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A Strange Soundtrack for Your Body's Ears
Tuesday, October 21st, 2014
This essay on the music featured in Hélène Cattet and Bruno Forzani's The Strange Color of Your Body's Tears was written by UW Cinematheque Programmer and Chief Projectionist, Mike King. The Strange Color will have its only Madison-area theatrical screening on Friday, October 24 at 7p.m. in the Cinematheque's regular venue, 4070 Vilas Hall.
By Mike King
Belgian directing team Hélène Cattet and Bruno Forzani craft modern giallos with unbelievably vivid textural detail. Their hallucinatory new film, The Strange Color of Your Body's Tears, is riddled with cinephilic allusions, yet wholly original. Though clearly indebted to films of the past, the only thing Cattet and Forzani actually copy verbatim is music: much of the soundtrack is directly lifted from the 1970s cinema that inspires them.
Of course, films have been repurposing each others' music since the studio era, with examples ranging from sly commentary, as when characters in William Wellman's hardscrabble Depression portrait Wild Boys of the Road ironically whistle "We're in the Money" from Warner's contemporaneous Gold Diggers of 1933, to the simply bewildering, as when "Over the Rainbow" appears as a refrain in the seedy 1941 noir I Wake Up Screaming (a title, incidentally, that would fit The Strange Color of Your Body's Tears like a black leather glove). In recent years, Quentin Tarantino has become the king of this kind of sonic appropriation, curating Billboard-charting soundtracks that crib from blaxploitation movies and Ennio Morricone scores. Tarantino traffics in deep cuts, but the more well known the source, the murkier the line between homage and theft—in 2012, Kim Novak cried foul when The Artist swiped Bernard Herrmann's iconic Vertigo theme.
Like Tarantino, Cattet and Forzani have enviable record collections, and playing DJ is an inextricable part of their creative process. The duo assembles their soundtrack as they write; music selections are even indicated in the script, so the uncanny fusion of sound and image is embedded from the film's earliest stages. In an interview with Electric Sheep, Cattet reveals that "music inspires the way a sequence develops. It gives us a rhythm, and ideas too… all of a sudden, there's one track that strikes us, so we play it again and again." For Cattet and Forzani, old giallo scores become muses for the film itself: crate-digging is symbiotic with screenwriting.
Given their subject matter, naturally Cattet and Forzani use a couple of Ennio Morricone cues (his music appeared in their previous giallo, Amer, as well), including this chilling number, originally from The Short Night of the Glass Dolls:
Forzani cited the following Morricone composition from Maddalena as "the most important music" in The Strange Color of Your Body's Tears. The breathy vocals accompany one of the film's most spellbinding sequences.
A few of Strange Color's non-Morricone pieces exist online, as well. Originally composed for a 1970 Italian take on The Picture of Dorian Gray (directed by erstwhile Sergio Leone cinematographer Massimo Dallmano), Giuseppe de Luca's "Rito a Los Angeles" was also used by Steven Soderbergh for a sequence in Ocean's Twelve.
Cattet and Forzani's incomparably broad knowledge of exploitation sounds extends even to Italian ripoffs of softcore's deathless Emmanuelle series. Nico Fidenco's "My Boundless" is one of the film's most memorable cuts.
Just as every other aspect of the film is endlessly revised in the transition from script to screen, not all the music Cattet and Forzani had in mind made it to the final cut. Cattet cites the theme for Seven Blood-Stained Orchids as "the very first piece we thought of for our film, and it inspired the first drafts." Even though it no longer appears in the film, its status as a key inspiration merits inclusion here - consider it a bonus track.
JUST ADDED: BENEFIT SCREENING OF NEW GODARD 3D MOVIE, 'GOODBYE TO LANGUAGE'
November 13, 3:30 p.m., UPDATE: Online ticket sales for this event have ended. A very limited number of tickets will be available at the will call table in the Point Cinema lobby beginning at 6 p.m. tonight. Tickets are $20, cash only.
The UW Cinematheque is proud to announce the only Madison-area screening of the latest feature from cinema legend Jean-Luc Godard, Goodbye to Language (Adieu au langage), the director's first feature-length project in 3D. The 3D benefit screening will take place on Thursday, November 13, at 7 p.m., at the Marcus Point Cinema, 7825 Big Sky Drive, in Madison. Tickets for this screening are $20 and proceeds will benefit the UW Cinematheque's efforts to bring digital 3D projection to our regular screening venue, 4070 Vilas Hall.
Half a century after igniting the French New Wave with his revolutionary Breathless, Jean-Luc Godard has produced his first 3D feature, a mind-blowing fusion of art and technology that seems beamed in from a future era of moviemaking. One of cinema's true visionaries, Godard applies his relentless creativity to 3D, using custom-made camera rigs to conjure breathtaking, eye-bending effects like you've never seen before, and that absolutely must be experienced on the big screen. A magisterial meditation on philosophy, infinity, and the auteur's own pet dog, Goodbye to Language is as dazzling and invigorating as anything in Godard's legendary filmography. Far and away one of the most acclaimed films of the year, Goodbye to Language won the Jury Prize at the 2014 Cannes Film Festival, where New York Times critic Manohla Dargis called it a "thrilling cinematic experience that nearly levitated the theater."
The UW Cinematheque presents the Wisconsin premiere of this awe-inspiring achievement; as an added bonus, our 3D screening will be introduced by UW Madison's Jacques Ledoux Professor of Film Studies Emeritus David Bordwell, who has declared Goodbye to Language "the best new film I've seen this year, and the best 3D film I've ever seen." Professor Bordwell will also lead a post-screening discussion with the audience.
The benefit screening of Goodbye to Language will screen on Thursday, November 13, 7 p.m. at:
Marcus Point Cinema
7825 Big Sky Drive
GOODBYE TO LANGUAGE (ADIEU AU LANGAGE) IN 3D
France | 2014 | DCP | 70 min. | French with English subtitles
Director: Jean-Luc Godard
Cast: Heloise Godet, Kamel Abdelli, Richard Chevalier
Special Thanks to Gary Palmucci and Jonathan Hertzberg of Kino Lorber, David Bordwell, Mike King, Ben Reiser, Christina Martin-Wright
Tickets, $20, can be purchased through the Wisconsin Film Festival's ticketing system here.
Read David Bordwell on Goodbye to Language here:
Read David Bordwell's further thoughts on Goodbye to Language here.
THE TROUBLE WITH HARRY: Hitchcock's Surrealist Romance
By Amanda McQueen, UW Cinematheque Programmer and Project Assistant
The Trouble With Harry is a bit of an outlier in Alfred Hitchcock's oeuvre. Though ostensibly about the discovery of a dead body, the film is really a droll - if somewhat macabre - romantic comedy, lacking in the suspense typically associated with the director's most celebrated works. Harry was also a commercial failure upon its release in 1955, and this seems to have played a role in the comparative lack of attention the film has received. In more recent years, however, critics have started to reevaluate the film, and rightly so.
Based on a 1949 novella by English writer Trevor Jack Story, The Trouble with Harry tells of a group of townspeople who find a corpse in the woods - that of the titular Harry. Each believing they are in some way responsible for Harry's death, they conspire to hide the body until a solution can be reached. In the midst of the discussions of mortality and murder that ensue, love blossoms and couples are formed. Paramount considered adapting the novella in 1950, but thought the scenario too whimsical and unworldly for an effective screen translation. The story's understated dark humor and romance appealed to Hitchcock, however, and he bought the rights - anonymously, in order to ensure a low price. Hitchcock had a multiple picture deal with Paramount at the time, and though the studio was still skeptical about the property's commercial potential, they were willing to bet on the director's reputation and put up a budget of $1 million.
To write the film, Hitchcock selected his favored screenwriter of the moment, John Michael Hayes. Hayes had just finished Rear Window (1954) and To Catch a Thief (1955), to much acclaim, and would follow up Harry with the remake of The Man Who Knew Too Much (1956). (But a disagreement over screen credit on Man severed Hayes' personal and professional relationship with Hitchcock permanently). Hayes' penchant for character development and sharp dialogue made him a good fit for Harry, which is peopled with quipping eccentrics. Moreover, Hitchcock had decided to set the film in a small town in New England in the fall, and this appealed to Hayes, who had grown up in that part of the country. To ensure the authenticity of the desired autumnal foliage, locations were selected in Craftsbury and Morrisville, Vermont, and though Hitchcock wanted to shoot the entire film there - setting up a make-shift sound stage in the American Legion building in Morrisville - uncooperative weather drove the crew back to California, bags of real Vermont leaves in hand.
Upon its release in October of 1955, Harry received mixed reviews; some critics found it slow and strained, others thought it sophisticated and funny. Though it performed decently overseas, it was a flop in America and ultimately did not recoup its costs. At first glance, we might understand why. Harry has no big-name stars and no pre-sold story; it had only Hitchcock's name to market it. And this might not have been a problem, had Harry been something more typical of the Master of Suspense. But as film critic Peter Bradshaw hypothesizes, while audiences expected Agatha Christie, Hitchcock gave them Waiting for Godot.
Aesthetically speaking, The Trouble with Harry has a great deal to recommend it. It features lush VistaVision cinematography by long-term Hitchcock collaborator Robert Burks; solid editing from Paramount veteran Alma Macrorie (nominated for an Oscar for her work on The Bridges at Toko-Ri [1954]); and a jaunty, ostinato-based musical score from Bernard Herrmann. This was the first of seven soundtracks Herrmann did for Hitchcock over the course of their 11-year relationship, and it remained the director's favorite. Harry is also well cast, making good use of stalwart character actors Mildred Natwick, Mildred Dunnock, and Edmund Gwenn, and featuring an early performance from Jerry Mathers - two years before he would become beloved throughout America as Theodore "The Beaver" Cleaver. Most notably, though, Harry also marks the screen debut of Shirley MacLaine, who was reportedly cast after associate producer Herbert Coleman and unit production manager Doc Erickson took a break from location scouting to see The Pajama Game on Broadway. As luck would have it, dancer Carol Haney was out sick, and MacLaine, her understudy, was on that night.
It is ultimately the film's tone, however, that has really started to attract some critics back to The Trouble with Harry, ironically, since it was tone that deterred Paramount from adapting Story's novella in the first place and it was the tone that seemed most off-putting to contemporary reviewers and audiences. Harry is fairly frank in its discussion of death and sex - at least by 1955 standards. Certain concessions had to be made to the Production Code Administration, of course, to ensure the film's release: for example, Jennifer's son is illegitimate in the novella but not so in the film, and the film eliminates the novella's rather perverse scene where Harry offers to make love to Jennifer while pretending to be Robert - his dead brother and Jennifer's former lover. Nevertheless, double entendres and allusions abound, and there are explicit discussions about nude portraits and the scandalous double bed. More noteworthy, however, is the way characters discuss their love lives and their potential for murder with the same nonchalance and practicality. Death and sex are completely intertwined in the film and neither seems to be cause for much fuss. Harry's fictional town of Highwater, Vermont thus comes across like a strange dreamscape, populated with witty sleepwalkers. Indeed, it is this eerie, somnambulistic detachment of the characters - their muted responses to things that should be shocking or upsetting - that has sparked comparisons between Harry and surrealist works like Luis Bunuel's The Discreet Charm of the Bourgeoisie (1972).
The Trouble with Harry has been called a pastoral comedy, a fairy tale, and an experiment in "radical, absurdist cinema." However you want to characterize it, it is certainly an unusual, perhaps even dream-like, but ultimately delightful experience. It is also an experience that Hitchcock stood resolutely by. The director blamed his "enemies" – the distributor and exhibitors – for the film's financial failure, and though he was forced to admit that it ultimately proved to be "an expensive self-indulgence," he also insisted that The Trouble with Harry was one of his personal favorites.
A 35mm print of The Trouble with Harry will screen on Sunday, October 19 at 2 p.m. in the auditorium of the Chazen Museum of Art.
UW Cinematheque's Ben Reiser on DON'T LOOK NOW
DON'T READ NOW
By Ben Reiser, UW Cinematheque Programmer and Accounts Manager
(There are some mild spoilers below, but if you want to experience this film the way it should be experienced, maybe wait 'til after you've seen it…)
I first saw Don't Look Now on the tail end of a double bill with Rosemary's Baby at Cinema Village in NYC when I was 14. My friend Steve and I had gone (and gotten some adult to buy us tickets to this R rated double bill) to see Rosemary's Baby which I had seen parts of on TV. We didn't know anything about Don't Look Now, and weren't really even planning on staying for all of it, unless it really grabbed us.
Well, by the end of the first scene it had indeed grabbed us. By the end of the movie I was a wreck, the wind knocked out of me, unable to get up from my seat or say anything to Steve. That's only happened to me two other times at the movies (I saw Halloween in 1978 when I was 12, that was also the only time I've ever actually hid under a seat, and later, in 1988, I was unable to move for a good five minutes after the ending of The Vanishing).
Don't Look Now immediately became one of the cornerstones in my lifelong love of scary movies. I've since seen it, talked about it, recommended it, thought about it, argued about it, and dreamt about it so many times I feel like I'm too close to it now to be able to say or write anything about it, but I'll try.
To prepare myself I finally scouted out a copy of Daphne Du Maurier's original short story of the same name to see just how much of the DNA of this film is Du Maurier's and how much is Nicolas Roeg's (and screenwriters Allan Scott and Chris Bryant). What I discovered is that the film is surprisingly faithful to the short story in terms of it's plotting, but the overall tone is different and there are some rather important cinematic embellishments and differences in terms of character and theme:
First, the title. I've always wondered what, if anything, it signified. Ultimately I decided it was meant as a cautionary flag for the audience, and that at a certain point towards the end of the film, it was best to look away. Perhaps it should have popped up as an onscreen warning along the lines of the countdown clock that allowed viewers a chance to retreat to the "Coward's Corner" before the ending of William Castle's Homicidal (1961), or the infamous countdown before the climax of Gaspar Noe's I Stand Alone (1998), but in Du Maurier's short story, which for most of its length is more of a comedy of manners, the most likely refers to the main character (John Baxter)'s humorous attempts to keep his wife from seeing a pair of sisters (twins in the short story) who claim to have a psychic bond with the couple's dead daughter. The humorous tone and mild satire of British class warfare in the short story is replaced by a more somber meditation on grief and on the dangers of misperception and miscommunication in the film adaptation.
Towards that end, Roeg makes even better use of Venice as the setting of the story than Du Maurier does, doubling down on the language and cultural barriers only hinted at in the original story. By making Baxter an American with a British wife rather than a fellow European, and as played by Donald Sutherland, Baxter conveys a different kind of entitled arrogance than that of the original story's upper crust Brit. He's even more a fish out of water and his struggles to understand and be understood are a constant source of unease. Venice in the film is not only a dank, shadowy maze that feels like a twisty, open air haunted house (every hotel and restaurant in the film is shuttered, closing down, covered with sheets, it's the end of the tourist season and it feels like there will never be another one) it's also a very foreign land, with strange customs and a language that for the characters in the film and most American viewers is a definite roadblock, an obstacle where important nuances are lost, never to be recovered.
Roeg adds a haunting prologue not found in the short story that firmly establishes a mood of dread and sorrow as well as introducing a number of recurring visual motifs: water, broken glass, the color red. These elements provide a roadmap that viewers will find difficult to decipher upon first viewing, and indeed it's this wonderful "form mirroring content" that makes Don't Look Now such a master class in filmmaking. The film sprinkles clues and hints throughout in a way that leads the audience to come to the same conclusions as the characters, right or (frequently) wrong. We never get a clearer picture of events than the characters do, but it's done so expertly that we don't register the manipulation. Through his use of unconventional editing and sound design, Roeg disorients us as viewers much as Baxter and his wife, Laura (a radiant yet haunted Julie Christie), are disoriented in the back alleys of Venice and adrift in their lives as they struggle to deal with the death of a child. The visceral cinematography tends to put us in the center of the action, and in a terrifying sequence, we are dangling by a thread, high above a hard floor after some broken scaffolding leaves Baxter hanging on for dear life. We as viewers are right there with him, fists clenched, hearts racing.
The film's infamous sex scene is but a mere mention in the short story. Much has been made of this scene between Sutherland and Christie in the movie, it frequently ends up on lists of the top sex scenes in cinema history. Eschewing a linear trajectory, we see shots of the couple making love interspersed with shots of the two of them going through the routine motions of getting dressed, post-coitus, for dinner. There is a vérité quality to the lovemaking that is rarely seen in such scenes using movie stars, awkwardly angled body parts, and the fairly explicit indication of cunnilingus. Perhaps what caused such a stir is that this sex more than most onscreen sex resembles the way an actual married couple might commingle, with a knowledge of each other's bodies – what works and what doesn't.
And then of course there's the ending. I've always thought that Don't Look Now has one of the best shock-endings in the history of cinema, but perhaps that's not an uncontested opinion. I mentioned this week's screening to a longtime friend recently and he said something about how he could never get past the dumb ending. I couldn't disagree more, but it's true that for as much as I love it I always assumed that it was a Roeg revision, not part of the original story design. I was happily surprised to discover this week that the ending is Du Maurier's completely. I think it's perfect, and devastating, and unforgettable. The same can be said for the film as a whole.
A 35mm print of Don't Look Now will screen on Friday, October 17 at 7 p.m. in the CInematheque's regular venue, 4070 Vilas Hall.
Belmondo: Cascadeur
By Jim Healy, UW Cinematheque Director of Programming
In the U.S. today, Jean-Paul Belmondo is still recognized as an iconic superstar of international cinema, but American audiences of today might not be quite as aware of the incredible range of this legendary performer. Belmondo is now best known for his leading roles in the groundbreaking features of the French nouvelle vague, films like Godard's Breathless (1960), A Woman is a Woman (1961) and Pierrot le fou (1965), Melville's Leon Morin, Priest (1961) and Le Doulos (1963), Truffaut's Mississippi Mermaid (1969) and Resnais' Stavisky (1974). Thanks to enterprising independent American distributors like Rialto Pictures and The Film Desk and specialty home video labels like The Criterion Collection, most of these Belmondo titles have been kept in circulation for American art house theaters and on DVD/Blu-Ray. But these New Wave movies represent the more cerebral side of Belmondo's filmography and only a small fraction of his more than 60 feature film appearances.
In Europe, Belmondo is much better known as a light-hearted man-of-action. A former boxer with a memorable mug that has earned him comparisons with Humphrey Bogart, Belmondo made several dozen films in his native France during the 1960s, 70s and 80s that exploit his marvelous physicality and his willingness to do his own stunts. These movies - some straight-forward action thrillers, some comic spoofs - frequently found Belmondo pairing with one of a handful of French directors who knew best how to capture the charisma and antics of this unique star. The most notable of these directors include Henri Verneuil, Georges Lautner and Jacques Deray, and, in fact, several of their Belmondo vehicles, like Deray's Borsalino (1970) and Verneuil's The Burglars (1971) were originally given wide releases in American theaters. That neither of these popular films have been made available on DVD in the U.S. is indicative of the access most American viewers have to Belmondo's less-serious side.
The auteur who gave Belmondo his greatest exposure as an action superstar was Philippe de Broca (1933-2004). Belmondo and de Broca made five features together, beginning with the 1962 swashbuckler Cartouche and ending with 1975's L'incorrigible. Over the next two Saturdays, October 18 and 25, the Cinematheque will present new restorations of their second and third collaborations, the rollicking action-comedies That Man from Rio (1964) and Up to His Ears (1965). An only partial listing of Belmondo's activities in That Man from Rio alone include: driving a tractor across an airport runway, skydiving into a jungle swamp (where he has a showdown with a live alligator!), clinging to the side of an eight-story building and swinging, Tarzan-style, from a vine. But if that's not enough for ya, here's a montage of awe-inspiring moments from over a dozen different movies where Belmondo, in the tradition of Buster Keaton and Jackie Chan, risks life and limb for your entertainment. This compilation includes clips from Verneuil's The Burglars and The Night Caller (aka Fear Over the City, 1975), as well as de Broca's Le Magnifique (1973), three fun movies that we included in our Cinematheque's Belmondo retrospective during the summer of 2011.
Like Keaton and Chan, Belmondo suffered numerous injuries for his art, including fractured hands and legs. A heavy metal pulley struck him in the face during the making of Hold-Up in 1985 and Belmondo swore off doing his own stunts from that point on. A stroke in 2001 has kept him almost entirely off-screen for the last decade but he returned to take on the leading role in Un Homme et son chien, a remake of Vittorio De Sica's Umberto D, in 2008. While we anxiously await his return to cinema screens, a few efforts by American distributors have been made to remind us of Belmondo's range and extraordinary use of his physical instrument. In 2012, Olive Films released DVDs and Blu-Rays of two Belmondo vehicles from the 60s, Gerard Oury's jokey The Brain (1969) and Verneuil's Green in the Sun (1964). The latter film, a lighter knock-off of Clouzot's The Wages of Fear, concludes with a rollicking bare-knuckle brawl between Belmondo and Lino Ventura.
Now, the good folks at Cohen Film Collection are theatrically re-releasing That Man from Rio in honor of its 50th anniversary. That Man from Rio was conceived in order to cash in on the growing popularity of the James Bond franchise, but Sean Connery's got nothing on Belmondo when it comes to action scenes. The film proved so popular everywhere it played (especially in the U.S.) that Belmondo and de Broca immediately teamed up again for Up to His Ears the very next year. Cohen has made both films available in new 2K restorations. That Man from Rio screens Saturday, October 18 at 7 p.m. and Up to His Ears screens Saturday, October 25 at 7 p.m. Both screenings in 4070 Vilas Hall, 821 University Avenue.
Even More Hitchcock!
Not only is Alfred Hitchcock one of cinema's most popular directors, he is also one of the most studied and analyzed. It has helped, of course, that he was prolific; with a career spanning about 55 years, there's no shortage of material for critics, scholars, and fans to delve into. In the early-1920s, after some time designing title cards for silent films, he graduated to work as an art director, writer, editor, and assistant director - sometimes performing all four roles on the same film. Between 1925 and 1976, he directed over 50 feature films, spanning the transition from silent to sound and working in both Britain and Hollywood. He also produced and directed a number of additional projects for television, mostly for his series Alfred Hitchcock Presents.
When auteur theory arose in the 1950s and 1960s, Hitchcock was one of the first directors brought into the pantheon of great filmmakers. Since then, book upon book and article upon article have sought and analyzed the director's signatures - those elements of narrative, character, and style that seem to reveal his personal vision and that mark a film as definitively Hitchcockian. There's his preoccupation with blonde women, with doubles, and with false accusations and mistaken identity. There's his penchant for narrative twists, for favoring suspense over surprise, and for MacGuffins - those plot elements that turn out to be completely unimportant. And there's his interest in psychoanalysis, in sexuality, and in voyeurism.
Hitchcock films often explore the act of looking. Using camera movement, editing, and framing, Hitchcock is famous for putting the viewer in a voyeuristic position, but his films are also full of characters looking - watching each other and even breaking the forth wall to stare right at us. The Criterion Collection recently posted a wonderful, rather eerie video that speaks to this particular theme: "Eyes of Hitchcock."
Eyes of Hitchcock from Criterion Collection on Vimeo.
But perhaps the most literal of Hitchcock's directorial signatures - and certainly the most fun - are his cameos. He makes a brief appearance in 39 out of his 52 surviving films, and spotting him has become a game for Hitchcock fans. (In my opinion, composer John Addison ruins the game in Torn Curtain by signaling the director's presence with the theme song from Alfred Hitchcock Presents). Indeed, the cameos were so popular, that audiences would become distracted searching for them and would not pay attention to the plot; so Hitchcock began putting his personal appearances into the first part of the film, to get them out of the way relatively quickly. Some of his cameos are tricky; there are times when he keeps his back to the camera or otherwise obscures himself from direct view. Many other cameos function as amusing gags, often unrelated to the plot, but providing moments of levity. Perhaps unsurprisingly, the Internet is full of supercuts putting together all of the director's cameos, from that in 1927's The Lodger through 1976's Family Plot. Can you spot him in all of the clips compiled here?
See Hitchcock's 1956 version of The Man Who Knew Too Much on Sunday, October 12, 2 p.m. at the Chazen Museum of Art, part of our ongoing More Hitchcock! series.
The Slaprobatics of Denis Lavant
Thursday, October 9th, 2014
Denis Lavant is an incredibly physical actor. Though also known for his distinctive face - interesting, but not really classically handsome - Lavant has become associated with a markedly kinetic performance style. Slapstick, acrobatics, and dance are all within his wheelhouse, and Lavant has said that when approaching his roles, his body - not the text - is his first language. Taking inspiration from theater and street performing, where a particular intensity is needed to attract audiences, Lavant at times moves with an electrifying abandon that belies the control he is able to wield over his body. Those who work with Lavant - perhaps most notably director Leos Carax, who helped launch Lavant's career with Boy Meets Girl (1984) and who has featured the actor in most of his films - are often attracted to him because of his ability to shift from quiet to frenetic, from graceful to unrestrained. Carax, Lavant explains, "directs me more like a sculptor, physically."
Lavant's career is long and varied; though he describes himself as primarily a theater actor, he has done a great deal of work for film and television, appearing in shorts, features, and music videos. In 1998, for example, he starred in the award-winning video for "Rabbit in Your Headlights" from British electronic duo UNKLE (featuring vocals from Radiohead's Thom Yorke). The video relies primarily on Lavant's physicality; he stumbles erratically down a road, mumbling almost incoherently, and is repeatedly hit by passing cars. The payoff at the video's end, however, demonstrates just how powerful Lavant's body can be.
UNKLE - Rabbit in Your Headlights from Onur Akdeniz on Vimeo.
Some of Lavant's physical performances have become iconic. The pop culture website The Dissolve recently posted a list of "The Movies' 50 Greatest Pop Music Moments," and Lavant features twice. First, at #42, the celebrated final scene from Claire Denis' Beau Travail (1999), in which Lavant dances to Corona's "Rhythm of the Night." And then, at #41, is a scene from Carax's Mauvais Sang (1986), in which Lavant runs, leaps, and cartwheels down the street to David Bowie's "Modern Love."
In a 2008 interview, Lavant said: "Maybe I am more physical than the average [actor], but I admit it. It is part of my pleasure. I love dancing, I love all my body to play. For me, a role isn't just a face and a voice, and the great actors that I admire are those who use their body to give a shape to their character." By these criteria, surely Lavant himself will long be considered one of the greats.
Mauvais Sang screens at the Cinematheque this Saturday, October 11, at 7 p.m. in our regular venue, 4070 Vilas Hall.
Music in Friedkin's Movies : Aint' No Mickey Mouse-ing Going On Here!
By Jim Healy, Director of Programming
In a terrific interview with Vulture last month, complete flim-maker John Carpenter (whose action masterpiece, Escape from New York will have a Cinematheque/WUD Film screening next month) answers a question about the Ennio Morriconne score for his 1982 remake of The Thing. Carpenter, who typically composes the music for his films, talks about his preference for minimalist music in movies, as opposed to the "Mickey Mouse-ing" of something like Max Steiner's score for King Kong, where, as Carpenter says:
"The footsteps of King Kong are scored: bom-bom-bom. Mickey Mouse–ing is over-scoring. It's what happens today. Everything is over-scored. Minimalist music, a lot of it from my time — '60s, '70s, and '80s. Tangerine Dream did some. The Exorcist's score is another. They weren't Mickey Mouse scores. By Mickey Mouse, I don't mean dumb, or cartoonish, but everything was musically it: footsteps, everything."
Tangerine Dream, of course, got their first offer to score a Hollywood film from director William Friedkin, who invited the German musicians to score his 1977 existentialist action movie, Sorcerer. Friedkin discovered the trio, then made up of Edgar Froese, Christopher Franke, and Peter Baumann, performing their special brand of electronic music at a concert in an abandoned chruch in Germany's Black Forest. Instead of having the band score the film after it was shot and edited, which is what usually happens, Friedkin sent Tangerine Dream the script. Friedkin had them read it and the band recorded their musical impressions which Friedkin used to establish rhythm when assembling the footage with editor Bud Smith. Despite the fact that Sorcerer was rather famously rejected by audiences and most critics when first released, the score proved highly influential and led to steady work for Tangerine Dream in movies, most notably Michael Mann's Thief, Paul Brickman's Risky Business, Kathryn Bigelow's Near Dark, and the American release version of Ridley Scott's Legend (which, in its international release version, had a very fine, if slightly MIckey Mouse-y score by Jerry Goldsmith).
You can hear Tangerine Dream's Sorcerer score for yourself this Thursday, October 9, when the UW Cinematheque and WUD Film present a new DCP restoration of Friedkin's riveting adventure. For now, here's a little musical prelude:
Friedkin has always been a director who pays close attention to sound design and music is always a big part of that design. The director brought on experimental jazz musician Don Ellis for The French Connection and, in the 80s, hired pop rockers Wang Chung to write songs and a score for To Live and Die in L.A. (Ben Reiser reflects on that movie music here). Before his biggest box-office hit, 1973's The Exorcist wound up with the eclectic, minimalist score mentioned above by John Carpenter, Friedkin commissioned a score from then in-vogue composer Lalo Schifrin, whose body of work then included the theme for Mission: Impossible and the scores for Bullitt, Dirty Harry and another colossol 1973 hit, Enter the Dragon. While Friedkin found Schifrin's music abstract enough when he first heard it played back on piano, the director was not pleased when the score was recorded by a 70-piece orchestra (at the same Warner Bros. facility where Max Steiner recorded his scores in the 30s, 40s and 50s). According to Friedkin, "[The score] was wall-to-wall noise, using every component of this big band, including electric brass...I was in shock. It's not that the music was badly written or played; but it was the opposite of what I wanted."
Friedkin rather notoriously discarded Schifrin's work, effectively destroying their friendship, and replaced the score with pre-existing cues by Anton Webern, Krzysztof Penderecki, and, of course, Mike Oldfield, whose "Tubular Bells" helped launch Richard Branson's Virgin Records because of its inclusion in The Exorcist. Friedkin's move was not unprecedented in Hollywood history: Stanley Kubrick rejected a score by Alex North for 2001: A Space Odyssey in favor of the now famous pre-existing cues by Johann Strauss and Richard Strauss.
While "Mickey Mouse" scoring continues its dominance (consider Hans Zimmer's overdone music for Disney's production of The Lone Ranger as one example), the kind of minimalist scoring preferred by Carpenter and Friedkin in Sorcerer and The Exorcist has its contemporary descendants, like the music Johnny Greenwood has written for Paul Thomas Anderson's most recent films and the Carpenter-esque scores by Kurt Stenzel for Jodorowsky's Dune and Steve Moore for The Guest.
The Exorcist screens tonight, October 8, at 7 p.m. in the Marquee Theater at Union South. The 2000 re-release version, featuring added footage not seen in the original 1973 release, will be shown. A newly restored DCP of Sorcerer screens Thursday, October 9 at 7 p.m. at the Marquee Theater at Union South. Both screenings are co-presented by Cinematheque and WUD Film and both are free and open to the public.
Some Things to Know About MARKETA LAZAROVA
From Professor David S. Danaher in UW Madison's Slavic Languages Department comes word of a new, NEA-funded translation of Vladislav Vancura's epic 1931 Czech novel Markéta Lazarová.
You can read more on the book and the translation project here.
A bestseller in Europe, the book eventually inspired a 1967 film adaptation by director František Vláčil which has earned comparisons to Tarkovsky by some and has been proclaimed the greatest of all Czech films by a few others. You have the opportunity to see the movie version this Friday, October 10 at 7 p.m. in the Cinematheque's regular venue, 4070 Vilas Hall. What makes the screening extra special is the fact that we will be showing the film from a recently struck 35mm print. Opportunities to see new restorations like this one in their original 35mm formats have been greatly diminished since DCP projection has become the standard of most commercial theaters. The new 35mm print of Markéta Lazarová is brought to us courtesy of the good folks at Janus Films, the theatrical releasing arm of the Criterion Collection, who have made Markéta Lazarová available on blu-ray and DVD.
Levitation Test Footage from THE EXORCIST
Writer Mike McPadden currently resides in Chicago, where his encyclopedic knowledge of exploitation movies of all types and his winning way with double entendres and sex-based puns had served him well as editor-in-chief of the website, Mr. Skin. These days Mike is doing a ton of freelance writing and has had two books published within the last year. His most recent tome, Heavy Metal Movies is informative and entertaining in exactly the ways I've come to expect from McPadden.
For a recent blog post on death and taxes, Mike has compiled a wonderful list of movie clips featuring screen tests and unused alternative early versions from a wide gamut of films that were then famously revised. Included in this list is some super cool levitation test footage from The Exorcist. Check it out:
More to the point, I've never seen The Exorcist in a movie theater. Not sure how that happened but I'm gonna fix that this Wednesday night, October 8 at 7 p.m. when the Cinematheque and WUD Film present the 2000 re-release version as part of the Cinematheque's William Friedkin series.


(Monthly) EVERY 3rd Sunday of the month throughout the year! | "The Common Table"
Please join us for FUN, FOOD, & FELLOWSHIP as we gather together once a month with our families and build lasting friendships! Bring a dish and let's all share the things we have in common: life, love, & Jesus!
Keep alert for emails where we figure out where we are meeting and who will bring what to this INCREDIBLE "covered dish" get together! It's fun for the ENTIRE family!
(Monthly) EVERY 3rd Sunday of the month throughout the year!


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text:
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    <title>Forge Model Derivative API sample</title>
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Model Derivative API - Basic Node.js Sample

Show the entire list of
             Hubs,
             Projects,
             Folders,
             Items and
             Versions under your
            account.

Select an item version to show a file using
                Autodesk Viewer

                    Log In

                    Use WIP (instead of Storage)

                    Progress info

                            Upload attachment

                    <input type="file" id="forgeUploadHidden" name="file"/>

                        <select id="forgeFormats" class="input-small form-control" style="width:90px">
                        </select>

                            Download

                            Delete

redpajama_set_name: RedPajamaGithub


text:
View source for Weston under Penyard
← Weston under Penyard
{{infobox town |county=Hereford |picture=Weston-under-Penyard - geograph.org.uk - 1328948.jpg |picture caption=St Lawrence's church |latitude=51.90701 |longitude=-2.53779 |os grid ref=SO631233 |post town=Ross-on-Wye |postcode=HR9 |dialling code=01989 |LG district=Herefordshire }} [[File:Bollitree castle - geograph.org.uk - 1684265.jpg|thumb|250px|Bollitree Castle]] '''Weston under Penyard''' is a small village and parish in southern [[Herefordshire]]. The ancient parish additionally extends across the border into [[Gloucestershire]]. The population of the civil parish at the 2011 census was 1,007.<ref>{{cite web|url=http://www.neighbourhood.statistics.gov.uk/dissemination/LeadKeyFigures.do?a=7&b=11130471&c=HR9+5SX&d=16&e=62&g=6386092&i=1001x1003x1032x1004&m=0&r=0&s=1446393204094&enc=1|title=Civil Parish population 2011|accessdate=1 November 2015}}</ref> It lies on the A40 road two miles east of [[Ross-on-Wye]]. The Penyard is a prominent hill in the area. The parish church of St Lawrence has a tall 14th-century west tower which had a spire until it was damaged by lightning in 1750. A Wesleyan chapel was constructed at Buryhill during the early 19th century but was disused by 1964.<ref>{{London Gazette |issue=43225 |date=21 January 1964 |startpage=589 |accessdate=27 September 2015}}</ref> The building was subsequently converted for use as private residence.<ref>http://www.zoopla.co.uk/property-history/the-old-chapel/bury-hill/weston-under-penyard/ross-on-wye/hr9-7ps/22401328</ref> Slightly to the east under farmland lies the former Roman settlement of [[Ariconium]], which gave its name to the areas known as [[Ergyng]] and [[Archenfield]]. The name Ariconium is Romano-British and may conceivably have an equivalent in or near the Roman province of Galatia. The Bristol merchant Richard Amerike (c. 1445–1503) who, it is claimed, gave his name to America, was born here. On the edge of the village is Bollitree Castle, which is currently owned by former ''Top Gear'' presenter Richard Hammond. It comprises a house built c. 1700 incorporating the remains of an earlier building, to which castellated walls, turrets and moat were added in the late eighteenth century. Two miles south west are the fragmentary remains of Penyard Castle, a fourteenth-century castle on the site of which was built a seventeenth-century house. ==Railways== Weston under Penyard Halt was a former station on the Hereford, Ross and Gloucester Railway on the section between Ross-on-Wye and Grange Court and thence to Gloucester. Opened in 1929 to compete with local road transport<ref>Smith, WH (1998) Herefordshire Railways Book, Sutton Publishing P25</ref> it was located on the Great Western Railway line linking [[Ross-on-Wye]] and [[Gloucester]]. Nothing remains of the station.<ref>Cross, AG (1982) Old Industrial Sites in Wyedean, Self Published P106</ref> ==References== {{reflist}} == Outside links == {{Commons}} *[http://www.smr.herefordshire.gov.uk/roman/weston.htm Herefordshire County Council page] *[http://www.visionofbritain.org.uk/unit_page.jsp?u_id=10019977 Weston under Penyard at Vision of Britain] *[http://www.francisfrith.com/weston-under-penyard/photos/ Old photos of Weston under Penyard]
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Return to Weston under Penyard.
Retrieved from "https://wikishire.co.uk/wiki/Weston_under_Penyard"

redpajama_set_name: RedPajamaCommonCrawl


Important Items To Have in Your Prepping Gear.
The reality is that there are so many varieties of prepping gear. It can be challenging to decide on what to purchase. However, it is good to note that certain items ate extremely necessary. These items are very useful in preventing diseases and preserving life. The following are some of the most important items.
Food is very important. We all need to eat for survival purposes. It is important to stock up a lot of foods. This should be able to last you a good number of days till you can have a chance to get more. Make use of predictions that could tell how long the situation could last. Gear, click prepper supplies. Therefore, you can buy food that could last you throughout the entire period.
Water is very important. Actually, the importance of water exceeds that of food. One could actually survive longer without food than without water. One can only go a very few numbers of days without water. If one is obtaining water from outside sources, it is important to have cleansing water equipment. It is important to have an adequate supply of water to last you for the entire emergency period.
Personal hygiene and safety are absolutely necessary in times of emergencies. We usually have a lot of services at our disposal. We might even take them for granted. We learn to appreciate their importance when we are in dire need of them. Personal hygiene involves all those practices that give us the chance to be sanitized and prevent illnesses. A first aid kit usually falls here. One should also have items that facilitate oral hygiene. To learn more about Prepping Gear, visit silky saws. It is also important to have options that allow you to eliminate your body wastes when you cannot access such facilities.It is also important to have equipment for personal protection. Fire masks are very important in cases of fire emergencies. They prevent is from inhaling smoke which can be actually detrimental to our health.
Having a source of heat us extremely important. This helps one to keep warm when it gets really cold. A source of light is also necessary. In such cases, having a flashlight is called for. This gives one the chance to move around in the dark. The flashlight will serve as a source of light. This gives you the chance to see where you are going and avoid potential danger.
In conclusion, one could never be over prepared for emergencies. Learn more from https://en.wikipedia.org/wiki/Saw.


Omastar uses its tentacles to capture its prey. It is believed to have become extinct because its shell grew too large and heavy, causing its movements to become too slow and ponderous.. It's have a quick move of "Rock Throw Water Gun" and Special Move of "Ancient Power Hydro Pump Rock Slide"
How rare is Omastar ?
How many candy require to evolve Omastar?
A Pokemon's types will determine its natural habitat and where we can catch it. Omastar is a "ROCK WATER" pokemon type.
Water Pokemon such as Omastarcan predictably be found in places near a Canal, Dock ,Harbors , Lake , Ocean , Beach , River , Riverbank , Stream , Wetland , Ports , Reservoir , Basin ,Pondsriver, stream, lake , harbours or the beach.
Rock-type Pokemon such as Omastar and the like can be found in quarries, towns, parking buildings, train stations, highways, or large buildings such as shopping malls .
When is the best time to catch Omastar ?
Best Fast Attack Move Set (DPS) : "Water Gun (12) Rock Throw (8.82)"
Charge Attacks (DPS)"Hydro Pump (23.68) Rock Slide (15.63) Ancient Power (9.72)"


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The General Contractor is frequently an individual or simply business that manages the everyday activities at the jobsite. They are the lead business in control of literally building of the building. They've got their own internal workforce who serve as project manager or even a foreman while having laborers who self-perform directly on jobs and utilize a different special subcontractors. Generally in major commercial jobs, many types of subcontractors complete 80-90% of the work. The General Contractor serves as the project administrator coordinating the job of the subcontractors. While many General Contractors are given projects based on previous work or sometimes relationships with an property owner or even a architect, General Contractors will want to submit a competitively priced proposal for consideration. The General Contractors invited to bid are presented with finalized plans and specifications from the architect from which they might base their proposals. The General Contractor is going to be absolutely focused which keeps the full project inside the budget. Whenever the over-all expense of the finalized project come beneath the bid amount, the General Contractor benefits and gets to keep those unused funds as profit. This will happen often even though the General Contractor is not active in the pre-construction step to support inside producing better bids.


I am new to polishing. I decided to buy a single disc machine and learn to polish my new house. Everything went well, I used only the 800/1500/3000 pad then L5 extra powder.
Everything was fine, it got nice and shiny. Loved it so far.
Then there were some edges I couldn't reach, so someone who gave me tips to help me polish told me to buy a wet polisher, small one. Did so, with small diamond discs. I used the 3000 disc with water on one tile to test it out. Unfortunately, it was not such a great test spot since it's visible in the living room.
It had a roundish mark, I showed this to my friend and he told me to start from grit 50 towards 3000, not skipping steps in between. After I got to pad 500 the mark just seemed to get worse and worse, after showing this to him he told me to stop. It wasn't working for whatever reason.
I redid the spot with the single disc machine, same combo as before 800/1500/3000/L5. The mark is still there, it feels really rough. I have no clue where I have gone wrong.
How would I fix this? And what went wrong?
Looks like you stayed too long in one spot. If you can replace the tile that would be better than trying to level it out.
You could have watched videos on YouTube that show you how to feather out each grit in wider rings.
Thanks for the reply. It was probably under 15 seconds that it happened, could it have been that the machine was too fast? Since I put it on max speed.
Could I try to level it out with grit 50 again? I think the cause is also that I didn't use the water from the machine it self, but just a bottle of water and used alot of it in one spot. Due to the speed, most water got blown away and that's what probably caused this?
If I use the polisher's wetness, could I get it even again?
It's hard to tell from the photo but the damage looks pretty deep.
To reduce its appearance means you will have to feather out a much bigger area.
Max speed may be the issue. We usually kept speed in the 100 to 600 RPM range with hand grinders. Lower speed for lower grit numbers.
It can be feathered in, but will be some work. Replacing a tile is likely going to be easier.
Was not that much work as suggested. Redid the spot then dry polished on 400 rpm with a white pad, shines like a mirror and nothing to see of the mark.
So I am wondering, if I take one tile and polish with the handpolisher from 50/3000 should the shine come on it's own or does it need a powder like L5 3000? Any videos on the 'feathering' out when polishing with harsher grits?
So I am wondering, if I take one tile and polish with the hand-polisher from 50/3000 should the shine come on it's own or does it need a powder like L5 3000? Any videos on the 'feathering' out when polishing with harsher grits?
Starting at 50 grit is way too aggressive. I've been restoring marble, travertine, and limestone for over 20 years, I have rarely had to use anything more aggressive than 220 grit to remove most scratching and etching. 120 grit if its really bad.
Yes, keep your hand polisher down to level 1 or 600 rpms. 165-175 rpms on a floor machine (side-by-side; floor buffer; swing machine). a good progression is 220 grit, 400 grit, 800 grit (sometimes 1800 grit), then powder polish (EMP, or Diamond Renew).
A little practice and it will become second nature. Do not be discouraged by this attempt. We are here to help.
Thanks for the reply. What if there are small dents in the marble? See picture below; 800/1500/3000/L5 Extra white pad.
On some spots there are little dents in the marble, probably damaged by the previous owner. Does the floor look any good in your opinion? Did I polish from a too high grit level (800)? I like the outcome, but I feel like it could be better. Even though, it's my first time so I am happy with the results.
Some diamond impregnating pads can leave an "Orange Peal" appearance. Is this what you are referring to as small dents?
starting with 220 grit resin pads for marble will remove the orange peel. stay flat on the diamond pad/puck. Proceed to 400 grit, then 800 grit. 12 passes with 400 grit will remove the scratch pattern from the 220 grit. 12 passes with 800 grit will remove the scratch pattern from 400 grit. Then use a polishing powder like STONE PRO EMP (Easy Marble Polish) to bring the highly reflective polished finish. Use EMP with a little water to make a white slurry; 9 to 12 passes.
I will start the process today. So basically I can skip the 1500-3000 pad? Only 220/400/800?
Also, after 800, I do not have a buffing pad or whatsoever. Only pads from 50/3000 for my handpolisher. Which pad would be suitable to apply the powder?
Also, what do you guys think about the L5 extra? I love shining marble, the higher the better. Should I change to another powder?


text:
Flying cars just took a big step closer to being legal
The Terrafugia Transition received an exemption from the Federal Aviation Administration to be classified as a "light sport" aircraft. (Terrafugia)
By Jacob Bogage
Jacob Bogage
National sports writer and blogger
It looks like a goofy mosquito, its fat cockpit shoving through the wind while aloft, its wings folded up like a dragonfly while grounded. And it marks the biggest step toward a real, commercial flying car.
The Terrafugia Transition earned an exemption Sunday from the Federal Aviation Administration as a "light sport aircraft," meaning the federal government is on track to legalize the first flying car.
After a few more rounds of audits and paperwork, the Transition, a two-seated flying thingamajig, can take to the skies under the command of sport pilots, a low-threshold classification. Terrafugia can also commercially produce the aircraft without repeated burdensome federal airworthiness tests.
Flying car industry executives say their products should enter the consumer market -- albeit at a high price -- in the next decade.
[We were promised jetpacks and flying cars, and all we got was this lousy chart]
But all that depends on clearing regulatory hurdles both as automobiles and flying machines.
"We've worked with the FAA, and you're going to have your bureaucrats and people who don't want anything to change, but other people can see the future," said Paul Moller, president and chief executive of aviation firm Moller International.
With its wings folded, the Transition can be driven at highway speeds. (Terrafugia)
Light sport aircrafts should weigh no more than 1,320 pounds, seat two people, have non-retractable landing gear and strict speed limitations.
The Transition gained exceptions to be heavier, caused by federal automobile safety requirements, and to exceed the speed limits, because a heavier airplane has to fly faster.
Pilots can operate the aircraft with a "sport" license, which requires 20 hours of lessons.
The light sport classification was created in 2004 to allow airplane makers to design personal aircraft without the intense regulation required for larger flying machines. Bringing a new model aircraft to market in heavier "general aviation" classifications costs at least $50 million, said Carl Dietrich, Terrafugia's co-founder, chief executive and chief technology officer.
[Why the dream of the flying car hasn't panned out]
In the beginning, light sport classification did spur innovation among aircraft makers. Cessna, Piper and Cirrus all made light sports, then discontinued them. Profit margins were better on heavier, more luxurious aircraft.
That left the category mostly to inventors and small businesses that made planes for fun, said Dick Knapinski of the Experimental Aircraft Association.
And it left the skies open to flying cars.
A basic small car -- the Toyota Corolla, for example -- weighs 2,800 pounds. Strip out extra material to help it take flight, and it's not hard to meet FAA weight requirements, especially with a waiver.
Terrafugia's waiver shows a path for other flying car companies to get a federal go-ahead. Between roadworthiness and airworthiness, experts say, approval in the latter is much more difficult to attain.
Wings folded, the Transition can fit in a standard one-car garage. (Terrafugia)
In other words, it's easier to make a street-legal airplane than an air-legal car.
The Transition, and models from other companies looking to utilize the light sport classification, have the footprint of a large pickup truck. They have side-view and rear-view mirrors or display screens that eliminate blind spots caused by folding wings.
[Flying cars are coming, but they aren't quite the ones we've dreamed about.]
Terrafugia designed the vehicle so those with basic drivers licenses can use it on roadways, pending the approval of federal auto regulators.
They're part of a camp in the flying car industry that sees their machines taking off and landing on a runway, like a conventional airplane, then driving the "last mile" to a final destination. Others see the contraptions lifting off and landing vertically without the use of a runway.
Both can utilize the light sport category.
Slovakia-based Aeromobil also makes a flying-car-type vehicle that uses a runway. "We're trying to type-approve it as a plane and one that is recognizable as a plane, then we'll try to approve it as a car," said Douglas MacAndrew, Aeromobil's chief technical officer. "Those things are certainly technical challenges, but they're not legislative roadblocks as of now."
Flying cars: Are they coming? Yes. Do we need them? No.
Watch this flying car cruise around the skies of Slovakia
What is the Opposite of a Flying Car?
Jacob Bogage Jacob Bogage writes about sports for The Post, where he has worked since 2015. He previously covered the automotive and manufacturing industries for the Business section. Follow


(!) Network is still available.
(!) This has been fixed. The fix is available in the latest released build of Acronis Backup & Recovery 10. See Downloading the Latest Build of Acronis Software.
(!) In some cases it may be necessary to reboot the machine to fully apply all the changes.


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Fosu-Mensah, 19, has impressed in the right-back position.
Manchester United utility man Tim Fosu-Mensah 'does not know' if he is being moulded into Antonio Valencia's understudy at Old Trafford and is solely focused on developing under "one of the best managers in the world" in Jose Mourinho.
Fosu-Mensah was deployed at wing-back as the Red Devils secured a comfortable pre-season victory over Valerenga on Sunday (30 July) and many believe the versatile Dutchman is being readied as Valencia's back-up for the upcoming campaign.
Louis van Gaal saw fit to deploy Fosu-Mensah at right-back during the dying embers of his reign at Manchester United but Mourinho decided to use Valencia over the former Ajax youth star, who started just three games in all competitions last season.
But despite being afforded next to no game-time, Fosu-Mensah is extremely 'grateful' to be working under Mourinho at Manchester United and is determined to improve and fight for a place in the Portuguese's starting line-up, whether it be at right-back, centre-half or in midfield.
Asked if he was aware of plans to make him Valencia's deputy, Fosu Mensah told Manchester United's official website."I don't know. I'm just trying to develop my game. I'm young and still have a lot to learn, but I'm learning every day.
Fosu-Mensah has made four appearances at right-back during pre-season and could well be in contention for a starting berth against Real Madrid in the UEFA Super Cup final on 8 August. The 19-year-old managed to nullify the threat of Gareth Bale when the two sides met in the International Champions Cup earlier this summer and believes he and the rest of his United teammates are in good shape heading into the showdown in Skopje.
The Holland international also touched on Manchester United's ambitions for the upcoming campaign and believes that the Red Devils' summer transfer business could help Mourinho's side challenge for the league title.
"I'm really happy," he added. "Everyone got their minutes tonight (against Valerenga), so I think the whole team is building up to fitness and it's going really well. We've won a few games and we're working towards the game against Real Madrid next week.
Fosu-Mensah may currently be viewed as Valencia's back-up, but that all may soon change if United clinch a deal for Paris Saint-Germain's Serge Aurier. The Ivory Coast international, believed to be rated at around €25m (£22.3m, $29.5m), is keen to leave the French capital with the Mirror reporting that he has reached an agreement with the Red Devils, who are now waiting to find out if the talented but controversial right-back can travel to England and complete the move.


text:
Q: Issue with uploading an image email attachment for Android For one of my projects, I'm trying to simply attach an image to an email and send it.
         Intent emailIntent = new Intent(Intent.ACTION_SEND);
         emailIntent.setType("image/jpg");
         emailIntent.addFlags(Intent.FLAG_GRANT_READ_URI_PERMISSION);
         emailIntent.putExtra(Intent.EXTRA_SUBJECT,
         "Image attached.");
         emailIntent.putExtra(Intent.EXTRA_STREAM, Uri.parse(filePath));
         emailIntent.setType("text/plain");
         startActivity(Intent.createChooser(emailIntent,
         "Send email using.."));

My variable "filePath" is the absolute file path of an image found on the external storage of my device. It's in the form of "/mnt/sdcard/....." The path to my image is definitely correct because I am successfully loading photos into other image views.
This intent also works fine, and is able to bring me to a screen to select an application to use to send my image. HOWEVER, in the actual email, I can see that my image has been attached (the file path name is 100% correct), but the image itself does not get attached.
Does anyone have an idea as to what might be the cause to this problem?

A: Try this:
File fileToAttach = new File(filePath, filename);
emailIntent.putExtra(Intent.EXTRA_STREAM, Uri.fromFile(fileToAttach));

A: Also getting the same problem
Code:
Intent emailIntent = new Intent(android.content.Intent.ACTION_SEND);
    emailIntent.setType("image/jpeg");
    emailIntent.putExtra(android.content.Intent.EXTRA_EMAIL, new String[]
    {"me@gmail.com"});
    emailIntent.putExtra(android.content.Intent.EXTRA_SUBJECT,
    "Test Subject");
    emailIntent.putExtra(android.content.Intent.EXTRA_TEXT,
    "go on read the emails");
    Log.v(getClass().getSimpleName(), "sPhotoUri=" + Uri.parse("file:/"+ sPhotoFileName));
    emailIntent.putExtra(Intent.EXTRA_STREAM, Uri.parse("file:/"+ sPhotoFileName));
    startActivity(Intent.createChooser(emailIntent, "Send mail..."));

From adb logcat:
V/DumbDumpersMain( 3972):   sPhotoUri=file://sdcard/DumbDumpers/DumbDumper.jpg
I/ActivityManager(   56):   Starting activity: Intent { action=android.intent.action.CHOOSER comp={android/com.android.internal.app.ChooserActivity} (has extras) }
I/ActivityManager(   56):   Starting activity: Intent { action=android.intent.action.SEND type=jpeg/image flags=0x3000000 comp={com.google.android.gm/com.google.android.gm.ComposeActivityGmail} (has extras) }
I/ActivityManager(   56):   Starting activity: Intent { action=android.intent.action.SEND type=jpeg/image flags=0x2800000 comp={com.google.android.gm/com.google.android.gm.ComposeActivity} (has extras) }
D/gmail-ls(  120):      MailProvider.query: content://gmail-ls/labels/me@gmail.com(null, null)
D/Gmail   ( 2507):      URI FOUND:file://sdcard/DumbDumpers/DumbDumper.jpg

Looks like the email provider is attaching a 0 length file. When I check the filesystem the file is there and correct. The code which creates the image file is well finished prior to the attempt to email it.
Anyone fixed this without magic reboots (I've already tried that)?
Update
Path for me should have been
file:///sdcard/DumbDumpers/DumbDumper.jpg

you need the extra / as this points to the root directory, i.e.:
file:// + /sdcard/DumbDumpers/DumbDumper.jpg

combined as
file:///sdcard/DumbDumpers/DumbDumper.jpg

In the above snippet you need:
emailIntent.putExtra(Intent.EXTRA_STREAM, Uri.parse("file://"+ sPhotoFileName));

I hope this helps. It took me ages to debug.

A: Try out this way:
File pngDir = new File(Environment.getExternalStorageDirectory(),"DCIM/Camera");
File pngfile = new File(pngDir, "<ImageName>");
Uri pngUri = Uri.fromFile(pngfile);
Intent emailIntent = new Intent(android.content.Intent.ACTION_SEND);
emailIntent.setType("image/*");
emailIntent.putExtra(android.content.Intent.EXTRA_EMAIL,"<Email>");
emailIntent.putExtra(android.content.Intent.EXTRA_SUBJECT,"<Subject>");
emailIntent.putExtra(android.content.Intent.EXTRA_TEXT,"<Message>");
emailIntent.putExtra(android.content.Intent.EXTRA_STREAM,pngUri);
emailIntent.setType("image/png");
startActivity(Intent.createChooser(emailIntent, "Send mail..."));

A: Try this code
            Intent sendIntent = new Intent(Intent.ACTION_SEND);
            sendIntent.setType("message/rfc822");
            sendIntent.putExtra(Intent.EXTRA_SUBJECT, "Video");
           sendIntent.putExtra(Intent.EXTRA_STREAM, Uri.parse("file://"+path));
            sendIntent.putExtra(Intent.EXTRA_TEXT, "Enjoy the Video");
           startActivity(Intent.createChooser(sendIntent, "Email:"))

redpajama_set_name: RedPajamaStackExchange


text:
Schools use new tactics to fight the teen vaping epidemic
Posted on May 30, 2019 September 28, 2021 by Editor
BIG LAKE, Minn. — As Big Lake High School prepares to release for the summer, school leaders are hoping to reach a growing number of students who have become addicted to nicotine through e-cigarettes.
Video Article – Kare 11 News
"We took an e-cigarette away from one student, a high school girl, and she said, 'I will have another one by tomorrow. I can't go without having an e-cigarette,'" said James Hintermeister, an investigator with the Sherburne County Sheriff's Office. "The nicotine addiction is just so powerful."
In just the last few weeks, Hintermeister has confiscated at more than a dozen e-cigarette devices from students, and issued citations to even more.
"These are from both the high school and the middle school," Hintermeister said, pointing to devices that take on many different shapes. "I know there's one from a 12 year old."
The district has stepped up efforts to combat e-cig use in school. Bathroom doors are propped open and faculty are trained to identify the sweet smell of the vapor and look of the various devices.
"We have to have continuous staff development to keep up with the latest trends," said Big Lake High School Assistant Principal, Angie Charboneau-Folch. "It's an epidemic across the US, every school is dealing with it."
But as schools try to find new ways to crack down on vaping, many, including Big Lake, are also trying to step up efforts to treat students.
"A lot of this vaping issue is really just an addiction to the nicotine," said Charboneau-Folch. "And so we wanted to see what we could do to address the other side of it."
In response, the school's social workers helped develop an online diversion program for each student disciplined for e-cigarette use.
"Most students that we work with know that they have a problem," said social worker Megan Brown. "But they struggle with the addiction."
The diversion program features nine different categories that students navigate online. Each one helps educate students about e-cigarette use. There are health advisories, videos and interactive features that help students understand the impact that vaping has on their bodies.
"It shows how it's impacting their brain," said social worker Jenelle Stach. "It's just become so normal and routine for them and that was alarming to me."
The final step of the diversion is family notification about treatment options and quit plans.
"So far, the kids that have taken it, have said it was actually pretty useful information," said Charboneau-Folch.
They hope parents feel the same.
"We worry about the kids over the summer," Brown said. "Parents should just be mindful of what's going on with them because ignoring it isn't going to help."
Posted in News/Announcements, Vaping.
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