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January 22, 2019
Oscar Nominations 2019: Olivia Colman, 'Black Panther' And 'A Star Is Born' Lead Academy Award Nominees
Who are you rooting for?
It's been nearly been a full 12 months since Frances McDormand gave her stand-out speech at the 2018
, which means it's officially time to find out who could be following in her footsteps.
With just over a month to go until the 2019 Academy Awards, the nominations are in and plenty of our favourite stars and films have made the cut.
See the full list of nominees below...
Best Film
Black Panther
'Bohemian Rhapsody'
'The Favourite'
'Green Book'
A Star Is Born
Best Actress
Yalitza Aparicio, 'Roma'
Glenn Close, 'The Wife'
Olivia Colman
, 'The Favourite'
Lady Gaga, 'A Star Is Born'
Melissa McCarthy, 'Can You Ever Forgive Me'
Best Actor
Christian Bale, 'Vice'
Bradley Cooper, 'A Star Is Born'
Willen Defoe, 'At Eternity's Gate'
Rami Malek, 'Bohemian Rhapsody'
Viggo Mortensen, 'Green Book'
Best Supporting Actress
Amy Adams, 'Vice'
Marina De Tavira, 'Roma'
Regina King, 'If Beale Street Could Talk'
Emma Stone, 'The Favourite'
Rachel Weisz, 'The Favourite'
Best Supporting Actor
Mahershala Ali, 'Green Book'
Adam Driver, 'BlackKklansman'
Sam Elliott, 'A Star Is Born'
Richard E Grant, 'Can You Ever Forgive Me'
Sam Rockwell, 'Vice'
Best Director
Spike Lee, 'BlacKkKlansman'
Pawel Pawlikowski, 'Cold War'
Yorgos Lanthimos, 'The Favourite'
Alfonso Cuarón, 'Roma'
Adam McKay, 'Vice'
Best Original Song
'All The Stars', Black Panther
'I'll Fight', RBG
'The Place Where Lost Things Go', 'Mary Poppins Returns'
'Shallow', 'Star Is Born'
'When A Cowboy Trade His Spurs For Wings', 'The Ballad Of Buster Scruggs'
Best Original Score
'Black Panther'
'If Beale Street Could Talk'
'Isle Of Dogs'
'Mary Poppins Returns'
Best Foreign Language Film
'Capernaum', Lebanon
'Cold War', Poland
'Never Look Away', Germany
'Roma', Mexico
'Shoplifters', Japan
Best Live Action Short Film
Best Animated Feature
'Incredibles 2'
'Isle Of Dogs'
'Ralph Breaks The Internet'
'Spider-Man: Into The Spider-Verse'
Best Animated Short Film
'Animal Behaviour'
'Late Afternoon'
'One Small Step'
Best Documentary Feature
'Free Solo'
'Hale County, This Morning This Evening'
'Minding The Gap'
'Of Fathers And Sons'
Best Documentary Short
'Black Sheep'
'End Game'
'A Night At The Garden'
'Period. End Of Sentence.'
Best Adapted Screenplay
'The Ballad Of Buster Scruggs'
'Can You Ever Forgive Me?'
'If Beale Street Could Talk'
'A Star Is Born'
Best Original Screenplay
'The Favourite'
'First Reformed'
'Green Book'
Best Cinematography
'Cold War'
'The Favourite'
'Never Look Away'
'A Star Is Born'
Best Costume Design
'The Ballad Of Buster Scruggs'
'Black Panther'
'The Favourite'
'Mary Poppins Returns'
'Mary Queen Of Scots'
Best Make-Up And Hair-Styling
'Mary Queen Of Scots'
Best Production Design
'Black Panther'
'The Favourite'
'First Man'
'Mary Poppins Returns'
Achievement in Sound Editing
'Black Panther'
'Bohemian Rhapsody'
'First Man'
'A Quiet Place'
Best Sound Mixing
'Black Panther'
'Bohemian Rhapsody'
'First Man'
'A Star Is Born'
Best Visual Effects
'Avengers: Infinity War'
'Christopher Robin'
'First Man'
'Ready Player One'
'Solo: A Star Wars Story'
Achievement In Film Editing
'Bohemian Rhapsody'
'The Favourite'
'Green Book'
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text:
Monday, October 29, 2007
Irresponsible Writing
J.T. Ellison's debut thriller novel, ALL THE PRETTY GIRLS, is now available. She is the Friday columnist at Murderati.com and is a founding member of KillerYear, an organization promoting the best debut novelists of 2007. You can learn more about J.T. on her website at http://www.jtellison.com.
"Irresponsibility is part of the pleasure of all art; it is the part the schools cannot recognize." --James Joyce
Playing by the rules. We're conditioned to follow the righteous path, to stick with the proverbial straight and narrow. Yet how many times have you heard of the person who broke all the rules, got the agent through a flamboyant attempt, landed an unheard of deal for a book that no one had ever thought to write? Writing workshops, conferences, blogs and listserves counsel new writers to always, always follow the rules. So why is it, when we hear the success stories, the rule breakers are the ones with the clout?
Let me back up for a moment. Stephen King makes the excellent point that if you're going to be a writer, you need to know the rules. The Writer's Toolbox, he calls it, the fallback position for every writer. Vocabulary, grammar, sentence structure – all of these individual tools are essential to writing a good book. The trick is to know the rules well enough that when you break them, you're doing it on purpose, for a specific effect.
So when you have your toolbox chock full of every imaginable instrument, and you're the Yo-Yo Ma of the dangling participle, what then? How do you know when to break the rules? How do you know that it's okay to take a chance?
This is a subject I've been dealing with for years. In college, I fancied myself a poet. I studied the masters, soaked up all the guidance my professors gave me. I wrote and wrote and wrote, trying for this idealized version of prose that I was being taught was the "right way" to write. I was surrounded by award-winning literati, ate, drank and slept Donne and Tennyson, could recite couplets from Shakespeare with ease. But something was missing. I kept writing these poems and stories, kept getting feedback that I wasn't hitting the mark. I worked hard on my craft, searching for that elusive something that would gain glory and praise. After I submitted one particular story that I just knew was going to knock their socks off, the feedback was terse. "Reads too much like B-grade detective fiction."
That week ended on a real high when my other professor, the young literati poet, the one with the flowing black hair and groovy pink and tortoise glasses, the bohemian whom I admired and attempted to emulate, pulled me aside. "You're not going to get published," she said. "The chance of this kind of work making it in the real world is limited. You should focus on your other studies."
SLAP! The glory, the creativity, the late nights watching snowflakes drift to the ground and trying to describe them individually, gone. Like a stupid, impressionable kid. I listened. I stopped writing.
I still read. Depressed as only a thwarted writer can be, I secretly imbibed to excess on my favorite poets, wondered at their ability, knew that I'd never be at their level. Somewhere, deep down, I believed my favorite little bohemian was right. I wasn't good enough. Damn it, I followed all the rules, and I just wasn't good enough.
Later in the semester, desperate for work to submit so I wouldn't fail the course, I branched away from what the teachers were selling. I happened across a book by a man I'd never heard of. College is the time of discovery, right? The book was "HOWL and Other Poems," by Allen Ginsberg. It knocked my socks off. I didn't understand it, deconstructed and looked for the hidden metaphor, the meaning behind the words. I still didn't get it. Then I just read the poems. I let the words be what they were, not a symbolic journey through allegory, but naked, hysterical truth.
With Ginsberg's irreverence flowing through my work, I finished my thesis. It garnered lukewarm praise. The tiny little bud of creativity I'd been nurturing went dormant.
I'm ashamed now to admit that after my dismal last semester in school, I did focus on my other studies. I went into politics, had a nice career, moved into marketing, had a nice career, lost my job, moved to a new state, was bored to tears. Started to read again, really read, the way I'd done in college. Reading to learn is much different that reading to entertain. And these new writers I discovered weren't following the rules I knew.
I wrote the requisite manuscript that lives in a drawer back in 2004. I heard the voice of my professors on every page. The "not good enough" and "B-grade detective fiction" became a mantra. But I used them to drive me forward rather than allowing them to hold me back. I broke some of the rules they'd told me not to. In the end, the book wasn't great, but I decided to send it out. It got a wad of rejection letters, one of which changed me yet again. "The writing is excellent, but there's nothing here to differentiate it from other manuscripts we're receiving."
Well. We're making progress, I think.
I chucked it all then. Threw out every single damn rule I'd been taught. Wrote the book I wanted to read. Wrote like the wind. That one got me an agent, but didn't sell. Timing this time, not any fault of mine. Instead of pulling back, I did it again. That one sold.
Don't get me wrong. I don't think I'm changing the course of humanity with my work. But I'm writing for me. I'm writing that tone, that voice that so disturbed my professors in college. They called it B-grade detective fiction. I call it a thriller.
Stuart Woods told me once, "The only rules are those you create, page by page." That one sentence was better writing advice than anything the professional teachers ever gave me.
So know the difference. When an agent asks for a submission on green paper with 2 inch margins and courier font, you sure as hell better listen to them. But when your heart and your soul are telling you to try something different, to break the mold, to throw caution to the wind, listen. Listen, and succeed.
(Thanks so much for letting me guest blog today. This was terrific!)
9 comments:
- Annette said...
Welcome to Working Stiffs, JT. And what a thought provoking post! I'm a great proponent of learning the rules and then breaking them as you see fit. Thanks for showing me that I might be right!
Thanks, J.T. for your blog! I do think art is all about knowing the rules and knowing when to break them. And also about taking criticism with a grain of salt!
I wrote for 5 years without letting anyone see my work, just so I could explore what I wanted to write without getting it mixed up with what others wanted to read. The theory was, after that, I'd be more immune to criticism. I'm not sure it worked, but it did help me understand the difference between writing for myself and others.
I think what helps me most in dealing with criticism is my rule of thumb that when people don't like something, they accurately sense there's a problem, but their advice on how to fix it can be way off. That helps me keep things in perspective.
- Joyce Tremel said...
Great post, JT. I can't wait to read your book.
I agree that you have to know the rules before you can break them.
One thing that struck me is that you wrote the book you wanted to read. I think that's important. The old rule to write what you know doesn't always work, and you can always learn what you need. If you don't love what you're writing, the reader won't either.
Thanks for visiting today!
My favorite college professor told me I'd never get an acting job until I was 50. Well, now I'm 50 (ish!) and I've written nearly 50 novels---a much more entertaining, lucrative and sane life than I'd have had if I'd stuck with the theater. I'd love to go back to school to remind him of what he said to me . . . but he's dead. Which, typing this now, makes me smile. Egad!!
Nice to see you here, JT! I hope you sell gazillions of this book!!
Welcome, J.T., and congratulations on the publication of your debut novel!
When I was in college, I had a writing professor tell me I didn't have a future as a published writer. Ever since that day, I've been working toward proving her wrong. It's funny how those negative experiences sometimes stick with us more than the positive ones.
I have a lot of respect for writers who can skillfully break the rules and still write a great book. In my current manuscript, I'm breaking some of my own rules, and the process is very liberating.
- JT Ellison said...
Hi WS --
Thanks so much for having me today! I enjoyed writing this essay. I told Kristine last night -- I've grown a lot as a writer in the past couple of years, and the rule breaking is soooo satisfying.
Annette, Tory, Joyce -- Keep writing what you love. The market is what it is, you might as well be able to sleep at night.
Hi Nancy! Hope you've sufficiently recovered from the phalanx of conferences this summer.
Tell Pittsburgh hello for me! My Dad's from Coraopolis, and I have lots of family in the area, so I'm a big fan.
- Joyce Tremel said...
Wow, JT. You even know how to spell Coraopolis!
- Martha Reed said...
JT, thanks for the inspiration! I agree with you - writing is too hard to do if you try to make it fit. Where's the fun in that? Thanks for the excellent post!
- JT Ellison said...
LOL, Joyce. It's a tricky one, for sure.
Martha, you've hit the nail on the head. Regardless of what you're writing, it's supposed to be fun.

subset: commoncrawl


text:
You are here: Home»Leisure and culture»Sport and fitness»Sport and leisure facilities
There are a range of state of the art facilities at the school which are available to anyone in the community, including:
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The school will be available for community use Monday-Friday 6pm-10pm, Saturday 9am-1pm and Sunday 10am-2pm.
Find out more on the re:fresh website


text:
Ever wonder what it's like to fall on the third rail? Just ask Andy Morris, who was thrown onto the tracks in East New York: "He first started twitching and then you started seeing smoke coming from his head." Ouch.
Morris, "a down-on-his-luck construction worker", got into a drunken fight on Monday with two other men that lasted for about 10 stops on the A train. According to the Daily News, the brawl moved onto a station platform and Morris was tossed onto the tracks allegedly by an onlooker.
He first started twitching and then you started seeing smoke coming from his head," said Marlon Probherbs, 23. "You could smell the flesh burning."
I just heard a commotion," said Probherbs, of Brooklyn. "Then I saw him go flying off the platform and he went face-first onto the third rail.
No arrests have been made, and Morris is recovering in the hospital. He told the paper that his "fingers are fried". [NYDN]
Republished from Gawker.


text:
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'Grand Prix' - the out-takes?
Posted 06 November 2003 - 22:04
And thank you Ray for putting them here !
Posted 07 November 2003 - 09:12
Originally posted by Dennis Hockenbury
Fantastic pics all.
Has anyone purchased the "Making of Grand Prix" DVD that can provide comments on this. I have read a few remarks on Amazon that basically said....."Don't bother".
I've bought it and it's a big pile of crap.
3 minutes of stock footage on the "making of grand prix" then 60 minutes of crap like stuntcar drivers, indy 500 winners and taffy von trips crashing at Monza WTF?
Posted 19 November 2003 - 22:55
French TCM don't seem to have the same programme as UK TCM, so the following schedule may only apply to viewers in France and French-speaking Switzerland :
Saturday 22nd: 15:45
Monday 24th: 6:40 am
Wednesday 26th: 2:40 am (Tue-Wed night)
Thursday 27th: 18:00
Sunday 30th: 11:25 am
TCM US also have this page with 3 video clips of the movie :
Posted 21 November 2003 - 19:33
Posted 22 November 2003 - 05:22
At the movie a 9 x 12 16-page booklet was available for sale for $1.00. I bought one. It was produced by MGM and contained many pictures of the actors, drivers (Chris Amon (I think) included with cameras taped to his helmet), filming, circuit diagrams of Nurburgring-Monza-Brands Hatch-SPA-Zandvoort-Rheims-Mexico City-Watkins Glen-Monaco-Clermont Ferrand, movie scenes, bxw photos behind the scenes etc. I truly wish I had bought a baker's dozen of these booklets at the time.
One very important quote in this booklet is from Jim Clark:
"It is satisfaction, it is disappointment, it is triumph, it is noise, it is color, it is people. For the driver each race is a new adventure."
Jim Clark
World Champion '63, '65
There's more in this book you may want to read such as Circuit Sayings, names of drivers and backgrounds. Just ask.
Posted 22 November 2003 - 15:56
I still have mine as well Michael. As a budding enthusiast at the time, I must have read that booklet a thousand times.
Originally posted by Magee
At the movie a 9 x 12 16-page booklet was available for sale for $1.00. I bought one. It was produced by MGM and contained many pictures of the actors, drivers (Chris Amon (I think) included with cameras taped to his helmet), filming, circuit diagrams of Nurburgring-Monza-Brands Hatch-SPA-Zandvoort-Rheims-Mexico City-Watkins Glen-Monaco-Clermont Ferrand, movie scenes, bxw photos behind the scenes etc.
Posted 10 December 2003 - 15:38
Originally posted by Magee
At the movie a 9 x 12 16-page booklet was available for sale for $1.00
Yes, I still have my original programme too, carefully preserved, and all the articles or snippets from books and magazines over the years.
There was a lot of good stuff in the Jim Russell biography published a couple of years ago and currently at sale price from Chater's etc.
I've sent a couple more pictures to Ray Bell, which I hope he will find time to post for me.
Posted 10 December 2003 - 17:01
Does your pics really have embedded engine sounds or is it just for me?
Thanks for the memories!
Posted 10 December 2003 - 17:02
Not that they're lost, but I sort of put them aside and lost them. It will be a couple more weeks now, sorry...
Posted 15 December 2003 - 10:45
Has anybody ever heard of a surviving Lotus 20 or 22 with an unusually long chassis?
It may be that it was written-off during the making of the film; which may be why in the film Garner later drives a 'Yamura' faked-up Lotus 25 - but then if he had trouble getting in a 20/22, how on earth did he fit into a 25, which was designed around the compact form of Jim Clark?
Posted 19 December 2003 - 17:18
"Bonnier started practice in a BRM engined car but the engine blew up early on. He changed to a Climax car which he raced."
There's a new book out, a large-format photo-history of every car in every WC GP since 1950, by Simon Arron and Mark Hughes (funny, I thought he was a football manager).
While there are a couple of transposed photos, overall it is excellent, and there are pictures of cars I have never seen before. One is of Bonnier in a Brabham at the British GP at Brands, a plain dark blue (no noseband) Climax-engined car - I wonder if it was the same car he drove for Rob Walker in 1965.
Paul Mackness
Posted 08 January 2004 - 11:35
In the first article it mentions that they had bought six real F1 1.5 litre cars for filming; I guess that would be Lotus 25/33s R6 and R9, maybe two Brabhams (one BRM and one Climax), and a real BRM P261 that was used for close-ups like the one of Stoddart in the pits at Brands (perhaps DCN can confirm that from his research for the eagerly-awaited 'BRM Vol 3 ;) )..........but that's only five.
But if you count the hired Lotus 25's R7 & R8 and a Cooper used for the interior shot of Aron trying the Yamura for size in a workshop (filmed at Cooper's?), thats's eight.
In one of the articles, it mentions drivers from 1966 who were subsequently killed in crashes; but omits Mike Spence, who was one of the main stand-in drivers according to James Garner (and not just in the Parnell Lotus 25/33 'Percy', painted white, then red, then white again so often it took on a pink tinge!).
It mentions a link to a James Garner article, but I can't get that one to work.
Posted 08 January 2004 - 12:37
Originally posted by Macca
While there are a couple of transposed photos, overall it is excellent, and there are pictures of cars I have never seen before. One is of Bonnier in a Brabham at the British GP at Brands, a plain dark blue (no noseband) Climax-engined car - I wonder if it was the same car he drove for Rob Walker in 1965.
Paul Mackness
According to "The Formula 1 Record Book", at Brands Bonnier practiced in the Walker Cooper 66 which had a Climax engine, but raced in the BRM engined Brabham BT11.
In 1965 (and late 64) Bonnier drove a Climax engined BT7, which Jack Brabham had used up to (but not including) Austria .
Posted 08 January 2004 - 13:41
Posted 08 January 2004 - 13:47
Posted 08 January 2004 - 15:35
Thanks, Ray................now can anyone help identify the drivers in the top B-&-W pic? The second and third cars are Ginther and Garner, but the first.............?
Someone asked about ID-ing people in the colour pic of fake cars at Monaco, can anyone help? It looks like Frankenheimer in the right foreground - tall bloke, sports jacket, white slacks.
Edited by Macca, 27 December 2009 - 21:20.
Posted 09 January 2004 - 19:27
Originally posted by Breadmaster
I've bought it and it's a big pile of crap.
3 minutes of stock footage on the "making of grand prix" then 60 minutes of crap like stuntcar drivers, indy 500 winners and taffy von trips crashing at Monza WTF?
The actual "making of" film is quite fun, but the rest of the DVD is appalling. The Le Mans/Grand Prix section features very graphic footage of Von Trips at Monza '61, Bandini at Monaco '67, and Le Mans 1955.
I wish I hadn't bought it, as no doubt the "making of" feature will be on the DVD of the film itself, if it ever appears.
Posted 12 January 2004 - 09:33
Posted 12 January 2004 - 14:00
Originally posted by Macca
Thanks, Ray................now can anyone help identify the drivers in the top B-&-W pic? The second and third cars are Ginther and Garner, but the first.............?
the first driver is bandini..........
Posted 12 January 2004 - 14:49
Posted 12 January 2004 - 20:22
Posted 12 January 2004 - 23:10
Originally posted by Barry Boor
Surely GURNEY, not Ginther......
Do you really think so? The drivers look about as genuine as the cars to me.
Posted 12 January 2004 - 23:17
Posted 12 January 2004 - 23:32
Posted 13 January 2004 - 05:58
Posted 13 January 2004 - 07:04
Originally posted by Ray Bell
I think that Rindt is a fair bet for the fourth one in the line...
Impossible to tell, I would suggest, but do we have any reason to believe the real racing drivers ever drove the fake racing cars?
Posted 14 January 2004 - 10:38
the real drivers did indeed stand in during filming using the fake F1's. One of the articles mentioned in links above shows pictures of Graham Hill in a fake BRM P261 at Clermont-Ferrand, with onboard camera, but I don't think they used that footage, and it mentions that Graham didn't do much driving, but Jochen Rindt did. In Motor Sport in about 1968, DSJ reported buying a souvenir set of F1 colour prints at a GP and finding stills from the film mixed in with genuine shots, and mostly involving Rindt in various helmets and cars.
Talking of films, the other night 'The Fast Lady' was on TV; briefly, Stanley Baxter buys a 3-litre Bentley from Leslie Phillips (although he can't drive) in order to win Julie Christie against the wishes of her father, and it includes a sequence where the hero dreams of racing at Silverstone.
We see a few seconds of the 1962 International Trophy, with Masten Gregory in a UDT Lotus 24 V8 dicing with Trevor Taylor in a Lotus 24 '4'; then there are back-projection close-up shots of Surtees and Graham Hill, and some stunt driving at Silverstone with the Bentley and four F1's which appear to be a Yeoman-Credit Cooper driven by Surtees, a light blue BRM P57 driven by a tall chap in a white helmet (Jack Lewis?), and two Lotus 18/21's, one of them black with white wheels (Tony Shelley?). Raymond Baxter is seen doing an animated commentary, and when Our Hero crashes after winning the race John Bolster rushes up to him to get his last words!
Posted 05 February 2004 - 19:50
Could I have some help to identify this gentleman, please?
Posted 26 February 2004 - 17:42
Did anyone identify the bloke in the upper photo - he's wearing overalls and talking to Frankenheimer, but is he a European F3 driver or one of the American stunt drivers?
The second bloke is obviously just some wazzock who didn't notice that someone had pinched his bike 'cos he had his crash-hat on back-to-front.
Edited by Macca, 19 February 2012 - 20:32.
Posted 24 March 2004 - 16:28
That chap is obviously riding the first incarnation or technology demonstrater of the Stealth Bicycle, the XST (Xperimental Stealth Tandem). This was an idea that originally was proposed for use by the Home Guard in WW2 as a way a creeping up unseen on enemy tanks in order to get within range of the primitive F**t Bomb that had been issued as a stopgap weapon - the thinking behind it was that the crew would open the hatch in order to say "Mein Gott, vat is dat awful schtinken, und who is dat guy floating in der mid-air?" and Corporal Jones would then give them the old cold steel. Sadly the technology was immature, and the bicycle corps was in any case rapidly superceded by more modern methods of warfare.
The advent of widely available vindaloo curries from the proliferation of Asian restaurants in the 60's led to a reappraisal of the possibilities, and further tests were carried out using the XST in conjunction with the new SBD Bomb, as seen in the picture; the intrepid test-pilot having been forced to put his ski-lid on back-to-front so that the potential enemy wouldn't see the tears coming from his eyes and mistake it as a sign of weakness . However there was an unexpected drawback when the new-fangled Nomex balaclava was found to be proof against the most pungent and fiery of emanations, and the whole programme sank from public view into the world of Black Projects, where it is rumoured that multi-million dollar budgets are still being spent on secret programmes tested in the farthest reaches of the Nevada desert where even the most sensitive of noses cannot be offended. Indeed it is a little-known fact the strange designation of the F117 Stealth Fighter refers to the factor of magnitude of its weapon load over the worst bottom-burp previously known to man - by a misunderstanding it has become known in the world's press as the Nighthawk whereas in USAF parlance it is more correctly the Sh***hawk.
OK, so it's a dull afternoon here; but does anyone know who that bloke talking to JF is?
Posted 24 March 2004 - 17:23
(originally published in the Numast Telegraph)
The atmosphere on the bridge of the marine and scientific research ship Columbus Iselin was far from pure one night as the ship sailed off the Florida coast.
For the master of the 280 gross ton vessel was suffering from a bout of flatulence. And the resulting odours were said to have been so offensive that the master and the watchkeeper had to evacuate the 'relatively confined' wheelhouse to seek fresh air on the bridge wings.
In the ensuing distraction the 24 year old research ship - owned by the University of Miami - ran aground on a coral reef in the Florida Keys some 20 miles east of Key West.
Posted 15 April 2004 - 10:50
There was also a pic of a genuine BRM P261 being used for filming, as with the picture Ray posted for me of Stoddard and Jeff Jordan in the pits at Brands. In Tony Rudd's 'It Was Fun!' he mentions a spoof on MGM when they were supposedly sold the cars by some mechanic, even though BRM were still racing them pending the arrival of the H16; but did MGM buy, or just hire/borrow the P261s? DCN?
I'll have to watch it again to see if any genuine P261s were used in action shots, or only faked-up ones.
Posted 15 April 2004 - 11:20
Posted 15 April 2004 - 11:49
I have a doubt about the accident between Stodart and Aron during the Monaco Grand Prix. The action seems so real that it makes me wonder if the accident really happened. Or was it just fiction. If this was the case, who provided the cars to film the crash? I know that Ascari´s Lancia dived into the sea in the 1955 Monaco GP (besides, this was such a unique fate, as he was marked to death four days later in Monza), but I have no record of a similar accident during the sixties (other than Bandini´s fatal crash in 1967).
And BTW, Grand Prix the movie is simply amazing..
Posted 15 April 2004 - 12:10
Posted 15 April 2004 - 12:20
Posted 15 April 2004 - 13:36
They did it in three sections; first, the cars apparently touching and spinning at the entry to the chicane, which was filmed with the Lotus 20/22 fakes driven by American stunt drivers (the close-up of the wheels touching could have been shot anywhere anytime). They had several takes before it looked genuine, and not like cars deliberately swerving into the barriers.
Then they brought on the secret weapon, a compressed-gas cannon nicknamed 'Big Blow', which could be attached to a fitting on the rear of the gearbox (or where the gearbox would be, since I think they tended to remove engines and gearboxes where possible). First they fired the Stoddart car towards the cliff face, having several goes at it until they had a take where it slid along the cliff without turning over (and I think they filmed the landing with a stuntman in the car by just dropping it manually off some strawbales).
By this time they were getting short of bodywork. Finally they fired a car into the harbour, which I think they got with one take (would have been a bit time-consuming to have to keep craning it out of the harbour!). If you see a still or slo-mo this bit in the film, you can see that the body on this car has a white noseband when it goes into the harbour, and it doesn't appear to have an engine.
'Big Blow' was also used to shoot the 'Sarti Ferrari' over the banking at Monza in the climactic race, though the picture on this page looks as if it hit the barrier backwards, which is strange since there is no sign that Big Blow was attached to the front for this shot.
Edited by Macca, 19 February 2012 - 20:36.
Posted 15 April 2004 - 13:41
Posted 15 April 2004 - 14:16
There's a recreation of Jim Clark's Zandvoort 1966 pit-stop where Chapman shielded him from steam with a clipboard, featuring Yamura and Aron, but I don't seem to remember that being used in the movie.
Posted 15 April 2004 - 17:51
Posted 19 April 2004 - 15:39
When Sarti and Fangio enter the party after the Monaco GP, Scarfiotti is just behind them and Bandini appears too. Both Ginther and Gurney are at the drivers' meeting at Spa, but only Ginther(and McLaren and Rindt) speak. Jo Schlesser is glimpsed a couple of times. When Aron is being a TV reporter at Clermont Ferrand, it is indeed Chris Amon (in a dark blue helmet) to whom he says 'Hello Chris'.
When Barlini is pushed onto the grid at Brands, his 'Ferrari' is a Brabham-Climax (and there is a picture of him sitting on the same car in one of the retrospective articles [in Sports Car Illustrated IIRC]; but there is also a glimpse in the film of Bonnier in the dark-blue Brabham without fake exhausts ).
From the in-car shots of Sarti catching and passing the field at Monza, among the faked cars he passed was at least one unmodified green-and-yellow Lotus 25.
In the final battle between Aron and Stoddard, sometimes Stoddard is driving a fake H16, but in other shots it appears to be a genuine BRM P261............but modified to look like an H16 with fake exhausts!
In the Yamura factory scene shot inside the Cooper works, there are at least five spare nosecones stood up; what with all the fake Eagles, Lotus 43s, et al, Jim Russell must have been VERY busy in the GRP shop. I wonder what happened to them all.
In a couple of race scenes looking back from Aron, Jochen Rindt is mentioned, and there does appear to be a genuine 1.5L Cooper following (turned-up nose, inboard front springs).
We do see helicopter shots of Bondurant's BRM at Spa in both blue (practise) and white (race).
In one split-screen head-on shot of the four central characters at Zandvoort, Aron's Yamura has a spoiler on the engine cover, just like in that picture of McLaren in the real car that was discussed a few weeks ago.
Posted 19 April 2004 - 15:58
I stand to be corrected.
Posted 20 April 2004 - 10:46
I found this picture on Forix which seems to confirm navy-blue............but the camera can lie:
Just also remembered, further to previous threads that mention how much we see of Bernard Cahier in the film, at the Spa drivers' meeting and also somewhere else, possibly the Monaco party, we see and hear Paul Frere............perhaps he too was doing some consultancy work for Frankenheimer.
And at Monza in practise, when Sarti is waiting for his car to arrive he has a shouting-match with the team-manager who is ...............Eugenio Dragoni playing himself (both in person and character)..........yes, the t**t who pushed Surtees into leaving Ferrari.
And when Barlini comes into the pits and commiserates with Sarti, he appears to be driving a real Ferrari 312 with 24-valve engine; odd, because all three Ferrari 312s had the 36-valve engine for the GP. Maybe some scenes were filmed at Monza some time before the race, and before the cars were updated.
Posted 20 April 2004 - 16:07
Connaught Green (ICI paint reference P030-3302) with 3 inch White band on nose between the headlamps. Name "TEAM CHAMACO COLLECT" in White on each side of the body forward of the doors. Wheels - Silver. In the 1966 Grand Prix events Bondurant's BRM was painted Connaught Green and carried a fore and aft White stripe.
Posted 20 April 2004 - 22:08
Sorry for my poor english!
Posted 21 April 2004 - 10:57
Looking at that paint reference on a website (which is probably misleading), it's a VERY dark green. I watched again the bits of the movie where we see Bondurant's car (briefly) at the start in Monaco, and then the aerial view from practise at Spa, and it still looks more like blue than green; very like the colour of the blue stripes on his helmet, which I've seen at the FoS. It's certainly very dark; if it's green then it's even darker than the works BRMs.
I also noticed that when Stoddard passes Sarti at Mirabeau to take the lead in the Monaco GP, Sarti is in a Brabham-Climax 'Manetta-Ferrari' rather than a faked Lotus 20, the same Brabham that Barlini drives at Brands; so there must have been three on set in total.
In the on-car footage looking forward at Monaco, shot by Phil Hill in practise in a Lotus 25/R6, we see a Ferrari with Bandini's silver helmet in it. Although the magazines say, or imply, that he was getting in the way, it's noticeable that the Ferrari only pulls away on acceleration, and Hill catches up on braking and through the corners.
Posted 29 April 2004 - 15:53
But has anyone ever seen a colour photo of one of the other Team Chamaco-Collect cars; they ran a GT40, also a 250LM at Daytona and in South Africa in 1966, and a Lotus 30 that Vic Wilson drove in the UK? Or indeed can anyone remember seeing the original cars?
Posted 06 May 2004 - 11:54
One is of Phil Hill/Tim Randolph's Yamura at Monaco, where they wanted a shot of it blowing its engine on the climb up to Massenet...........apparently they decided backfiring was the appropriate noise to accompany the ignition of a smoke flare at the rear of the car, so as it passed the camera a film man fired three blanks from a pistol!
Posted 14 May 2004 - 16:28
I'm trying to sort some free web space, but if I can't, could anyone 'lend' me some, as I've used to much of that nice Ray Bell's already.
Posted 14 May 2004 - 17:10
Why did they use the banking at Monza during the film?
The actual race at Monza in 1966, did not use the banked section.
To the best of my knowlege, the banking was used in 1955 & 1956, then again
in 1960 & 1961. For one lap, you were required to use a combination of the oval track
and the actual GP circuit. The sequence was: Start - Curva Grande, to the Lesmos, to
the Variante Ascari(which was Curva de Vialone- then to the Parabolica. When you came
off of the Parabolica, yo had to stay "inside" and you head off to the oval, first the Curva Nord
then of course around to the Curva Sud. Leaving the banking you'd go back to the Start off
to the Curva Grande etc. One lap was over 6 miles.


text:
This website contains updated information only for those corridors actively in construction, the Southeast Rail Extension and North Metro Rail. All other content on this website is meant for historical purposes only and may not be up-to-date. Please visit RTD-Denver.com for the latest information about RTD.
FAQsWe answer all of the questions we receive about Northwest Rail Line. We also keep track of the questions you ask in order to better provide you with the information that you want about the study. Below are the answers to some of the more Frequently Asked Questions:
What is the Northwest Rail Line?
The Northwest Rail Line (NWR) is a 41-mile commuter rail project from
Denver Union Station to Longmont via Boulder, passing through Adams
County, Westminster, Broomfield, Louisville, Boulder and Longmont.
Commuter rail will operate along the existing BNSF Railway line. See the Northwest Rail Line Project Map here!
When will the Northwest Rail Line open?
The first segment, from Denver Union Station to south Westminster (around 71st & Lowell), is funded and is being built as part of the Eagle P3 project. Construction on this segment began in June 2012 with an opening day in 2016.
In addition, RTD committed $17 million to the end-of-line station in downtown Longmont. Construction will begin in 2015 and be completed in 2016.
The remaining segment of the project, from south Westminster to Longmont, will require additional funding to be completed. Starting in March 2013, the Northwest Area Mobility Study will determine the best best mobility options for the northwest communities, including phasing options and alternative alignments to Longmont. The study will be completed in early 2014.
Where will the rail stations be along the Northwest Rail Line?
The RTD FasTracks plan funds seven stations along the project:
• South Westminster/71st Ave Station
• Church Ranch Station
• Flatiron Station
• Downtown Louisville Station
• Boulder Transit Village
• Gunbarrel Station
• Downtown Longmont Station
Four stations (Westminster/88th Ave Station, Broomfield/116th Ave Station,
East Boulder Station at 63rd/Arapahoe, and the Twin Peaks Station in
Longmont) were added to the Northwest Rail Line at the request of the
local jurisdictions. RTD has stated that it cannot fund these stations,
but that it is willing to work with the local jurisdictions to determine
if these stations could potentially be constructed at a later time,
pending availability of funding. The Environmental Evaluation evaluated
these stations. Visit our Northwest Rail Line Stations page to learn more about the stations and review the preliminary station concept plans.
What is the purpose of the Northwest Rail Line Environmental Evaluation?
The purpose of the Northwest Rail Line Environmental Evaluation (EE) was to
identify the community and environmental impacts that may result from
the construction and implementation of commuter rail service along the
BNSF Railway from Denver to Longmont. It also recommended ways of
lessening those impacts in accordance with the National Environmental
Policy Act (NEPA). The EE incorporated the work previously accomplished
in the US 36 Environmental Impact Statement and the Longmont Diagonal
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What has already been decided?
Through the previous studies, the decision was made to build a commuter rail
line along the existing BNSF Railway from Denver to Longmont, via
Boulder. In October 2007, RTD decided to use Diesel Multiple Unit (DMU) commuter rail technology for the Northwest Rail Line (NWR). This decision was accompanied by RTD's adoption of the Responsible Rail Amendment
that, among other things, requires RTD to buy commuter rail vehicles
that rank high in environmental features, such as fuel efficiency and
low emissions, and have the flexibility to accommodate future
advancements, such as hybrid or clean-fuel systems. In February 2010,
RTD released the NWR Draft EE and in June 2010, the RTD Board approved
the Final EE, allowing the project to move forward with design and construction as funding becomes available through the FasTracks Program.
What vehicle technology is planned for use in the Northwest Rail Line?
Diesel Multiple Unit (DMU) will be the commuter rail technology for the Northwest Rail Line.
What is the schedule for the EE and when can the public participate?
The EE was released in June 2010, however, public input was, and continues
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study. We encourage you to use this site to learn about the project,
and we welcome your comments and feedback. RTD has conducted public
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study's findings and recommendations.
Why is an environmental study needed for the Northwest Rail Line? Hasn't
RTD already been studying the rail line for the several years?
RTD has examined both highway and rail improvements in the Denver-Boulder
section of the corridor in the past through the US 36 Environmental
Impact Statement (EIS) process. RTD has also examined rail improvements
in the Boulder-Longmont section of the corridor through the Longmont
Diagonal Rail Feasibility Study and the subsequent Longmont Diagonal
Rail Environmental Evaluation. The Northwest Rail Line Environmental
Evaluation combines data for both parts of the project into one document
for review by the U.S. Army Corps of Engineers.
Why isn't the Federal Transit Administration (FTA) the lead agency for this
project? Why is the U.S. Army Corps of Engineers the lead agency?
Federal regulations require the completion of an environmental study for major
transportation projects if there are federal funds involved or if a federal action or approval is required. In the case of the Northwest Rail Line, RTD does not anticipate seeking federal funds to help with construction. However, due to the presence of wetlands along the project, a federal action - in this case a wetlands permit - is requiredfor implementation. Therefore, the U.S. Army Corps of Engineers will
serve as the lead agency because it issues the wetlands permit.
How does this environmental study differ from one lead by the Federal Transit Administration (FTA)?
There are basically no differences between how environmental issues are
addressed, regardless of which agency leads the study. RTD is still
required to conduct a thorough environmental analysis and recommend
mitigation if adverse impacts cannot be avoided or minimized. In the
case of noise and vibration impacts, RTD will use FTA standards and
regulations to guide the mitigation of those specific types of impacts.
Additionally, the study must satisfy all National Environmental Policy
Act (NEPA) requirements. Therefore, for all intents and purposes, the
level of analysis and requirements that the study must meet are the same
as with any other FTA-lead environmental study.
How will the maintenance and layover facilities be addressed in the Environmental Evaluation?
RTD has studied a location northeast of downtown Denver for a central
commuter rail maintenance facility that would serve all FasTracks
commuter rail lines, including the Northwest Rail Line. Therefore, no
maintenance or layover facilities are being planned in the Northwest
Rail Line. Visit the RTD FasTracks Maintenance Facilities page to learn more about what's planned.


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Monitoring of Harmful Algae Blooms - Agriculture - Aquaculture
At frst it seems impossible: how can a sensor on board of a satellite circling the earth at an altitude of some 700 kilometers not only identify the total biomass of algae in the water, but also identify species of algae. This is related to what remote sensing specialists call the refectance spectrum of the water. The spectrum is a specifc fngerprint that is created by measuring the refection of water using extremely sensitive sensors, either onboard of a satellite or inside our equipment on the ground. We use a variety of algorithms to translate refectance spectra into concentrations of specifc compounds and phytoplankton species


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Smithfield Urged to Carve Itself Up
Smithfield Foods is being pressured by investor Starboard Value to explore a breakup of the pork producer rather than follow through with its planned $4.7 billion takeover by Chinese meat company Shuanghui. Sharon Terlep reports.
This transcript has been automatically generated and may not be 100% accurate.
... Smithfield Foods today getting pressure from a big shareholder ... to break up the company rather than go through with the planned buyout the four point seven billion deal that they have on the table with the Chinese come each one-way can see the story right there ... by Sharon Terlep who he's here ... on the MoneyBeat show ... to talk about it ... so the the investor Starboard Value right there ... been a long-term investor I can just kind of got into the company didn't share shares the board there an activist investing Mind ... the Gap beam data and the best thing for a couple months that they amasses sing at the gates eight cents the sale was announced ... late last month to an a I think they came out today it will be there were reporting in your story right now you got this really unique about this plan to break his company up until CA political bore spray Connelly topping up the salsa people might say rampaging rather than go through with the holder why a on this plan ... so I think that the company in pieces is worth more and that the company over on me think that ... Smithfield broken out could be worth ... ten dollars or even twenty hours for share more ... than it is right now I mean this in a new argument there's been a push to break that ... Smithfield before the companies ... maintain that it's you know it doesn't work in pieces that is more valuable altogether ... I'm that they'll be interesting to see if bidders come forth that there is even interest in these pieces of the company threatened to sue because you know when when we came up with the deal he was a top speed is Chinese deal ... with those common to all those kinds of issues right ... but Starboard only assume they care about that whole national security issue ... or ... we have a ... very good care of that they're just interest in the value ... but leaking point out an institution you get this right ... the company still yet to be an inquiry at the BPI than a decade of legislation be smaller ... they had anything to back up this assertion share any interesting tearfully about sticking to your point about being in Chinese he lived star for next time someone complimentary of the deal they just think they're there could be a better one out there ... we need to be put out a sixteen page ... analysis where they broke down each of the units act fairly deatails when we talk about hog production the Nikkei case that ... the heartbeat if you're good to simply sell the Hochtief ... no animal by animal including all that you know that the baby hogs that debt unit would be worth more than its valued at right now saying they did their homework ... it will remain to be seen whether in practice that's that's true and what happens next so ... it does ... how Does Smithfield respond to this is there ... no one is that a vote on the other deal with the next step ... I mean I think he is going to be involved bets that hasn't been set yet ... I the hope that they hope to close the deal relatively soon ... it will either accept me to see if there are yet to keep hitters come Out added with interesting about this hilly Smithfield isn't able to seek out there so this will really be scarred for doing the shopping for that so we'll see who shows up ... that is very sian highchair and yet they guided me in the


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RPi Peripherals
Setup examples for various peripherals
Wireless: TP-Link TL-WN722N USB wireless adaptor (Debian 6)
This will serve as a general guide for USB wireless devices but may need modifying for your specific one.
Edit /etc/apt/sources.list to add the non-free archive and backports:
deb http://ftp.us.debian.org/debian/ squeeze main non-free deb http://security.debian.org/ squeeze/updates main non-free deb http://ftp.us.debian.org/debian/ squeeze-updates main non-free deb http://backports.debian.org/debian-backports squeeze-backports main non-free
Update tha package cache:
apt-get update
Download the required firmware and put it in the correct location - you may not need to do this for your adaptor.
wget http://linuxwireless.org/download/htc_fw/1.3/htc_9271.fw cp htc_9271.fw /lib/firmware
Plug in adaptor
Confirm adaptor is present:
root@raspberrypi:~# iwconfig lo no wireless extensions. eth0 no wireless extensions. wlan0 IEEE 802.11bgn ESSID:off/any Mode:Managed Access Point: Not-Associated Tx-Power=20 dBm Retry long limit:7 RTS thr:off Fragment thr:off Encryption key:off Power Management:off
If no wlanx device is shown, you might need to download firmware for your USB wifi device (or track down other compatible drivers if they are available). To confirm this, check the dmesg output when you plug in your adaptor - typing dmesg at the command prompt may be sufficient - and look for information related to your adaptor - the example dmesg output below shows what is seen in the event of the TP-Link firmware not being present - notice that the name of the required firmware file is given (htc_9271.fw), the driver name (ath9k_htc) and an error -22 message:
usb 1-188.8.131.52: ath9k_htc: Firmware - htc_9271.fw not found ath9k_htc: probe of 1-22.214.171.124:1.0 failed with error -22 usbcore: registered new interface driver ath9k_htc
Armed with this information, try a web search for the name of the driver or driver file and/or head over to http://linuxwireless.org


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BROOMFIELD, CO - April 4, 2011
Webroot Software, Inc., the first Internet security service company, today announced a new mobile security application designed to protect AndroidTM smartphone and tablet users. Now available at Best Buy stores in the United States, Webroot® Mobile Security for Android makes it easy for users to stay protected as they browse, text, and download apps on Android devices. A basic version, offering more limited features, is also available for free on the Android Market.
Webroot Mobile Security for Android leverages Webroot's antimalware and cloud-based and URL scanning technologies to block threats and assess the safety of website links before a user clicks on them. Webroot Mobile Security for Android includes multiple features to protect a user's personal information if the device is lost or compromised. Unlike other applications on the market, it also automatically checks device settings to ensure they are secure.
"We believe in protecting you as an individual, not just the device you use to connect to the Internet," said Quinn Curtis, vice president of mobile solutions for Webroot. "With smartphones and tablets, we carry around vast amounts of personal data including our contacts, emails, passwords, and even financial information. This data is targeted by cybercriminals through malware, online scams, and device theft, and the market success of the Android mobile operating system provides the scale they need to make those attacks profitable. Webroot now can mitigate risks to Android users from malware, malicious websites, and personal information loss as they add smartphones and tablets as an extension of their daily lives."
Key Features of Webroot Mobile Security for Android:
Protects your identity and personal information if your mobile device is lost or stolen
- Remotely locks your mobile device so it can't be used by anyone but you
- Remotely wipes your contacts, text messages, and other personal information
- Sends a temporary access code to a trusted friend in case you forget your password
- Sends you a map showing exactly where your device is located
- Sounds a loud alert to help you locate your phone or tablet nearby
Blocks mobile threats before they can infect your mobile device, without affecting performance
- Scans apps before they are installed to ensure they are safe
- Scans web links and URLs to block phishing and other harmful content before you connect
- Runs quietly in the background and requires no prompting or interaction from you
- Checks for security updates every day to ensure you have the latest protection
- Will not slow down your device or mobile browser
- Light on memory and battery usage
Automatically safeguards your privacy
- Blocks unwanted calls and text messages
- Scans your device to ensure key settings are secure
- Informs you which apps have access to your personal information
An annual subscription for Webroot Mobile Security for Android also includes free 24/7 customer support.
Webroot Mobile Security for Android is initially available exclusively at Best Buy retail stores in the United States. A basic version, offering more limited features, is also available for free on the Android Market.
Later this year, Webroot will introduce mobile security applications for additional platforms.


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Events Calendar
WordCamp Rochester
WordCamps are informal, community-organized events that are put together by WordPress users. Everyone from casual users to core developers participate, share ideas, and get to know each other!
Date: October 5, 2019 - October 5, 2019
Time: 8 a.m. (Registration begins at 8 a.m.; Opening Remarks begin at 8:45 a.m.) - 5:30 p.m. (After Party begins at 6:30 p.m., location TBD)
Location: Basil 135
Sponsored by OIT
A $20 general admission ticket to WordCamp will get you admission to a full day of sessions and workshops, admission to the amazing after party, lunch and snacks, WordCamp Rochester swag, and all-day access to the Happiness Bar.
The day begins with a keynote address by Andy McIlwain, followed by concurrent sessions on organizing content, designing themes, exploring open source communities, WordPress best practices, and more.
To register, visit: https://2019.rochester.wordcamp.org/.


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Changing Your Tomcat Login Credentials
After installing Tomcat on your server, you need to change the credentials to log in to Tomcat Manager. If you dont, you'll receive a "Connection Time Out" error when trying to log in to Tomcat.
To Change Your Tomcat Login Credentials
- Open the
tomcat-users.xmlfile in a text editor. Its location depends on your server's operating system:
Operating System Path to File Linux
C:\Program Files (x86)\Apache Software Foundation\Tomcat 7.0\conf\tomcat-users.xml
- Locate the following section:
<role rolename="tomcat"/> <role rolename="role1"/> <user username="tomcat" password="tomcat" roles="tomcat"/> <user username="both" password="tomcat" roles="tomcat,role1"/> <user username="role1" password="tomcat" roles="role1"/>
- For the users tomcat, both, and role1, enter a new password instead of tomcat.
- Save the file.
- Log in to Tomcat (http://your server's IP address:8080/manager/) using your newly defined password.


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