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Tag Archives: Film Review
JUSTIN KERZEL'S MACBETH
21 September 2015 Daniel Dewar
Uneasy lies the head that wears the crown
Australian filmmaker Justin Kerzel's (Snowtown) MACBETH opens with the funeral of Macbeth and Lady Macbeth's child. It's common for writers to add scenes to Shakespeare that help render their telling unique and develop strands of his work that have yet to be explored.
The decision to include this is a bold move and suggests a particular subtext to the interpretation that will follow. That it never is, through dialogue or performance, is emblematic of an interpretation lacking in direction and depth. Continue reading JUSTIN KERZEL'S MACBETH →
Film ReviewMacbethmarion cotillardmichael fassbenderShakespeare
7 May 2014 Roger Balch
Scenes from Richard Ayoade's new film, THE DOUBLE. Pics by Dean Rogers
The gorgeously visual opening scenes of Richard Ayoade's THE DOUBLE shout cult movie, one complete with plentiful Orwellian and Kafkaesque references and a pained central character, Simon James (Jesse Eisenberg).
THE DOUBLE is set in a dystopian past where 1950s austerity Britain meets Gulag chic, and our hero's offices are all chunky Bakelite and eerily green-glowing clunky office equipment, the interiors and work cubicles drenched in dirty greens and greys and browns. Outside, fog drifts between equally soulless apartment blocks. No wonder then that the police have a dedicated unit to investigate the many resultant suicides and which is the source of some much-needed humour, wry though it is.
Continue reading THE DOUBLE →
Dendy NewtownFilm ReviewJesse EisenbergMia WasikowskaRichard AyoadeThe DoubleUK
3D Cinema, Animation, Children and Family, Cinema
27 March 2014 Lynn Belvedere
From the world of 19th-century children's literature and very loosely based on the Hans Christian Andersen fairy tale "The Snow Queen", in this century good and evil have become psychologically complex, and also not so clear-cut, and with coherent storytelling we learn that a princess now has to show all her strengths and work to earn her happily-ever-after ending.
Set in the fictional kingdom of Arendelle, the beautiful blond, high-strung princess Elsa (Idina Menzel), and has a secret magical problem. Everything freezes when Elsa waves her un-gloved hands. Her impulsive redheaded younger sister, Anna (Kristen Bell), was nearly frozen to death by accident by Elsa the Snow Queen. Anna suddenly falls in love at first sight with Hans (Santino Fontana), a scheming and opportunistic but otherwise is a too-good-to-be-true picture-perfect prince, but Elsa forbids their marriage. Elsa causes eternal winter in the kingdom of Arendelle.
Continue reading FROZEN →
Film ReviewFROZEN
29 November 2013 Richard Cotter
James Corden plays Britain's Got Talent star Paul Potts in the new movie ONE CHANCE
Like CARRIE, Paul Potts was bullied. Paul was picked on because he was portly and because he was more interested in opera than football and in being a singer rather than a steelworker. Paul prevailed and won a spot in a Venetian opera school. There, he choked in front of Pavarotti. Self confidence plummeted, career prospects stifled, fledgling romance stymied. But with a song in his heart he re-woos his girl, and with her support he auditions for Britain's Got Talent, and the rest is history.
ONE CHANCE (PG) is his story and follows in the filmic footsteps of BILLY ELLIOTT, BRASSED OFF, and THE FULL MONTY. James Corden is a delight as the Port Talbot baritone with the scrumptious Alexandra Roach as his supportive spouse. Where would the lad be without a supportive mum and Julie Walters is just the biscuit, as is Colm Meaney as his less supportive dad. The domestic conflict is bliss in comedic terms.
Mackenzie Crook and Jemima Rooper give kooky characterisations as long term home town supporters.
Simon Cowell is one of the producers and David Frankel (THE DEVIL WEARS PRADA) directs. Justin Zackham's script is peppered with zinger one liners.
A feel good movie about the power of song to promote resilience and affect lives in positive ways. Hope springs eternal and it ain't over till the fat boy sings.
BRITAIN'S GOT TALENTFilm ReviewONE CHANCEPaul Potts
Cinema, Musical Theatre
23 November 2013 Lynne Lancaster
The cast of MERRILY WE ROLL ALONG
Sondheim and musical theatre fans rejoice! And stampede now to the box office to catch this more than splendid production.
This is the first in a series of HD productions, WEST END THEATRE SERIES, direct from London, brought to us by Cinema Live and Digital theatre. Following a sold out run at the Mernier Chocolate Factory, this was filmed at the Harold Pinter Theatre during the production's final performances. Continue reading MERRILY WE ROLL ALONG →
Film ReviewMERRILY WE ROLL ALONGStephen Sondheimtour-de-force
15 November 2013 Alan Hartstein
BLACKFISH, a documentary about an orca, or killer whale, that literally becomes a killer, offers a powerful insight into the lives of these majestic creatures and the consequences of what can happen when they are ripped apart from their intricate family structures to provide amusement for humans in theme parks.
Produced by Dogwoof, the same company responsible for Food Inc and The end of the Line, and billed as "a mesmerising psychological thriller, which shows how nature can get revenge on man when pushed to its limits", BLACKFISH was never going to be easy to watch, and there are plenty of confronting scenes.
Premiering at the Sundance Film Festival in the US earlier this year to critical acclaim, BLACKFISH tells the story of Tilikum, a performing whale captured as a two-year old who was ultimately responsible for the deaths of three people while in captivity.
It follows his path from capture to placement in various Sea World theme parks, revealing how his treatment ultimately caused the psychosis that led to the attacks on the park's trainers.
Director Gabriela Cowperthwaite has, through a combination of archival footage and numerous interviews with both whale experts and Sea World trainers, past and present, made a taut and compelling documentary which gives the viewer a vivid insight into the extraordinary nature of these animals, the horror of their captivity and the pressures brought to bear on the trainers in the multibillion-dollar sea park industry, whilst also challenging the viewer to consider our relationship with nature as a whole.
It also reveals just how little was known about orcas and the complexity of their communities when the theme park industry sprung up in the 70s. The footage of ORCA, KILLER WHALE, released at roughly the same time as JAWS, did about as much for the understanding of orcas as JAWS did for sharks. In fact, as one whale expert pointed out, there is actually not one reliable documented case of an orca harming a human in the wild.
But place one in an oversized bathtub 20 metres wide by 30 metres deep when they are used to roaming up to 180 kilometres a day and a case such as Tilikum's was bound to ensue.
Some of the more challenging footage in the film involved the marks left by Tilikum's fellow whales which were constantly attacking him, the result of the tiny spaces they were confined in and the fact that they were effectively left in darkness for two thirds of their lives.
And whilst there will be the inevitable comparisons with 1993's Free Willy, BLACKFISH succeeds by packing a lot of information into a genuinely thought-provoking narrative, viewing the tragedy from a number of angles.
One of these is the often-complex nature of the relationships between the trainers and the whales. The film contains numerous interviews with ex trainers who genuinely believed they had made real and lasting bonds with the whales. Some undoubtedly had, yet the real tragedy of Tilikum's story is how, with all the best intentions in the world, even the most faithful of handlers were powerless against the unpredictability of wild animals kept in these conditions, borne out by shocking footage of the physical injuries suffered by the males, virtually all of which had collapsed dorsal fins.
For its part, Sea World plays the role of evil, heartless multinational to perfection, with everything from the appalling treatment of the whales to its equally awful treatment of the trainers, to its denial that there was anything amiss in courtroom statements following the tragedies involving the deaths of the trainers.
According to one interview with an ex-trainer, there were at least 70 documented cases of training accidents and mishaps involving Sea World trainers that was never disclosed to him when he accepted his position.
To her credit, Cowperthwaite goes out of her way to debunk the lies spread by Sea World such as the one that killer whales actually live longer in captivity, something which research has shown to be blatantly false.
There is a lot to like about BLACKFISH in the way in which it exposes this industry for what it is. Having said that, it seemed almost a shame that it took these human tragedies, as awful as they were, to bring attention to the shameful exploitation of these highly intelligent, sentient fellow mammals.
As one of the experts interviewed said, in 50 years time people will look back at these theme parks and wonder at their barbarity.
BLACKFISH opens nationally on Thursday November 21. It has received an M rating and has a running time of 79 minutes.
Animal RightsBLACKFISHFilm Review
The late James Gandolfini shines alongside Julia Louis- Dreyfus in ENOUGH SAID
Enough said that ENOUGH SAID is a rom com for the older gen.
Actually, there's a lot to be said about ENOUGH SAID, where the age of the two protagonists might cause Gen X and Y to preface carbon to the word dating.
Divorced masseuse Eva (Julia Louis-Dreyfus) finds herself facing life on her own for the first time as her only child, her daughter, Ellen (Tracey Fairaway), prepares to go off to college. Just as the departure nears, she meets and is charmed by Albert (James Gandolfini in his last leading role), also about to face an empty nest. As she and Albert become involved, Eva befriends a new client, Marianne (Catherine Keener), a tasteful, talented beautiful poet who inspires envy and admiration. Unfortunately, however, Marianne complains incessantly about her ex-husband, making Eva her confidant. Just as Eva is falling in love with Albert, she figures out that Albert is in fact, Marianne's ex. Panicked and conflicted, Eva keeps the truth to herself and begins to doubt her own perceptions and feelings towards her new boyfriend.
In contrast to the "clean slate" that young lovers enjoy, older people bring form or baggage, a life strewn with mistakes and missteps. Embarking on romance is akin to being on parole where pre-emptive perceptions of things past cast a pall of pessimism over natural chemistry and mutual attraction.
Before they can be affianced they must deal with the malfeasance of his ex spouse, who espouses poisonous negatives about her ex husband, unavoidably tainting the fledgling infatuates and heading the rookie romance to the rocks.
There's a real honesty hoisting this film, a sincerity that flows like a main circuit cable from script to performance. Julia Louis-Dreyfus and James Gandolfini are delicious together, delighting in their shared realisations, fragile in their vulnerability and failures.
A strong supporting cast headed by Toni Collette, allowed to perform in her natural voice, gives textural strength to this complex quilt of mature age courting.
Writer director Nicole Holefcener strikes a fine balance of bitter sweet in this funny, affable and affectionate film. ENOUGH SAID, go see it.
ENOUGH SAIDFilm Review
Books & Writing, Cinema
9 November 2013 Richard Cotter
The collaboration of Ridley Scott and Cormac McCarthy is irresistible.
The director of THELMA AND LOUISE and the writer of NO COUNTRY FOR OLD MEN seems a match made in movie heaven.
Add a cast the stuff box office dreams are made of and you're off to a pretty good start.
Javier Bardem leads with an eccentric hair style as he did in NO COUNTRY and SKYFALL and builds from follicles down a mesmerising, crazy charismatic character called Reiner who runs nightclubs and is in thrall of girlfriend Malkina, played by Cameron Diaz, who keeps a pair of cheetahs and likes to watch them chase prey.
The Counselor is played by Michael Fassbender, a Bentley driving barrister bidden by avarice to dally in a drug deal.
From order in the court to being caught in ordure, the enterprise is odorous and ominous; the means of delivery favoured by the cartel a telegraphic metaphor for the murky, mucky mire the players find themselves in.
Death and destruction and depravity rub shoulders with style and sophistication – Penelope Cruz, Brad Pitt, Ruben Blades, Bruno Ganz give the picture a performance pedigree to be reckoned with.
For all its slickness and style, THE COUNSELOR feels confused and convoluted and the reason rests with the writer. A novelist of renown, this is McCarthy's first original screenplay in 40 years and it suffers from too much novelist navel gazing – a tad too much philosophising, proselytizing, and ponderous monopoly of the monologue that only serves to bog the film's flow.
Still, there is much to admire and enjoy – eroticism, exoticism and enigmatic intrigue fuel the film and the cinematography by Dariusz Wolski adds a lustrous texture.
Such is the currency of McCarthy as a novelist, his publishers, Picador, have printed the screenplay in an almost plain brown wrapper, devoid of film-tie in cover images, imagined to appeal to the writer's fiction fan base rather than the film going public.
The written word rewards both those who have seen the film and those who have not. Indeed, it reads better than it plays in some instances, and the prose is redolent of McCarthy's novels' musculature and sinew.
Whether you see THE COUNSELOR or read it, the rewards are there. Double the flavour, double the visceral, do both. It's a complimentary and clarifying experience.
Film ReviewTHE COUNSELOR
2 November 2013 Emma Macri
SALVO is the story of a Sicilian mafia hit man doing his duty in eliminating enemies of his clan , and systematically going about killing his targets until he unexpectedly meets a target he simply couldn't eliminate…a beautiful blind girl called Rita. Torn by his decision he took her to an abandoned factory, where he keeps and observes her, and soon a small miracle happens…
There was not much dialogue in the movie, in particularly by Salvo, and he didn't have to, as his intense presence and performance were enough to portray the emotion and anguish of his transformation. Initially he was cold, crude and a loner, with very little or no attachment, to anyone or anything. But his fascination with Rita allowed him to start feeling and forming attachments that otherwise may not have happened. His attachment to a dog, his relationship with Rita and even his empathy towards his landlord against the overbearing wife.
The isolation of his existence became more apparent as he could not even trust or confide in his fellow clan men as he did not finish the job by killing Rita and even lying to his Mafia boss, set his fate. He truly had no one except Rita. And the inevitable happened, he was found out. Salvo is confronted with the choice of giving up Rita to the Mafia or to fight what he believes in.
The film left the audience with numerous possible outcomes of what would happen to Salvo & Rita. But the end wasn't that important. What was important was the miracle that happened between two most unlikely people. Highly recommended, and although the film isn't a chick flick, women will love it. I did.
Film ReviewItalian Film Festival 2013SALVO
3 August 2013 Richard Cotter
Ewan McGregor plays Oliver in Mike Mills's BEGINNERS. (C) Focus Features
Like a role reversal of The Sum Of Us, BEGINNERS (M) is just as sweet, charming and endearing.
After nearly half a century of marriage, Hal Fields (Christopher Plummer) finds himself a widower and decides to come out as a gay man at the age of 75. His 38 year old only child, Oliver(Ewan McGregor) supports his father's new found freedoms, having always sensed, subconsciously, his dad's secret self. Hal's liberation lasts a fleeting five years before succumbing to inoperable cancer but it's a full five years, featuring a young lover, a flourishing of new friends and a greater closeness between father and son.
BEGINNERS is two stories – one follows father and son as they traverse the territory of new identity and terminal illness, the other is the son's dealing with dad's departure to the undiscovered country and his budding romance with Anna (Melanie Laurent). Oliver meets Anna at a fancy dress party three months after his dad's death. In a brilliant touch, Oliver is costumed as Sigmund Freud and Anna is suffering from laryngitis. The mute and the mutable.
Using a myriad of narrative devices – flashback, montage, surrealism – writer director Mike Mills affects a richly layered film that hums with humour, heartbreak and humanity. The three leads are stunningly good as one should expect from actors of their calibre, but there are a couple of outstanding supporting players as well.
In flashbacks to his childhood, Mary Page Keller plays Oliver's mother, Georgia. Her flamboyance, grace and charm are flecked with a nuance of something unfulfilled. The other stand out supporting role is fleshed out by a four legged performer called Cosmo who plays Arthur, Hal's Jack Russell, who is inherited by Oliver, and becomes a kind of canine chorus to the action.
BEGINNERSFilm Review
23 July 2013 Richard Cotter
What's in a name? A rose by any other would smell as sweet. Call a spade a spade but you'll still shovel shit if you pick a name that digs up contentious connotations.
In western culture, names such as Jesus, Atilla, Adolph, and Osama are eschewed from birth registers, but more mundane reasons are raised among family and friends at the imminent patter of tiny feet, where naming rights can produce near riot.
Appellations of those who are unliked from the past or the present, or carry with them some sort of high falutin' allusion or pretention is the most likely impediments to nixing a moniker.
When Forty-something father to be Vincent announces to his family the nomenclature of his unborn son he figuratively flings that shovelful at the fan.
What should have been a civil celebratory occasion devolves into a dinner where the stable door of secrets is left so far ajar that the stampede of revelations seal the deal of unable to conceal.
Based on a super successful stage play, WHAT'S IN A NAME? (LE PRONOM) makes for a marvelous movie where the comedy has sparkle and bite and the story's spine has a vertebrae full of funny bones with slipped dramatic discs.
Blessed with a fine ensemble cast that relish in spitfire delivery and comedic timing, WHAT'S IN A NAME is reminiscent of the golden age of comedy where character and situation combine to power the turbine of intelligent entertainment.
What's in a name turns into what's in a joke and at whose expense as this clever comedy illustrates the thin line between social decorum and civil disintegration.
Marie Cheminal's production design is exquisite. Almost all the action of the film takes place in an apartment and it looks and feels so real, so lived in that it's a marvel – so marvellous and fully dimensional that it becomes a key character in the film.
From the opening credits where all the collaborators are identified by their first names only through to its colossal conclusion, this fabulous film is a joy to the ear and the eye.
Written for the screen and directed by MATTHIEU DELAPORTE & ALEXANDRE DE LA PATELLIÈRE from their original stage play, WHAT'S IN A NAME? is arguably the best comedy to grace our screens since Roman Polanksi's CARNAGE.
Film ReviewRichard CotterSydney Arts GuideWhat's In A Name?
11 July 2013 Lynne Lancaster
'The course of true love never did run smooth'.
Sorry folks but I apparently have to go against the tide of what seems to be general opinion and admit I was a little disappointed with this new version by Joss Whedon ('Buffy the Vampire Slayer', 'Cabin in the Woods',' Toy Story ')of 'Much Ado About Nothing '.The film was shot in and around Joss Whedon's own home in Santa Monica, California, while he was still working on the blockbuster superhero film 'The Avengers.' I guess I have been spoilt by the glorious Kenneth Branagh / Emma Thompson version.
Somewhat cut and abridged, the plot is basically as follows : Leonato , ( lithe Fred Astaire look alike Clark Gregg) the governor of Messina , is visited by his friend Don Pedro(Reed Diamond) who is returning home from a campaign against his rebellious brother Don John ( handsome Sean Maher) . Included in Don Pedro's entourage are two of his officers, Benedick( Alexis Denisof ('Buffy', 'Angel', 'Dollhouse'),) and Claudio ( Franz Kanz ('Cabin in the Woods, 'Dollhouse')) . While staying in Leonato's huge palace Claudio unexpectedly falls for Leonato's daughter Hero ( Jillian Morgese ) whilst Benedick renews his verbal sparring with Beatrice ( Amy Acker of 'Angel' and, 'Dollhouse) the governor's niece. All seems wonderful when Don Pedro acts as intermediary for Claudio and Heros' engagement.
In the days before the wedding Don Pedro with the help of Claudio , Leonato and Hero attempts for a lighthearted prank to act as Cupid to Beatrice and Benedick. But this is one of the darker Shakespearean ' Comedies ' that dangerously skirts possible tragedy: Don John can be seen as a precursor to Iago in 'Othello' perhaps as he surreptitiously plots to destroy the marriage of Claudio and Hero before it has even begun. Will he succeed ? Will Claudio and Leonato discover the truth? Hero's impugned virtue and faked death are rightly treated like tragedies .Almost everyone dons a mask to test someone else's loyalty, unfortunately an impulse that can often lead to disaster. Or does it in this case ? ( Here for example at the masked ball, disguised as a Sheik,Benedick discovers some home truths about himself).
The position of women in society at the time is highlighted by poor Heros' situation when she is wrongly accused and Beatrice's great speech railing against being a woman. Shot in black and white it is updated to now with computers, security cameras and mobile phones, but has a very 1950's feel.The men are mostly in very swish Prada style suits .There are some wonderful use of opening atmospheric close ups of trees etc and very effective use is made of reflections and mirrors ( eg when Hero is first prepared for her wedding).I liked the irony when the men were shown to their quarters and the bedrooms were full of stuffed soft toys.
However I found Alexis Denisof as Benedick somewhat stilted,determinedly square-jawed and rather tense . Amy Acker's Beatrice is a bit freer but still restrained .The scenes where Beatrice and Benedick overhear their friends supposedly discussing their secret affection for each other – Beatrice hiding in a kitchen alcove , Benedick full of acrobatic tumbles and leaps past the glass windows ) are much fun as is the way a couple of Benedick's monologues are done as if he is going for a run , or talking to the wedding decorations. Benedick's hammy overdone posing when Beatrice angrily comes to say 'against my will I am sent to bid you come to dinner' is a riot.
Fran Kranz as Claudio is excellent , his scenes terrifically handled especially for example where he accuses Hero wrongly and calls off the wedding and also the scenes where he realises she was falsely slandered .
The low 'comic' scenes see Nathan Fillion ('Buffy', 'Firefly', 'Serenity' ).and Tom Lenk as the bumbling supposedly hardboiled film noir detectives Dogberry and Verges with 'cool' sunglasses who lock themselves out of the police car.
For me this was an uneven film which didn't quite know what it was trying to be. I found it rather artificial.While yes the main characters were well played it just didn't quite 'gel' .
MUCH ADO ABOUT NOTHING opens today .Rated M, Running time : 108 minutes
Film ReviewJosh WhedonLynne LancasterMUCH ADO ABOUT NOTHINGSydney Arts Guide
Can hope trigger hallucination to the magnitude that one accepts the homecoming of a family member after a little over three years where the change of appearance and speech is remarkable to the point of impossible?
That's the premise of THE IMPOSTER, a documentary of a story so improbable it beggars belief.
Nicholas Barclay is a thirteen year old Texan who vanishes seemingly into thin air. Three and a half years later, his family is informed that he has been located in Spain. According to the traumatised teen, he was abducted by white slavers for sexual servitude in a situation that erased his natural speech and caused some kind of cultural amnesia.
Astonishingly, this is accepted by the American authorities in Spain who issue him with a passport and even more astonishingly by his mother, sister, and brother in law. The kidnapped kid, who would be 17 years old tops, with blue eyes, presents as a much older person with brown eyes, and an accent compatible with an English as second language speaker. But the folks figuratively lay out the fatted cow for the fellow, embracing him to their bosom, dismissing all doubt about his bona fides.
Its incomprehensible that the inconsistencies are so glaring and that the family blithely turn a blind eye to them. Is it born of a desperation to believe their kin has returned or a desperation more sinister.
The imposter becomes a composter of subterfuge, discombobulation, and deceit that has a seasoned FBI agent stymied and a dogged gumshoe determined to discover where the truth lies.
Documentarian Bart Layton fuses confessional interviews with dramatic re-enactment to deliver a film that is incomparable in its incredulity, a film of fooling, fibbing and fakery of unfathomable proportions.
What unfolds is a movie about a master masquerade, a charming chameleon charlatan challenging fact to fall to fiction in a charade that shook and shattered logic, yielding reason to illusion.
Stranger than fiction, full of stuff and nonsense, the preposterous THE IMPOSTER is a compulsively riveting expose of the implausible, the gullible and the guilty on a collision course.
THE IMPOSTER (M) Available on DVD and digital download from Madman from July 17.
DVD ReleaseFilm ReviewMadman FilmsTHE IMPOSTER
GINGER AND ROSA
11 June 2013 Mark Pigott
Sally Potter's GINGER AND ROSA, screened at the 2013 Sydney Film Festival, is a lovely film about two teenage girls on the cusp of growing up and of England's transfer from its post World War II gloom to the swinging sixties.
England in 1962, still haunted by World War II, had a plausible fear that all human life could be destroyed in a nuclear holocaust.
Ginger and Rosa have been inseparable friends since their mothers gave birth to them in adjoining beds in a maternity ward in 1945. They played together as children but by 1962 they are more interested in kissing boys, fashion, music and smoking cigarettes. Ginger is also interested in Simone de Beuavoir, T.S.Eliot and nuclear disarmament.
Ginger's father, Roland, is a charismatic bohemian and a pacifist and an inspiration for Ginger's developing ideas about activism. Rosa sees Roland as fun and attractive and as someone she believes she has a deep connection with.
These numerous strands of the film make thoughtful observations about the personal and the universal. This is a story about the implosion of individual relationships and potential nuclear explosions brought about by the weapons build-up and the Cuban missile crisis. We are reminded of the dire world political situation via regular radio news broadcasts.
Ginger's mother Natalie is played by Christina Hendricks of MAD MEN fame. Her emotional performance illuminates the gender inequalities of the time as she struggles to look after her daughter and deal with her freedom loving husband. Roland has a narrow selfish view of freedom, providing a counterpoint to the film's broader themes.
The exceptional cast responds to Sally Potter's deft direction with balanced performances that capture the mood and the era seamlessly. Lead actors Elle Fanning and Alice Englert's fine performance are beautifully supported by Alessandro Nivola (Roland), family friends Timothy Spall (Mark), Oliver Platt (Mark Two), and Annette Bening (Bella); and Jodhi May (Anoushka, Rosa's mother). The muted greys and browns of Robbie Ryan's cinematography add to the sense of era and location.
GINGER AND ROSA is an excellent film and hopefully will get a wider release.
Film ReviewGINGER AND ROSAMark PigottSally PotterSydney Arts Guide
MIDNIGHT'S CHILDREN
11 June 2013 Ron Desiatnik
If ever there was a film which produced mixed feelings, it is MIDNIGHT'S CHILDREN, the film adaptation of Salman Rushdie's prize- winning novel of the same name.
At its core this is a tried and true theme of babies, both boys, born at the same time at the same hospital, being swapped, the film focusing on the life of the child born of poor circumstances who is then brought up by an affluent family, a life meant for the other child. What complicates this theme and both dilutes and enriches it, is that the births of the babies occur at the very moment [at midnight] of the declaration of independence of India and Pakistan, and the momentous later events in the histories of these countries are interspersed with the later events in the lives of the two children.
In addition, throughout the film, and central to it, is magic, in the form of the ability of the main character to conjure up, at will, other children born when he was [hence the film's title],who all have "powers", including in the case of one, the power to make people invisible.
Bearing in mind the film lasts about two and a half hours, the inevitable result of this exotic mix is,unfortunately, a film-goer's confusion and a lack of involvement with the characters.
Nevertheless it must be said that the acting is superb, the concept is epic, the colour and vitality of life in the subcontinent is perfectly captured, and there are a number of truly memorable moments in the film.
Perhaps the best way of summing up the film is this: for its entire length it holds your interest and it is enjoyable to watch, but, at its end, you are left wondering why that was so.
MIDNIGHT'S CHILDREN is screening as part of this year's Sydney Film Festival.
Dr Ron DesiatnikFilm ReviewMIDNIGHT'S CHILDRENSalman RushdieSydney Arts GuideSydney Film Festival
10 June 2013 Richard Cotter
Matthew McConaughy plays the title role
What the Dickens! GREAT EXPECTATIONS transposed to Arkansas with Matthew McConachy as Magwitch?
Well, not quite, but MUD from writer/director Jeff Nichols certainly has echoes of Great Expectations as well as Mark Twain's Huck Finn tales.
Matthew McConaughy seems to have cornered the market on memorable Southern characters recently with outstanding performances in BERNIE, THE PAPER BOY, KILLER JOE and MAGIC MIKE, a renaissance for the actor after a series of rom com debacles and disasters, like the aptly named FAILURE TO LAUNCH.
Heir apparent in looks and talent to Paul Newman, McConaughy champions chipped choppers and matted hair in his portrayal of Mud, fool for love and fugitive from the law, holed up in a boat swept into a tree, legacy of a recent Mississippi Delta flood.
It's the rare and bizarre sight of the arboreal river craft that attracts the attention of ten year old mates, Ellis and Neckbone to this Arkansas atoll, where they befriend Mud.
Ellis is Pip to Mud's Magwitch, or maybe Huck Finn to Mud's Jim.
Ellis is going through a watershed moment – his parent's imminent separation, his severance from the riverbank shack he's called home since birth, and his first blossoming of romance with a senior school girl. Part of his pact with Mud is to facilitate a reunion between the fugitive and the female for whom he has risked his freedom, a beauty called Juniper, played by Reese Witherspoon.
Tye Sheridan as Ellis and Jacob Lofland as Neckbone are nothing short of sensational. Bonnie Sturdivant as May Pearl, the object of Ellis's burgeoning desire has an inbuilt "Estelle gene" to dash Ellis' great expectations.
Sarah Paulsen, so good as the sister in MARTHA MARCY MAY MARLENE, here plays mum becalmed in the once besotted relationship with Dad, Ray McKinnon, bedecked aboard his Mississippi house boat, dissatisfied with his fishing business.
Rounding out the superb supporting cast is Joe Don Baker as a vengeful tycoon, Michael Shannon as Neckbone's uncle and guardian, a crawdad harvester, and Sam Shepherd as Mud's mentor. Shepherd's character is shady, a sharpshooter with a shadowy past. Easy to see why Sam was attracted to this project as the script shares Shepherd sensibilities in pitch and plot.
The film is as rich as Arkansas alluvial with a story as sturdy as the Mississippi, complete with tributaries and backwaters. So many strands snake their way through this story, and so many snakes slither through it as well – cottonmouth water moccasin a venomous semi aquatic pit viper pivotal to a number of plot points.
It's a mighty sweep of a picture and writer director Jeff Nichols navigates his narrative with an assured eye and ear. Warm as Tupelo Honey between Little Rock and a hard place, MUD is one of the emphatically unforgettable films of the year.
Film ReviewMUDRichard Cotter
Cinema, Theatre
THE RELUCTANT FUNDAMENTALIST (M)
29 May 2013 Richard Cotter
Changez is a young Muslim man from Pakistan who wins a place at Princeton to study business.
Highly gifted, he is a fund mentalist, able to forecast fiscal performance of companies with alarming alacrity.
He becomes a protégé of a major mergers manager, an acquisitions hatchet man, Jim Cross, (Keiffer Sutherland) who works for elite valuation firm Underwood Samson.
Part of the Wall Street elite, Underwood Samson know the price of everything and the value of nothing, and Cross is the kind of cove that makes Gordon Gekko look like a fairy godmother.
Changez buys into the American Dream big time, romancing the niece of a big shot board member of his firm. She's an artist with so much emotional baggage the courtship is a guilt edged invitation to the blues.
He's willing to carry this luggage as a labour of love but is put out when his portering is portrayed in her puerile art piece as a pandering, panting, puppy love Paki, the private and intimate put on public view.
Back in Lahore, his poet papa considers his employment a prostitution of principles. This perception becomes self-evident when Changez is sent to Turkey to goose a publisher, a cultural icon traduced by a penny-pinching Greenback bottom line.
Commerce coerced and corrupted the need for greed up to speed, the events of September 11, 2001, put a different complexion on Changez meteoric rise in Mammon. His complexion puts him on collision course with U.S. Homeland security, his Ivy League credentials cutting no mustard with the white breads playing catch-up after being caught with their towers down.
A victim of racial profiling, unhappy with the ethics and methods of his employer, unlucky in love all prompt Changez to make big changes and return to Pakistan, the proverbial prodigal packing it in and picking up a new path as a professor.
Lahore houses a contingent of CIA spooks and when an American academic is kidnapped off the streets the operatives believe Changez knows something about the snatch.
They send a journalist in their pay, Bobby Lincoln (Liev Schreiber) to inveigle under cover of interview, convinced Changez has become politicised and part of the plot to hold Uncle Sam to ransom.
The twin towers of hubris and arrogance cast an ugly shadow, a reputedly democratic power turning demonic in unbridled trampling of foreign domestic sovereignty.
Riz Ahmed in the title role gives a terrifically textured performance, torn between culture, filial responsibility, and the complexity of what is "fundamental" and how foundation can become base, tradition interned to terrorism. Further proof that east is east and west is west and never the twain shall meet. Until there is neither East nor West, Border, nor Breed, nor Birth,When two strong men stand face to face, though they come from the ends of the earth!
Film ReviewSydney Arts GuideTHE RELUCTANT FUNDAMENTALIST
6 March 2013 Roger Balch
GOOD VIBRATIONS is a rambling rock-and-roll film set in Belfast, during the bombings, shootings and sectarian violence, in which boy meets band, boy loses a big band, boy meets lots of bands. Oh, and along the way boy also meets girl, loses girl and then at the end looks like he gets the girl back again.
The boy is the bewhiskered and generally shaggy Terri Hooley and GOOD VIBRATIONS is based upon the true story of this eternal dreamer who refuses to let the IRA, love or lack of lucre intrude upon his fantasy existence. He even manages to lose money on a benefit concert he organises – not because he isn't able to make a buck but because, despite the bills and final demands piling up for his Good Vibrations record shop and record label, he thinks it's just not as important as the music and the fans' enjoyment.
Hooley, played to pull-your-hair-out frustrating perfection by Richard Dormer, is content to be a DJ in a deserted pub until he discovers punk rock in the form of a band called Rudi.
But he's already met the sweet but by no means docile Ruth (Jodie Whittaker) and even though they get married and have a baby he's not ready to leave his punk 'family'. And that's even before the cuckoo in the nest arrives in the form of seminal punk band The Undertones and their massive hit – in reputational if not financial terms – Teenage Kicks. True to form, Hooley even fails to fully capitalise upon The Undertones' talent.
In many ways this is an aimless, circuitous film, a shaggy dog story of a shaggy bloke, made lumpy in the middle by the arrival of The Undertones. It is however authentically shot in the somber yet warm earthy tones of the time and accurately conveys the shot in the arm that was punk in the era of bloated prog-rock giants. GOOD VIBRATIONS is worth seeing for this and the soundtrack alone. And, if metaphors are your thing, for the redemptive power of music as a uniting force that overcome evil etc etc. Keep an eye open for Terri Hooley himself as an accordion player and Black Books' Dylan Moran.
GOOD VIBRATIONS played Sydney (and other Australian cities including Byron Bay and Canberra) as part of the British Film Festival. in November last year.
The film will be getting a national release around on Thursday June 12.
British Film FestivalFilm ReviewGOOD VIBRATIONS


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Andrea Wheeler - Florida - Book a consultation instantly!
Andrea Wheeler grew up in Miami, Florida. Andrea received a Bachelors Degree in Finance from Florida State University and then worked in Finance at a large technology company on the Space Coast before obtaining her law degree from Stetson University, College of Law. Before Andrea started her own law firm, she worked for in house legal departments and for a boutique law firm focusing on commercial litigation where she handled a variety of business disputes. Andrea's litigation experience taught her what agreements need to contain to stand up to a legal challenge and ways to protect her clients' rights. Her business background has been essential in applying legal advice to business matters. As a small business owner herself, Andrea is passionate about helping others grow their businesses while reducing risk and mitigating potential legal issues. Andrea formed her own firm to be able to provide personalized service to her clients.


A striking Catmint with flower stalks of Blue and Whitish Pink flowers that attract the bees and butterflies to dance in the garden. It's a perennial that flowers in the first year and has a long growing season. Aromatic lush foliage, it is ideal for new gardeners, being easy to sow and requiring very little maintenance.


Queens though is a stunning wedding venue steeped in tradition , and it was fitting that I should be Sarah and Justin 's wedding celebration . Sarah looked stunning in her dress . As we were taking these photos what you dont see , were the bolts of lightning striking London landmarks. I dont normally add effects to photos but I wanted an old Vogue look to the photo as Sarah looks across the tennis courts.
I also love the photo as Sarah drives off in the car to the church at St Andrews just a few hundred yards away .
I want to thank everyone for Saturday Sarah and Justins family and friends , also Kelly and the friendly staff they have at Queens .
Just had a great weekend for a wedding photographer weddings Friday Saturday and a wakeboard competition on Sunday with my son . All went well and my son reached his goal taking silver which means he is now off to the European Championships in France in two weeks.
Ian Johnson Photo .com is moving to a new home, not the wedding photographer just the site.
so for the time being you have been directed to co.uk . I hope to be having everything back to normal by the weekend . The galleries may not be working … email me and I will send you a new link to some wedding photos.
© 2019 London Wedding Photographer – a wedding photographers love of photography|ProPhoto Photographer Site by NetRivet, Inc.


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9 Years Ago Today – COS Launches on the Last Hubble Servicing Mission
May 11th 2009, the Space Shuttle Atlantis, lifted off from Pad 39A at the Kennedy Space Center on Mission STS-125, the last Hubble Servicing Mission. On board were a variety of new instruments, Wide Field Camera 3, A Soft Capture Mechanism, New Gyroscopes, Batteries, a Science and Data Handling Unit and COS – Cosmic Origins Spectrograph, pictured below.
COS Lifted into Orbiter Transport Carrier. Photo Courtesy of NASA
The microchannel plate detector and associated electronics (low and high voltage power supplies, amplifiers, time to digital converters, and control and processing board) for the far ultraviolet (FUV) channel of COS were built by the Experimental Astrophysics Group at UC Berkeley Space Sciences Lab for Principal Investigator Dr. James Green of the Center for Astrophysics and Space Astronomy at the University of Colorado Boulder.
The servicing mission was intended to extend the life of the Hubble Space Telescope an additional 5 years. All instruments are still working nominally 9 years post launch.
STS 125 Leaving the Vertical Assembly Building on its way to Pad 39A: Courtesy Christopher Scholz
Launch of STS 125 from Pad 39A on it way up to capture the Hubble Space Telescope: Courtesy Christopher Scholz

redpajama_set_name: RedPajamaCommonCrawl


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Profits for Wonga hits £1.2million for one week
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Number of payday advance increases to 70% in a year •	Wonga approves 10,400 payday loans a day •	The company was criticized for making profits from the misery of poor people Wonga makes around £1.2million of profit in a day by approving over 10,400 loans in a week, as reported yesterday. The number of these loans offered by this company that has been in several controversies has risen by 70 % in one year. It has been said that the company officials are taking undue advantage of emergencies in lives of people and making profit from their miseries. Wonga charges high annual interest rates and was condemned for making poorer people sink further in their debts. It offers attractive payday loans that tempt people to opt it when in need of money and make them repay more than 5 times of the original sum borrowed when calculated on APR. Citizens advise that people are offered with glossy payday offers that masks their life in debt. Gullian guy said that the profits of payday lenders come from the consumer's pockets, many of whom choose these loans out of desperation rather than choice. MP Stella Creasy, has campaigned against payday lending companies firms, said that, 'Money made by this industry comes at a serious cost to the country.'
But Wonga's chief executive and founder, Errol Damelin, insisted that the company was 'lending sensibly to people who can actually afford to repay the loans quickly.' He also said that majority of its customers were single, young, digitally savvy, employed and can repay us on time, adding further that it isn't about people being desperate.
The annual percentage interest charged by Wonga is 5853 percent and £474 is the total amount to be repaid after 17 days for a loan of £400. Over the last year, Wonga has approved over 3.8 million loans. The net profit made by each loan sanctioned by the company is £15. It shows around 36% increase in profit over the last year. Among 100 people choosing the loan from Wonga, 55.5% are single. The founder of the company says that we are all about serving the customers who wish to take loans and understand that they can repay the amount borrowed in 3 days, it is similar to buying a song on iTunes. The company was launched when Canada was struck by credit crunch in 2007- which advertises it using elderly puppets characters like Earl, Betty, and Joyce- lends over £1000 at a time.
The concern over the ease with which money can be borrowed from the company and other lenders at sky high rates of interest is growing. Also the critics claim that such options encourage people to further sink into debt by permitting loans to those who can't pay back loans.
Wonga approved 3.8million loans last year with an increase of nearly 60 per cent from last year, as per Wonga's financial report. The company now plans to expand its profit by allowing customers to buy luxury items that they would struggle to afford otherwise. It also has a pay later deal that lets the consumers to but high value goods like dishwasher, refrigerator or furniture up to £1000, with a 7% upfront charge on the price.
Critics Justin Welby, who is Archbishop of Canterbury, wants to create ethical lenders, but their aims lag far behind Wonga's victorious business model. But Matthew Lawrence from Institute for Public Policy Research says that critics were fighting a lost battle, adding: 'Bashing for Wonga is not working. Its ever increasing profits make it very clear that the campaign for reasonable, short-term credit is trailing, whereas Wonga is winning.'
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The Hameroff Law Firm in Tucson is routinely called upon to represent clients who have suffered catastrophic or life-altering injuries as a result of another's negligence. We have made it our mission to stand up for severely injured accident victims and their families in southern Arizona for over 25 years.
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Opening Fall 2019... The NEW Prairie Grove Library!
PG Community: We are pleased to present these preliminary images of our NEW Library provided by CannonDesign!The NEW Library is scheduled to open this Fall!
District Office - Winter Break Schedule: Thursday (12/27) & Friday (12/28) 8AM - 3PM Thursday (1/3/19) & Friday (1/4/19) 8AM - 3PM All other dates: Closed On behalf of the entire Prairie Grove Faculty, Staff, Administration & Board: We wish you a happy and safe holiday and a very Happy New Year!
The first community coffee for 2018-2019 will be WEDNESDAY, August 22, 2018 at noon and 7pm. All are welcome to share thoughts, praises, concerns, or questions regarding Prairie Grove CSD 46.


text:
Tokorozawa se poate referi la:

 Municipiul Tokorozawa, o localitate în Japonia.
 Asteroidul 7038 Tokorozawa, un corp ceresc numit după municipiul Tokorozawa.

redpajama_set_name: RedPajamaWikipedia


text:
Home » Americas » B.C.'s speculation tax brings in $115M, mostly from owners outside province
B.C.'s speculation tax brings in $115M, mostly from owners outside province
The B.C. government says it expects to collect $115 million from the first year of the speculation and vacancy tax, nearly all of which is coming from homeowners living outside the province.
The Ministry of Finance said Thursday all of that revenue will go towards new housing projects across B.C., and that less than 0.2 per cent of British Columbians had to pay this year.
"We wanted to get rid of speculators and people who don't pay taxes in British Columbia, and they'll now be contributing," Finance Minister Carole James said.
"We feel this is moving in the direction it needs to."
James also noted nearly half of the homes subject to the tax — 46 per cent — were more expensive than the vast majority of homes found to be exempt.
"We think this is a positive sign that the tax is targeting people where it should," she said. "These are higher-than-average valued homes. We're looking at $1.6 million, for example, which is a much higher price in the areas impacted by the tax."
Declaration forms for the tax, which applies a 0.5 per cent additional levy on the total value of applicable properties, were sent out to 1.6 million homeowners earlier this year.
James said the province has collected 98 per cent of completed declarations.
The completed forms showed 4,585 foreign owners and 3,241 satellite families will have to pay the tax as of July 4, making up 80 per cent of the total tax base.
Those people will face a higher tax rate of 2 per cent in 2019 and in all future years, according to the legislation passed last year.
Canadian citizens and B.C. residents subject to the tax will stay with the 0.5 per cent rate.
Homeowners subject to the tax had until July 2 to make their payments.
The revenue announcement comes as home sales continue to tumble in B.C.
The Greater Vancouver Real Estate Board said this past June saw the lowest sales since the year 2000, while the benchmark price for all homes fell below $1 million for the first time in two years.
Luxury home sales are also continuing to fall in Vancouver, according to Sotheby's International Realty Canada.
James said this is proof the tax is working, and isn't concerned about a projected loss of revenue from the property transfer tax as a result, adding it was built into the most recent budget.
"Dealing with this housing crisis, we knew there would be an area that would be impacted, and that's already been reduced in the budget," she said.
TD, Canada's HELOC juggernaut, tightens rules around lines of credit
Edmontonians to gather for Remembrance Day ceremony at University of Alberta on Sunday
Wintry weather prompts city of London golf courses to close for season
'There will be blood on all of our hands': London Mayor Ed Holder urges immediate action on street parties
Jeremy Hunt urges diplomats to 'keep speaking up without fear or favour'
Southern Alberta waste refinery turning trash into 'high-grade, low-cost' biodiesel
'It's about stability': Unifor union president supports Air Canada's bid for Transat
El Chapo 'Tried to Kill Me': A Final Witness Confronts the Drug Lord
Donald Trump's 'divisive comments' have no place in society, Andrew Scheer says


Emerging technologies and regulations have the power to create, shape or kill businesses. For the entertainment industry, among others, the European Union's (EU) General Data Protection Regulation (GDPR), a privacy regulation with worldwide implications that took effect on May 25, 2018, and blockchain technology, which has generated much attention in the entertainment sector for its decentralized digital currency and accounting capabilities, each embody forces that have the potential for such profound impact. Taken in tandem, the GDPR and blockchain highlight the possibilities and pitfalls of disruption and the importance of cross-organizational collaboration in compliance and innovation initiatives.


text:
Published on GoodMinds.com (https://goodminds.com)
Home > Indigenous Nationals, Canadian Citizens: From First Contact to Canada 150 and Beyond, paperback ed.
Indigenous Nationals, Canadian Citizens: From First Contact to Canada 150 and Beyond, paperback ed.
Courchene, Thomas J. [2]
Twelve [3]
Adult Education [4]
College [5]
University [6]
McGill Queen's University Press [7]
Inuit [8]
Iroquois [9]
Plains [10]
Number Pages:
Politics [11]
Justice [13]
Reconciliation [14]
Indigenous Nationals, Canadian Citizens: From First Contact to Canada 150 and Beyond by Thomas J. Courchene and published by the Institute of Intergovernmental Relations (Queen's University), is a view forward favouring regional and culturally focused institutions, rather than nationally focused strategies. This view is based on Courchene's perspective that Indigenous-state relations are transforming positively. This work is a proposal for a bold political and institutional infrastructure for Canada's First Nations as a vehicle for future socio-economic improvements. Indigenous Nationals, Canadian Citizens is comprised of six parts: Part 1, an Introduction and Socio-Economic Overview; Part 2, A Voyage to Hell and Back: From First Contact to Sesquicentennial; Chapter 3 Milestones in Canada-Indigenous Relations: From Columbus to the Constitution Act, 1982 including Supplement 3.1: The Iroquois in North America; Part 3, Indigenous Rights and Reconciliation; Part 4, Analytical Perspectives; Part 5, Voyages of Recovery, and a Part 6, a Pathway Forward for Treaty First Nations. Part 4, Analytical Perspectives, is comprised of four substantive chapters devoted to creating a political and institutional framework enabling Canada's First Peoples to be at the same time Indigenous Nationals and Canadian citizens. The author suggests that this combination will close the socio-economic gap with fellow Canadians. Chapter 7 discusses the analytical backdrop through three previously identified models: Enfranchisement: Canadian Nationals/Canadian Citizens using the Trudeau/Chretien and Flanagan models; Institutionalized Parallelism: Indigenous Nationals/Indigenous Citizens; and, Indigenous Nationals/Canadian Citizens – a Nation-Canadian state relationship. Chapter 8 includes Land Claim agreements that implement the Indigenous nationals/Canadian citizens model. Chapter 10 discusses a Commonwealth of Sovereign Indigenous Nations (CSIN) model loosely based on the Federation of Saskatchewan Indigenous Nations (this Federation's new name). This chapter outlines prerequisites for First Nations economic viability through the CSIN model by discussing property rights, CSIN-INAC relations, the Indian Act, territorial powers briefly overviewing spending powers, and natural resources powers. This overview of the CSIN includes personal jurisdiction powers, financing, taxation, Education on- and off-reserve, political federalism, urban reserves, an example Whitecap Dakota First Nation, and duelling economic models. Appendices and References are included.
Source URL: https://goodminds.com/indigenous-nationals-canadian-citizens-first-contact-canada-150-and-beyond-paperback-ed
[1] https://goodminds.com/sites/default/files/styles/large/public/6333.jpeg?itok=4FJFYGxA
[2] https://goodminds.com/authors/courchene-thomas-j
[3] https://goodminds.com/grade-level/twelve
[4] https://goodminds.com/grade-level/adult-education
[5] https://goodminds.com/grade-level/college
[6] https://goodminds.com/grade-level/university
[7] https://goodminds.com/publisher/mcgill-queens-university-press-0
[8] https://goodminds.com/nations/inuit
[9] https://goodminds.com/nations/iroquois
[10] https://goodminds.com/nations/plains
[11] https://goodminds.com/subject/politics
[12] https://goodminds.com/subject/law
[13] https://goodminds.com/subject/justice
[14] https://goodminds.com/subject/reconciliation


• Artists' Reception for Juxtapose Paper to Metal show, 5 p.m. to 7 p.m. Saturday, July 12, at Gallery 140, Las Vegas Arts Council building at 140 Bridge Street. The show features bronze sculptures by Jane Lumsden and watercolors by Jane Fritz. The show runs until July 26 at the gallery.


The high-powered 12-piece Tedeschi Trucks Band returned to Artpark on July 17 to headline "Tuesdays in the Park." Susan Tedeschi and Derek Trucks didn't disappoint, showing off their guitar licks and her vocal prowess. The backing band was solid, as well, providing a strong musical punch to each song.
Concertgoers also were impressed by opening acts The Marcus King Band and the Drive-By Truckers. See photos below, and read our interview with Tedeschi HERE.
Next up is all-star guitarist Warren Haynes and Gov't Mule. The band takes the Artpark Amphitheater stage on July 24. The show starts at 6:30 p.m. with opening act Lukas Nelson & Promise of the Real. For more information, or for tickets, visit www.artpark.net.


text:
Why politics sucks
Answer: because of liberalism. But I'm getting ahead of myself.
Item #1: The blogosphere is abuzz over this ad from Barack Obama's twitter account:
As many have pointed out, this tells you a lot about this how they see their own followers. I think it's even more insulting to Obama's non-followers: the very idea that grown men and women with jobs and families are going to change their opinion of the government taking over health care, just because a spoiled man-child came home from college for the holidays carrying marching orders from the president to harangue his parents with hope, change, and ironic eyebrows.
More on this in a moment, but first, item #2: Americans are sorting themselves into red and blue communities:
Democrats and Republicans are much less likely to live among each other than they were a generation ago.
Back in 1976 — the year of a close presidential election — just over a quarter of the population lived in "landslide counties," where the winning margin was greater than 20 percentage points. . . Last year, more than half the country lived in landslide counties. . .
States themselves have become more polarized, with most legislatures and governorships controlled entirely by one party. As a result, not only are blue and red states tracking different courses on just about every issue, but some people are seeking to escape their states.
But if Americans are sorting themselves into like-minded communities, are they doing so on purpose? In other words, are people voting with their feet by consciously moving to states or counties that reflect their own partisan preferences?
Researchers at the University of Virginia and the University of Southern California suggest that, yes, they may be.
This comes as no surprise to me. The fact is, blue-state liberals are very frequently a pain in the neck to work with. (Or to live with, I would guess, but fortunately I don't have pajama boy in my family.) Why? Because of the constant political harangues in what ought to be non-political contexts. Exactly the kind of harangues that President Obama is asking ironic pajama-clad children to inflict on their parents this Christmas.
Case in point: Years ago I related the story of how a discussion of candidates for an important position in my department was turned to a nonsensical slam on Sarah Palin, apropos of nothing at all.
Case in point: More recently, at a retirement party for a valued member of our faculty (who happened to be female), another faculty member launched into a speech about how the departing faculty member reminded him of Hillary Clinton who was then leaving her job as Secretary of State. This was intended as a high compliment. In fact, the comparison was absurd and insulting; the two women have nothing at all in common other than their gender, and the departing woman was quite accomplished, in contrast to Clinton's complete lack of any accomplishments at the State Department (unless you count her courageous stand against security at overseas consulates).
Case in point: More recently still, a colleague sent me an essay he wrote on the government shutdown. It rambled a bit, but I can summarize its key points: (1) Republicans claim to oppose Obamacare. (2) Obamacare is obviously great; no one could honestly oppose it. (3) So why are Republicans really shutting down the government? (4) It must be because they're racist. He asked me for my comments, which I duly provided him.
I could go on, but I won't. (Indeed, I'm leaving out the more painful harangues I've received.) In short, if blue-state liberals in general are anything like the liberals I know in ultra-blue academia, it's no wonder conservatives and libertarians prefer nothing to do with them.
For all I know, red-state conservatives are just as insufferable. To some extent, I'd be surprised if they weren't. Nevertheless, it's still the fault of liberalism. The phenomenon at work is the intrusion of politics into all aspects of life. To some extent that's because of the liberal media and the president's pajama-clad minions, but fundamentally it's because of the intrusion of government into all aspects of life.
Liberalism is at war with civil society. Civil society is the collection of disparate institutions, independent of the government, that make society work. The problem with civil society, to liberals, is that independence. Liberals can't control it, so sometimes it does things of which liberals don't approve. In fact, it often does such unacceptable things, since civil society, being made up of churches, other civic organizations, and individuals, has a strongly conservative character.
As a result, liberals have been very deliberately trying to crowd out civil society with government, by replacing activities that people just did on their own — but sometimes in a fashion that didn't comport with liberal preferences — with government programs that liberals can control.
For instance, in the Obamacare HHS mandate you see a very deliberate effort to get religious organizations out of the business of charity. For years, Democrats have been trying to raise taxes on charitable donations, since any monies spent by private charities would be better spent by the government.
As the government supplants more and more of civil society, and as it simultaneously takes increasing control of our individual lives, politics — which ought to be a sideshow — is becoming dreadfully relevant. We have to fight over it, because it affects us so much.
And that's why politics sucks. In part it's because of liberal jerks like Barack Obama's pajama-clad harangue brigade, but in greater part it's because of liberalism itself.
This entry was posted on Friday, December 27th, 2013 at 6:32 pm and is filed under Political. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
\section{\label{sec1}Introduction}

In the past few years, interesting properties of quark matter
with nonzero temperature and baryon density such as the phase diagram
in Fig.~\ref{fig:phase} have been extensively studied.
In particular, color superconductivity \cite{CSC}
is one of the most promising possiblities to occur
in such a system at low temperature because there exists an
attractive interaction between quarks on the Fermi surface through
the antisymmetric color $\bar{3}$ gluon exchange and it results in
the quark-quark (not quark-antiquark) pairing,
so-called {\it diquark condensate}.
So far, a lot of people have tried to investigate this
phenomena using different methods. At asymptotically
high density, one can perform the weak coupling analysis of QCD
and compute the superconducting gap \cite{son}. On the other hand,
at lower densities where the quark chemical potential $\mu$ is
of order 500 MeV, since QCD itself is not tractable in this strong
coupling regime and in addition there is a nortorious
sign problem on the lattice Monte Carlo simulation with
nonzero $\mu$, only some model studies (for instance,
the Nambu-Jona-Lasinio model) which mimic crucial features of QCD
such as chiral symmetry have been done so far \cite{NJL}.
According to these model studies, a phase transition between
hadronic phase and color superconducting one is suggested
to happen. Combining this
with the result of the weak coupling analysis,
we expect a similar phase structure is realized in dense QCD.

In the light of these current situations, the purpose of this
paper is to propose some new way of understanding a system of
dense quark matter based on {\it supersymmetric} (SUSY) QCD.
In SUSY gauge theories,
some exact nonperturbative results,
which are powerful tools to study the strong coupling dynamics,
have been already known \cite{review}.
It might be therefore interesting to investigate
color superconductivity using SUSY gauge dynamics and consider
whether we can obtain some insight into real QCD.
\begin{figure}
\begin{center}
\includegraphics[width=7cm,height=4cm]{paper.eps}
\end{center}
\caption{\label{fig:phase}
(Conjectured) phase diagram of hot and dense quark matter.}
\end{figure}

In \cite{HLM}, symmetry breaking pattern was studied
by using the exact results of SUSY QCD with nonzero chemical potetnial
and was compared to that obtained from the analysis via
nonsupersymmetric QCD \cite{schafer}.
One of the important observations is
that the chemical potential can be incorpolated as
the time component of a fictitious gauge field of
the $U(1)_B$ baryon number symmetry at zero temperature,
which leads to a tachyonic SUSY breaking scalar mass.
However, gauge {\em variant} quantities such as the diquark
degrees of freedom was not treated in their model.
In order to see what happens to the system at large chemical
potential, however, as has been already mentioned before,
it is indispensable to include that degrees of freedom.
Therefore in this paper we try to extend the work of \cite{HLM}
so as to involve gauge variant quantities at an intermediate
energy range.

Along these line of thought,
we propose
{\em a supersymmetric composite model of color superconductivity},
in which quarks and diquarks appear as massless composites
at low energy by a newly introduced strong coupling gauge dynamics,
not by QCD dynamics.
We find a certain parameter region where the scalar component of
diquark supermultiplet condensation occurs
when the chemical potetnial gets larger than some critical value.
Although our model is not fully realistic
in the sense that not diquarks themselves
but the scalar component of the diquarks supermultiplet condense,
nevertheless we believe that our model well captures some important
aspects of the diquark condensate and
helps our understanding for the color superconductivity in real QCD.
The results obtained here may give an interesting insight on the
phase structure at the intermediate region of the quark chemical
potential.

Let us explain our model,
which is based on a ${\cal N}=1$ SUSY $SO(N= N_f + 4)$ gauge theory
with $N_f$ vector representations \cite{IS}.
Its non-Abelian global symmetry $SU(N_f)$ is extended to
$SU(3)_C \times SU(N_f)_L \times SU(N_f)_R$ where
$SU(3)_C$(usual color symmetry) gauge theory is assumed to be weakly gauged
compared with $SO(N)$ gauge theory,
${\i.e.}\Lambda_{SO(N)} > \Lambda_{SU(3)_C}$ for the dynamical scales
of each gauge group.
Matter content is summarized below.
\begin{eqnarray}
\label{elementary}
Q &=& (\fund, \fund, \fund, {\bf 1})_{1,1,1}, \\
\bar{Q} &=& (\fund, \afund, {\bf 1}, \afund)_{-1,1,1}, \\
X &=& (\fund, {\bf 1}, {\bf 1}, {\bf 1})_{0, -6 N_f, 3 - N}
\end{eqnarray}
where the representations in the parenthesis are transformation properties
under the group $SO(N) \times SU(3)_C \times SU(N_f)_L \times SU(N_f)_R$,
where $N = 6 N_f + 5$ in the present case.
The numbers in the subscripts are charges for nonanomalous $U(1)$
global symmetries $U(1)_B \times U(1)_A \times U(1)_R$,
which each $U(1)$ symmetries are linear combinations of
the original anomalous $U(1)$ symmetries.
$U(1)_B$ is a baryon number symmetry which plays an impotant role
for considering the chemical potential effects.
$U(1)_A$ is a non-R symmetry and $U(1)_R$ is an R-symmetry.

$SO(N)$ gauge theory under consideration is asymptotically free
and known to be in a confining phase at the infrared (IR) \cite{IS}.
At the scale $\Lambda_{SO(N)}$,
the theory becomes strongly coupled and $SO(N)$ gauge invariant
composite fields appear
as massless degrees of freedom in the low energy effective theory.
\begin{eqnarray}
\label{comp1}
(Q^2) &=& (\afund, \asym, {\bf 1})_{2, 2, 2}, (\sym, \sym, {\bf 1})_{2,2,2}, \\
(\bar{Q}^2) &=& (\fund, {\bf 1}, \overline{\asym})_{-2, 2, 2},
(\overline{\sym}, {\bf 1}, \overline{\sym})_{-2,2,2}, \\
(X^2) &=& ({\bf 1}, {\bf 1}, {\bf 1})_{0, -12N_f, 6 - 2N}, \\
(QX) &=& (\fund, \fund, {\bf 1})_{1, 1 - 6N_f, 4 - N}, \\
(\bar{Q}X) &=& (\afund, {\bf 1}, \afund)_{-1, 1 - 6N_f, 4 - N}, \\
\label{comp2}
(Q\bar{Q}) &=& ({\bf 1}, \fund, \afund)_{0,2,2},
({\bf 8}, \fund, \afund)_{0, 2, 2}
\end{eqnarray}
where the representations in the parenthesis are
those under the group $SU(3)_C \times SU(N_f)_L \times SU(N_f)_R$.
The numbers in the subscripts are charges for nonanomalous $U(1)$ symmetries
$U(1)_B \times U(1)_A \times U(1)_R$.
Note that $Q^2(\bar{Q}^2)$ has symmetric (its conjugate) and anti-symmetric
(its conjugate) representations
under $SU(3)_C \times SU(N_f)_L \times SU(N_f)_R$
because $SO(N)$ indices are contracted
symmetrically and the superfields are bosonic.
The anti-symmetric ones correspond to ``diquark" superfield
responsible for the condensation
when the chemical potential becomes larger than some critical value.
$QX(\bar{Q}X)$ correspond to usual quarks (anti-quarks) superfields.
Thus, quarks and diquarks coexist as massless composites in the low energy.
As a nontrivial check that composite fields (\ref{comp1})--(\ref{comp2})
are appropriate massless degrees of freedom,
we can easily show that
the 't Hooft anomaly matching conditions for $[SU(N_f)_{L,R}]^3$,
$[SU(N_f)_{L,R}]^2 U(1)_{B,A,R}$, $U(1)_{B,A,R}$, $[U(1)_{B,A,R}]^3$,
$[U(1)_{B,A}]^2 U(1)_R$,
$[U(1)_{A,R}]^2 U(1)_B$, $[U(1)_{B, R}]^2 U(1)_A$
at the origin of the moduli space are satisfied
between elementary fields $Q, \bar{Q}, X$ and
all composite fields (\ref{comp1})--(\ref{comp2}).

The low energy effective superpotential is generated
by the gaugino condensation in the unbroken gauge group
$SO(N) \to SO(4) \simeq SU(2)_L \times SU(2)_R$;
\begin{eqnarray}
\label{superpot}
W_{{\rm eff}}
= 2(\epsilon_L + \epsilon_R)
\left( \frac{\Lambda_{SO(N)}^{6N_f+4}}{[{\rm det}(Q\bar{Q})] X}
\right)
\end{eqnarray}
where $\epsilon_{L,R} = \pm 1$ are phase factors reflecting
the number of SUSY vacua suggested from Witten index \cite{Witten}.

Since our interest is whether the condensation of the scalar component
of the diquark supermultiplet occurs or not
as the chemical potential changes, we need to estimate
the soft scalar mass squareds for composite fields,
whose sign indicate whether composite fields develop
vacuum expectation values (VEVs) or not.
In softly broken SUSY gauge theory,
it is well known that soft scalar masses in the IR region can be derived
from those in the ultraviolet (UV) region by the procedure in Ref.~\cite{AR}.
The effective K\"ahler potential for composite fields is fixed by symmetries
and the renormalization group (RG) invariance,
\begin{eqnarray}
\label{effkahler}
K_{{\rm eff}} &=& c_{(Q^2)} \frac{{\cal Z}_{(Q^2)}}{I} (Q^2)^\dag e^{2V_B} (Q^2)
\nonumber \\
&+& c_{(\bar{Q}^2)} \frac{{\cal Z}_{(\bar{Q}^2)}}{I}
(\bar{Q}^2)^\dag e^{-2V_B} (\bar{Q}^2)
\nonumber \\
&+& c_{(X^2)} \frac{{\cal Z}_{(X^2)}}{I} (X^2)^\dag (X^2) \nonumber \\
&+& c_{(QX)} \frac{{\cal Z}_{(QX)}}{I} (QX)^\dag e^{V_B} (QX) \nonumber \\
&+& c_{(\bar{Q}X)} \frac{{\cal Z}_{(\bar{Q}X)}}{I}
(\bar{Q}X)^\dag e^{-V_B} (\bar{Q}X) \nonumber \\
&+& c_{(Q\bar{Q})} \frac{{\cal Z}_{(Q\bar{Q})}}{I} (Q\bar{Q})^\dag (Q\bar{Q}),
\end{eqnarray}
where overall coefficients $c$'s are of order ${\cal O}(1)$ unknown constants.
The exponential factors for QCD are suppressed.
$V_B$ is a background vector superfield $U(1)_B$ with a VEV
$\langle V_B \rangle = \bar{\theta} \sigma^\mu \theta
\langle A_\mu \rangle, \quad \langle A_\mu \rangle = (\mu/g_B,0,0,0)$.
$g_B$ is a gauge coupling constant and
$\mu$ is a chemical potential, which breaks SUSY explicitly.
Therefore, we assume $\mu \ll \Lambda_{SO(N)}$ so
that we can make use of exact results of the SUSY gauge theory.
This VEV of the background vector field provides
additional tachyonic soft SUSY breaking scalar mass squareds
as discussed in \cite{HLM}.
Wave function renomalization constants $Z_i$ are promoted
to a superfield ${\cal Z}_i$
\begin{equation}
{\cal Z}_i = Z_i \left[ 1 - \theta^2 \bar{\theta}^2 m_{{\rm soft}}^2
\right]
\end{equation}
where $m_{{\rm soft}}$ is a soft SUSY breaking scalar mass in the UV
and taken to be universal.
The quantity $I$ is a spurious $U(1)$ symmetry and the RG invariant
superfield,
\begin{equation}
\label{invI}
I = \Lambda_h^\dag {\cal Z}^{2T/b_0} \Lambda_h
\end{equation}
where $T$ is the total Dynkin index of the matter fields,
$b_0$ is the 1-loop beta function coefficient and
$\Lambda_h = \mu_{UV} {\rm exp}[-8 \pi^2 S(\mu_{UV})/b_0],
S(\mu_{UV}) = \frac{1}{g^2}\left( 1+ \theta^2 \frac{m_\lambda}{2}\right)
(m_\lambda: {\rm gaugino~mass})$.
Note that a spurious $U(1)$ transformations are given by
\begin{eqnarray}
&&Q_r \to e^A Q_r, {\cal Z}_r \to e^{A+A^\dag}{\cal Z}_r, \\
&&S(\mu_{{\rm UV}}) \to S(\mu_{{\rm UV}})-\frac{T}{4\pi^2}A
\end{eqnarray}
where $A$ is a chiral superfield.

Now, the soft SUSY breaking scalar masses
for composites with the canonical kinetic term are obtained
by taking $\theta^2 \bar{\theta}^2$ terms
in Eq.~(\ref{effkahler}) \cite{footnote1},
\begin{eqnarray}
\label{scalar1}
\tilde{m}^2_{(Q^2)} = \tilde{m}^2_{(\bar{Q}^2)} &=& \frac{6N_f + 7}{2(3N_f + 2)}
m_{{\rm soft}}^2 -\mu^2, \\
\label{scalar2}
\tilde{m}^2_{(X^2)} = \tilde{m}^2_{(Q\bar{Q})} &=& \frac{6N_f + 7}{2(3N_f + 2)}
m^2_{{\rm soft}} > 0, \\
\label{scalar3}
\tilde{m}^2_{(QX)} = \tilde{m}^2_{(\bar{Q}X)} &=& \frac{6N_f + 7}{2(3N_f + 2)}
m_{{\rm soft}}^2 - \frac{1}{4} \mu^2.
\end{eqnarray}
For the case $\epsilon_L = -\epsilon_R$ with vanishing superpotetnial
in (\ref{superpot}),
the scalar potetntial consists of only the soft scalar masses
(\ref{scalar1})--(\ref{scalar3}).
We then immediately find from (\ref{scalar1})
that $\tilde{m}^2_{(Q^2)} = \tilde{m}^2_{(\bar{Q}^2)} < 0$ for
$\mu > \mu_* (\equiv \sqrt{\frac{6N_f + 7}{2(3N_f + 2)}} m_{{\rm soft}}
> m_{{\rm soft}})$.
This means that $\langle Q^2 \rangle, \langle \bar{Q}^2 \rangle \ne 0$
in that range of the chemical potential \cite{footnote2}.

Furthermore, if we take into account the most attractive channel
hypothesis \cite{MAC}, anti-symmetric part of
$Q^2 (\afund, \asym, {\bf 1})_{2, 2, 2},
\bar{Q}^2 (\fund, {\bf 1}, \overline{\asym})_{-2, 2, 2}$ are
likely to have VEVs since the force acting on $Q^2$ or $\bar{Q}^2$
by one $SO(N)$ gauge boson exchange is attractive.
On the other hand, the force is replusive in the symmetric case.
This is our main result that we wish to show.

We also note that $\mu_* > m_{{\rm soft}}$ implies
$\mu > m_{{\rm soft}}$ for the condensation of the
scalar component of the diquark supermultiplet to occur.
This leads to UV unstable theory
since the soft SUSY breaking scalar mass squared
in the UV becomes negative in the presence of the chemical potential,
$\tilde{m}^2_{Q} = m_{{\rm soft}}^2 - \mu^2 < 0$.
We therefore add SUSY mass terms
\begin{equation}
\label{SUSYmass}
W = m_{ij} Q_i \bar{Q}_j, \quad m_{ij} = m \delta_{ij}
\end{equation}
where the mass is taken to be flavor diagonal
to preserve the most global symmetry.
For the UV theory to be stable,
$\sqrt{m^2 + m_{{\rm soft}}^2} > \mu$ is required.
The SUSY mass term (\ref{SUSYmass}) can be rewritten in the IR
as the linear term of composite,
\begin{equation}
\label{SUSYmass1}
W = m (Q\bar{Q}),
\end{equation}
which breaks SUSY spontaneously.
We also have to impose the condition $m \ll \Lambda_{SO(N)}$ to
use the exact results of SUSY gauge theory reliably.

Combining these facts,
we can obtain
the diquark supermultiplet
the scalar component of the diquark supermultiplet condenses
at some critical value of chemical potenial $\mu_*$.
We cannot determine exactly where the scalar component of
the diquark supermultiplet stabilize,
but in a region where the field VEV is much larger than $\Lambda_{SO(N)}$,
elementary fields are appropriate variables,
we know that the potential is stabilized by SUSY mass terms.
This implies that the VEVs of the scalar component of
the diquark supermultiplet should
be stabilized at certain value.

One may find from (\ref{scalar3}) that composite squarks develop VEVs
$\langle QX \rangle, \langle \bar{Q}X \rangle \ne 0$
for $\mu > 2 \mu_*$ if $2\mu_* < \sqrt{m^2 + m_{{\rm soft}}^2}$.
However, the scalar component of the diquark supermultiplet
condenses as far as the chemical potential
is larger than the critical chemical potential value $\mu_*$.
In order to analyze the theory in such a case,
we have to expand our theory around the VEV of the scalar component
of the diquark supermultiplet condensation.
Therefore, the above description of the squark condensation
is left untouched at the present stage.

\begin{figure}
\begin{center}
\includegraphics[width=\columnwidth,height=2cm]{scale.eps}
\end{center}
\caption{\label{fig:scale} Relation among various scales are displayed.
Horizontal axis means the energy scale.
The possible range of the chemical potential is
below $\sqrt{m^2 + m^2_{{\rm soft}}}$.
There is no condensation when the chemical potential is
between QCD scale $\Lambda_{{\rm SU(3)}}$ and
the critical chemical potential $\mu_*$.
The condensation of the scalar component of the diquark supermultiplet
occurs when the chemical potential is
between $\mu_*$ and $\sqrt{m^2 + m^2_{{\rm soft}}}$.
UV theory becomes unstable if the chemical potetntial
is beyond the scale $\sqrt{m^2 + m^2_{{\rm soft}}}$.}
\end{figure}

The above argument for the behavior of the scalar component of
the diquark supermultiplet or
squark supermultiplet condensation is valid for the vanishing superpotential
with $\epsilon_L = - \epsilon_R$ in (\ref{superpot}).
For the case with $\epsilon_L = \epsilon_R$, on the other hand,
it is found that the scalar potenial is very complicated,
\begin{eqnarray}
\label{potential}
V &=& \left( \frac{\partial^2 K_{{\rm eff}}}{\partial \Phi_i \partial \Phi^*_j}
\right)^{-1} \left( \frac{\partial W_{{\rm eff}}}{\partial \Phi_i} \right)
\left( \frac{\partial W^*_{{\rm eff}}}{\partial \Phi^*_j} \right)
\Lambda^2_{SO(N)} \nonumber \\
&+& \frac{1}{\Lambda^2_{SO(N)}} \left[
\tilde{m}^2_{(Q^2)}|(Q^2)|^2 + \tilde{m}^2_{(\bar{Q}^2)} |(\bar{Q}^2)|^2
\right. \nonumber \\
&+& \left. \tilde{m}^2_{(X^2)} |(X^2)|^2
+ \tilde{m}^2_{(QX)} |(QX)|^2 \right. \nonumber \\
&+& \left. \tilde{m}^2_{(\bar{Q}X)} |(\bar{Q}X)|^2
+ \tilde{m}^2_{(Q\bar{Q})} |(Q\bar{Q})|^2 \right]
\end{eqnarray}
where $\Phi_i$ denote the scalar component of composite superfields,
$K_{{\rm eff}}$ is given by (\ref{effkahler})
and $W_{{\rm eff}}$ is the sum of the superpotential (\ref{superpot})
rewritten in terms of composites and (\ref{SUSYmass1}).
Therefore, we give here a qualitative discussion
on the scalar potential behavior
instead of performing an explicit minimization of the scalar potential.
Note that F-term contributions to the scalar potential
in the first line of (\ref{potential}) have a runaway behavior,
which make the fields VEV away from the origin.
For $\mu=0$, all SUSY breaking scalar mass squareds are positive,
which set the fields VEV at the origin.
Therefore all composites are expected to develop nonvanishing VEVs
by balancing terms between the runaway potential
and the SUSY breaking scalar mass terms.
Even if we take into account that
the scalar diquark mass squareds become negative for $\mu > \mu_*$,
qualitative features of phase transition remains unchanged.
In any case, the case of nonzero superpotential with $\epsilon_L = \epsilon_R$
in (\ref{superpot}) is irrelevant to the phase of color superconductivity
of our interest.
Even if we compare the vacuum energy in both cases,
the case with vanishing superpotential seems to be energetically favored.

In summary, motivated by the work of \cite{HLM},
we have tried to construct a toy model where gauge noninvariant operators
are taken into account in SUSY gauge theories.
We have proposed a SUSY composite model of color superconductivity,
which is based on an $SO(N)$ gauge theory with $(N-4)$ vector representations
\cite{IS}.
Our model is in a confining phase for $SO(N)$ gauge dymanics
at low energies,
in which quarks and diquarks are generated dynamically
as composite fields
satisfying anomaly matching conditions.
We have shown that the scalar component of the diquark supermultiplet
condensate occurs
when the chemical potential becomes larger than some critical value
$\mu_{*} = \sqrt{\frac{6N_f+7}{2(3N_f+2)}} m_{{\rm soft}}$.
Our model is valid
in the parameter region
$\Lambda_{{\rm SU(3)}} < \mu < \sqrt{m^2 + m^2_{{\rm soft}}}$,
where the upper bound is required for the theory to be stable in the UV
and the lower bound implies that we consider the theory
where quarks are deconfined.
Although the model is not fully realistic
in that the scalar component of diquark supermultiplet
(not diquarks themselves) condense,
we believe that it well captures some important
aspects of the diquark condensation behavior and helps our
understanding for the color superconductivity in real QCD.
If there is a certain intermediate region of the chemical potential
where quarks are deconfined but not superconducting yet,
owing to the strong quark-quark correlation, the system may be
well described by a compositon of quarks and diquarks. Then
the analysis performed in this paper will help us with
comprehending the behavior of such a system.

As future directions,
it is interesting to extend our analysis to other flavor cases
with various phases other than the confining phase.
In particular, it might be possible to obtain better and more realistic
understanding for the diquark condensation behavior
by exploiting Seiberg dual magnetic description \cite{Seiberg}.
In order to fully understand the phase structure of QCD,
it is necessary to take into account the finite temperature effects.
It is therefore indispensable to consider our model extended to
five dimensional spacetime compactified on $S^1$,
and then to study the scalar component of the diquark supermultiplet
condensation behavior
on the temperature-chemical potential plane as shown in Fig \ref{fig:phase}.

\begin{acknowledgments}
We would like to thank Masashi Hayakawa for valuable discussions
at various stages of this work.
We are supported by Special Postdoctoral Researchers Program at RIKEN
(No.~A12-52040(N.M.) and No.~A12-52010(M.T.)).
\end{acknowledgments}

redpajama_set_name: RedPajamaArXiv


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text:
MainAll NewsUS & CanadaUS Approves Waiver to Lift Sanctions on Iran
US Approves Waiver to Lift Sanctions on Iran
It's official: the US approves waiver of select sanctions in Iran, claims Iran has begun curbing nuclear program.
Tova Dvorin, 21/01/14 03:45
Bushehr nuclear reactor
It's official: the US has approved a waiver Monday to lift some sanctions on Iran, claiming that the Islamic Republic has taken measures to curb its nuclear weapons program.
"Iran has begun to take concrete and verifiable steps to halt its nuclear program," State Department spokeswoman Jen Psaki said, quoted by AFP. She added that it was "an unprecedented opportunity" to resolve global concerns over the program.
US Secretary of State John Kerry has approved the waiver to lift sanctions, and it will be sent to Congress later Monday, according to Psaki.
White House spokesman Jay Carney hailed Iran's actions as "an important step forward."
"These actions represent the first time in nearly a decade that Iran has verifiably enacted measures to halt progress on its nuclear program, and roll it back in key respects," he said in a statement.
"Iran has also begun to provide the IAEA with increased transparency into the Iranian nuclear program, through more frequent and intrusive inspections and the expanded provision of information to the IAEA."
The approval comes just hours after the European Union (EU) reportedly began lifting sanctions as well, after the UN's atomic watchdog confirmed that Tehran had halted production of 20 percent enriched uranium in line with the interim deal reached between Iran and world powers in November.
Earlier Monday, Israeli Prime Minister Binyamin Netanyahu vowed not to let Iran become a nuclear power, warning that an interim deal would have no effect on the Islamic state's intent to destroy Israel.
"The interim agreement which went into force today does not prevent Iran from realizing its intention to develop nuclear weapons," Netanyahu stated on the Knesset plenum. "This objective is still before us."
Netanyahu compared Iran's bid for a nuclear weapon to a train which needed to pass three stops en route to building a military capacity: enriching uranium to 3.5 percent, enriching to 20 percent and a "final stop" of enriching to 90 percent.
"The Geneva Agreement cancelled the 20 percent stop but left the train on the track... so that one day, Iran will be able to rush forward to the final stop, on an express track, without slowing down for the interim stops," he said. "In a permanent agreement, the international community must get the Iranian nuclear train of the track."
"Iran must never get the ability to build an atomic bomb."
Maariv reported earlier this week that Netanyahu has been trying to prevent the deal from going through by any means necessary, using intelligence officials to search for possible breaches in the agreement.
While those reports remain unconfirmed, another possibility remains: a military strike. Deputy Defense Minister Danny Danon hinted in a Politico article Sunday that Israel may resort to a strike if necessary, citing earlier examples of Israeli military action without US approval.
Tags:Iran, European union, IAEA, Netanyahu, Danny Danon, US-Iran, Israel-US, Nuclear Iran, Iran deal


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text:
Home / The Fair Re-Tale
Aline Lima, Part I
Aline Lima
Co-founder, SixtyNinety
With a dream of creating a business that would connect her to her home of Brazil, Aline Lima and her best friend, Daniela Trece, began by buying products from Brazilian brands and selling them in London. It was while doing so that they discovered Amni Soul Eco®, the world's first biodegradable synthetic fibre. Inspiration struck and the transition from buyer to designer became natural as the duo created SixtyNinety.Initially launching with activewear, Aline's and Daniela's love of bikinis led them to shift the brand and focus on swimwear.
SixtyNinety collections feature the best cut swimwear and beachwear made in an eco-friendly and sustainable way. In addition to using sustainable fabrics, the brand produces 100% of its designs in a small factory in Brazil, that is being run by women. Trust a Brazilian to know her swimwear, and to prove that sustainable is sexy.
The low down - about your brand, in your own words
SixtyNinety is a sustainable swimwear brand that's competing in an unfair market, where fast fashion brands have a much bigger margin.
How would you say your brand reflects you?
SixtyNinety is a projection of our own beliefs. We're encouraging people to consume in a conscious way. We're also empowering women in our home country of Brazil through fair pay job opportunities. We ourselves are conscious consumers and through our brand, we're making others become so too.
What motivated you to launch it and more than that, to make it sustainable?
We always wanted to start a business that would connect us to Brazil. At first, we were buying different Brazilian brands and selling them, mainly in London. We then discovered the biodegradable fabric that we now use, and from there the sustainable path just felt very natural.
It's About the Journey
The early days, how your career started
We started by traveling together to São Paulo and searching for brands we liked. It was always fun. We wanted to bring something different to the UK, something very Brazilian.
Dani and I have always loved Brazilian swimwear. Each time we would go home, we'd come back with lots of new pieces. During one of our pop ups, we decided to sell some of the brands we liked and it turned out so well. We then decided to focus and develop SixtyNinety into a swimwear brand.
Comedy of errors - one day, I'll look back and laugh at this (which I can now)
We always say we choose to learn the hard way. So many little mistakes, which were not funny at that time. But the main ones included trusting the wrong people - we had to sweat so much to make orders and meet deadlines because of dishonest suppliers. This included spending the whole night at airport depots to collect products. We learned the hard way that it takes time to find the correct people to work with, and those you can trust.
Blindside - what you didn't know and wish you had going into it
Accountancy - it took a little while until we managed to understand VAT returns, import tax and corporate tax. HMRC and Companies House was a big grey area at the beginning.
What keeps you busy, what's currently on your plate?
We don't have a routine, every week is different. There are a lot of things that keep us busy - from designing the collections, creating samples, having photoshoots, and putting together catalogues, to organising events, pop up shops, finding buyers, sending orders, and making payments etc. Every day is different and the best ones are when we manage to end the day with a nice workout class and a bit of quality time with friends.
The best "advice" that you DIDN'T follow
So many people told us to have our production done in China. However, the DNA of our brand is Brazilian - we want to stay true to it and keep it that way. We really love working in Brazil.
...But Make It Fashion
Your first fashion memory and forever favourite fashion item/s
My mom's wedding dress - very 80's, huge with puffy sleeves.
What do you like and dislike most about fashion?
I love to see so many brilliant, creative minds putting so much passion into new creations. I hate seeing what the fast fashion industry has done, especially in places like Bangladesh.
Who inspires you in life and in fashion?
Alexander McQueen - if you haven't seen the documentary about him, please do.
Let's Get a Bit Personal
Full speed ahead - what keeps you going, what's next?
Our ambition is to create something big and to be part of such an important change in the fashion industry.
The milestones, the moments that make it all worth it
When we receive all the amazing positive feedback from our friends, and even more so when we receive them from girls we don't know, and then when we see them come back and buy again.
"Experience life in all possible ways-
good-bad, bitter-sweet, dark-light,
summer-winter. Experience all the dualities.
Don't be afraid of experience, because
the more experience you have, the more
mature you become."
- Osho
To see a better world - cleaner, in peace, where people respect each other and the planet.
At the end of the day...
It's all about balance and putting love into what you do.
Continue reading Part II of Aline's interview here.
All media courtesy of Aline Lima and SixtyNinety.


I'm back at the high school where I burned a lot of bridges and hurt a lot of people. Only this time, I'm not a student…I'm a teacher. I want to repair the damage I caused and move on…hopefully with Bennett Sawyer.
I'm stunned when I find out Bennett just so happens to be one of my new students—and the principal's son. I didn't know it when we began dating, and now we've got to put an end to our relationship, or risk losing everything.
With a smile like his, and a body to die for, can I stay away from him and pretend he means nothing…until he graduates in ten weeks?


text:
Уле́єво (, ) — село у складі Бірського району Башкортостану, Росія. Входить до складу Бахтибаєвської сільської ради.

Населення — 101 особа (2010; 125 у 2002).

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