventions, so you will see all three in the field.

A: You can do some bash dark magic to get what you want. If you see your single_line_publickey.cer, it has the \n chars too that show up when you echo. Which means you can force echo to print them as newlines.
If you try something like:
echo -ne $(cat single_line_publickey.cer) | openssl x509 -noout -text

It should work out just fine.

A: Proceed if you don't mind dark awk magic.
Without -----BEGIN CERTIFICATE-----, -----END CERTIFICATE----- the new lines:
awk 'NR>2 { sub(/\r/, ""); printf "%s",last} { last=$0 }' ca.crt

Certificate including header, footer, without new line characters:
awk 'NF {sub(/\r/, ""); printf "%s",$0;}' ca.crt

Certificate including header, footer and new line characters as \n
awk 'NF {sub(/\r/, ""); printf "%s\\n",$0;}'

A: Used similar logic to match a public key - but adapted just a bit.
Given: You have a list of public keys in PEM format as '*.pub' in current folder and you know the single-line public key you want to match:
the_key='public key to match'

(for i in *.pub ; do foo=`awk 'NR>1 { sub(/\r/, ""); printf "%s",last} { last=$0 }' $i | sed -e 's/^-----.*-----//'` ; echo "$i: $foo" ; done) \
  | grep "$the_key"

This shows both the file and the matching public key. Should be adaptable to search for one-line certificates (e.g. change '.pub' to '.crt' if you have all your certs using that name).

redpajama_set_name: RedPajamaStackExchange


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text:
Parents charged after 11-month-old ingests apparent heroin in backseat of car
COCHRANVILLE, Pa. – The parents of an 11-month-old boy were arrested after allegedly falling asleep while their son overdosed on what appeared to be heroine in the backseat of their car, according to Pennsylvania State Police.
Kristen Bristow and Charles Salzman Jr. were charged with aggravated assault and endangering the welfare of the child, police said in a statement released Thursday. Salzman told police the two had been cleaning out Bristow's car on Wednesday after allegedly using heroin at their Chester County home, according to the criminal complaint.
Salzman's mother came out of the house to check on them and noticed the child unconscious and slumped over while his parents were either asleep or not reacting, the complaint said.
The family called 911, and first responders administered three doses of Narcan to the child, police said. He was taken to the hospital, and he is expected to survive, Michael Noone, first assistant in the Chester County District Attorney's office, said.
Charles Salzman told police at the scene that he believed the child may have put a small bottle cap in his mouth, the complaint said, and that the cap had a white powdery substance consistent with heroin or fentanyl.
After searching the house, police found numerous baggies containing "a white powdery substance, numerous used hypodermic needles" and "several glass smoking devices containing residue," according to the complaint.
A representative for the Chester County public defender's office told CNN by telephone they would assign a lawyer to Salzman, but had not done so yet, and that Bristow would likely be assigned a conflict attorney, since their office cannot represent two defendants from the same case.
Court dockets Thursday show that bail was set for Salzman and Bristow at $150,000 each. The dockets showed Friday that the two had not posted bail.
Pennsylvania State Police Trooper Kevin Kochka told CNN they see a lot of overdoses in the area, but not many involving children of that age.
"It's something that's really tough for our troopers, because the children are so innocent," he said.
Noone said the area has seen a "marked" increase in fentanyl-related overdoses in the past few years. Still, he said the area has a multidisciplinary approach to fighting overdoses, involving representatives from a variety of local agencies, and that they saw an overall decline in the amount of overdoses last year versus the year before.
Noone said the child is expected to be released to a family member.
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Father of killed 3-year-old now charged for allegedly shooting suspect in son's 2017 murder
Metro man charged in human trafficking sting allegedly held woman, child against their will
Woman who yelled her captor's name during kidnapping captured on camera is safe, police say
Doorbell camera captures high-speed crash after alleged drunk driver slams into parked vehicles
Northland dad charged for making threat against local school where his son attended
Shooting suspect was former customer at Independence car dealership, owner says
21-year-old charged in KC shooting that left man killed, 5-month-old baby injured
11 metro residents indicted in $1.7 million drug conspiracy; 77 illegal firearms seized
Pennsylvania woman accused of faking cancer received over $10K in donations, authorities say
Police in Australia are accusing 24 people of deliberately setting bushfires
Kansas City man charged after allegedly stealing car, kidnapping worker at car dealership
10-year-old runs for safety after men attempt to lure him into car with candy


text:
Critical water lines to be repaired in Pincher Creek
PHOTO/IMAGE COURTESY:S. Jastrzebski
Council approves additional $445K to repair two critical sub-riparian water lines serving Pincher Creek's downtown core.
The Flood of '95 was a watershed moment in more than one way for Pincher Creek. The flood sits deep in the cultural memory of the town, and signs of the event are visible in reinforced banks and on the literal signs posted along the creek walking path that provide information about the disaster.
One particular piece of evidence remaining from the flood, nearly 30 years later, is erosion in the creek bed near the Pincher Creek Agricultural Society grounds. The flood in 1995, along with subsequent flooding events, has exposed two water lines that are critical to the town's water infrastructure.
One water line is an intake pipe that pumps raw creek water to the water treatment plant where it is then treated for consumption; the other line carries potable water to the town's downtown core.
Town council approved a total of $1.6 million to replace the water lines as part of the 2021 and 2022 capital budgets, with help from a $730,000 grant through the Alberta Community Resiliency Program. The project involves replacing the existing lines with 12-inch pipes installed eight metres below the creek.
Although the project was tendered this past June, feedback from the contractor and higher-than-expected bids — resulting, in part, from pipe costs increasing by 40 per cent over the last two years — led to town administration cancelling and reassessing the project.
Alexa Levair, manager of operations and infrastructure, provided an update on the revised project during council's Sept. 12 regular meeting.
Part of the revisions included increasing the time frame for the project to be completed. Originally, the town wanted to have excavation completed during the last two weeks of August in order to align with an unrestricted regulatory window established by the Department of Fisheries and Oceans.
Adjusting the parameters led to an expected cost $600,000 less than what was originally quoted by contractors back in June.
The project again went to tender, with a committee deciding to award the contract to UG Excavating Ltd. Although the lowest bid, replacing the lines will still exceed the original $1.6 million approved in the capital budgets by $445,000 and needed council's approval before proceeding.
Part of the increased cost, said Levair, was the DFO's requirement that the pipes go below bedrock to ensure the drilling fluid (also known as drilling mud) would not seep into the creek during drilling.
Drilling mud is a chemical compound that provides pressure in the hole to stop fluids or gases from entering while drilling, as well as keeping the drill bit clean and cool and helping carry out drill cuttings.
The nature of the creek bed erosion and the importance of the two lines to the town's water system, Levair continued, made replacing the lines a top priority for the operations department.
"At this point in time, our opinion from operations is we would rather see this project go forward, and sacrifice other projects that maybe we were hoping to do next year, because this is one of those projects that the longer you wait the more at risk you are," she said.
"It will not take much to erode the creek bed more and blow those lines out," Levair added. "If we have a flooding event and these lines go out, we are in for a world of trouble because that is a major critical line that is servicing our entire downtown core."
Despite breaching the $2-million mark, the town has other budgeting options to absorb the increased cost, including money left over from the recent twinning of the sanitary force main. Not only did the project come under budget due to the town not needing all the money set aside for contingency, but part of a provincial grant still remained — though administration needed to check if the grant could transfer over to the water line replacement project.
Council ultimately approved the additional $445,000, which will be funded through the town's water line replacement reserve.


text:
Serẽa Coastal Cuisine To Grand Open This Weekend At Hotel Del Coronado
After 6 months of development, the team behind downtown San Diego's Lionfish at the Pendry Hotel has reconceptualized the former 1500 Ocean restaurant at the historic Hotel Del Coronado and transformed it into Serẽa Coastal Cuisine, a contemporary seafood-focused restaurant from Executive Chef Jojo Ruiz set to unveil this weekend.
The onsite fine dining restaurant for the 131-year-old property, 1500 Ocean shuttered at Hotel Del Coronado at the close of 2018, with former lead chef Patrick Ponsaty being appointed to a new corporate role of Executive Sous Chef for the hotel, working under Executive Chef Stefan Peroutka. Prior to becoming 1500 Ocean in 2006, the restaurant space within the hotel's Ocean Terrace mall was The Luau Room tiki bar from 1949-1969, followed by a bar and eatery called "Prince of Wales Grille", which was opened by longtime Hotel Del president and manager Carlton Lichty in January 1970.
For Serēa, Studio Munge from Toronto, Canada, was tasked with totally revamping the 2,573 square-foot former 1500 space. Expect a Mediterranean-meets-Coronado décor with fresh and lush accents mixing blues and yellows, as well as features like a fish display case where diners can select their own catch of the day, retractable French doors opening onto a two-tiered patio, and dining tables made of raked white oak and lounge chairs constructed with woven teak. Serea will be able to seat a total of 276 people within expansive dining areas includinng an ocean view private dining room that will seat 20, an indoor private dining room for up to 20, and another larger indoor room that can seat 90 diners. There will also be an outdoor bar which can accommodate 17 people and a two-tiered outdoor dining area that can seat 129.
Serēa, which means mermaid in old Portuguese, will grand open this weekend with Chef Jojo Ruiz's "sea-to-table" menu blending California and Mediterranean styles with locally sourced ingredients. The modern restaurant aims to spotlight the best of the region's ocean, as well as feature ingredients from farms and fields from California to the Baja Peninsula. Expect an environmentally-friendly, sustainably-sourced menu that includes raw and cooked options from fresh whole catch to seafood towers and composed entree dishes. There will also be a list of small bites and shared plates, as well as meat-focused dishes. The restaurant will also house a full bar that management hopes will bring some nightlife to the historic resort.
"In San Diego we have such incredible access to some of the best seafood, produce and meats in the country…we're going to let the beauty of the ingredients do the talking," explained Serēa Exechitive Chef Jojo Ruiz.
Overseeing the culinary redevelopment of Hotel Del Coronado is Clique Hospitality, which was founded in 2001 by Andy Masi, the former Light Group founder and CEO, along with his partners Brian Massie and Shane Monaco. The hospitality firm specializes in "upscale, comfortable and trendsetting dining." Locally, it developed Lionfish, Oxford Social Club, and The Pool House for downtown's Pendry San Diego hotel and oversees several venues in Las Vegas. Chef Jojo Ruiz has been helming the kitchen at Lionfish since 2017. Clique Hospitality also recently overhauled Sycuan Casino's culinary options, including adding "casino-defining" steakhouse & whiskey bar Bull & Bourbon, high-end cocktail hotspot and Asian restaurant Elicit Bar & Lounge, and Retreat Pool and Cabanas. In addition to Serēa, Hotel Del Coronado's other dining options will also receive a refresher over the next three year.
Serẽa Coastal Cuisine is located at 1500 Orange Avenue within San Diego's Hotel Del Coronado resort. The restaurant will grand open this Friday, June 28, and open for dinner at 5pm daily with lunch service on Saturdays starting at 11am. Eventually, the restaurant hopes to add a weekend brunch. For more information, visit sereasandiego.com and check out the menus below.


text:
Q: Can I set up SQL Server Authentication in database A so a stored procedure can read data in database B? Thanks in advance for reading!
Note:  I've read everything else I could find about this on SO, but don't see this particular question asked.
I don't want to muddy (or break) our 3rd party production ERP database ("B") with objects of my own, so I created a database ("A") in another instance and use it as the home of various objects that serve our custom applications.
I have a stored procedure in A that selects from tables in B, and returns a dataset.  It works beautifully for me from my app using Windows authentication, because I am an admin on both servers.  But I am one of the rare users who have Windows Authentication in the ERP db.  By default, users in the ERP are created with SS authentication.
If it's a reasonable practice (and because maintenance of my objects would be simpler than with certificates), would it make sense/be possible to create a SQL authenticated user on A (and maybe B) that has execute permissions on the sp in A and read permissions on tables in B?
If not, and in order to avoid dealing with certificates whenever I modify a procedure, I'll probably create server logins on A and B for new Active Directory groups, and create database roles for the groups.
Thanks again for your interest!