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Can we just talk about this a little more? Please?
First Commentary by Adam-Troy Castro
Twelve Angry Men (1957). Directed by Sidney Lumet. Screenplay by Reginald Rose, from his prior teleplay. Starring Henry Fonda, Lee J. Cobb, E.G. Marshall, Jack Klugman, Jack Warden, Ed Begley, others. 96 minutes. ****
12 (in Russian with Subtitles Available; 2007). Directed by Nikita Mikhalkov. Screenplay by Nikita Mikhalkov, Alexander Novotsky-Vlasov, Vladimir Moiseenko, based on original screenplay by Reginald Rose. One third of the actors on the jury have the first name Sergei, and two others are named Alexei; it must have been fun whenever one got a phone call. 157 minutes. **
Others Mentioned Here But Not Discussed At Length: Twelve Angry Men (TV-movie directed by William Friedkin, 1997).
Other Known Versions: The original TV production (1954); Ek Ruka Hua Faisla (Hindi, 1986); many many other parodies and imitations.
The boy is on trial for his life. He has been accused of the brutal stabbing death of his father, and though he maintains his innocence, almost no exculpatory evidence has been introduced, and he is almost certainly facing a trip upstate. It's a foregone conclusion. For the most part, the all-male jury looks forward to a quick vote, an immediate return to the courtroom, and from there a quick return to their everyday lives. But one juror isn't so sure. He thinks that the matter is too serious for such casual disposal…and as he persuades his resentful fellow jurors to take a second look, more and more cracks appear in the prosecution's case. It begins to look like the boy might be innocent after all. But some members of the jury are emotionally invested in a guilty verdict…and it becomes unclear whether justice, of any kind, is at all possible.
This was the premise of Reginald Rose's 1954 teleplay Twelve Angry Men, and of the classic 1957 film directed by Sidney Lumet. A financial disappointment for star and co-producer Henry Fonda, it built its reputation with later TV showings and is now considered a major, influential classic. It was also the first theatrical film of the towering Sidney Lumet, who was among other things one of the great New York City directors and who, over the next fifty years, managed the admirable feat of directing at least one, and sometimes more than one, capital-G Great film per decade. (That list of one great film per decade would, according to this lifelong admirer, include Twelve Angry Men in the 1950s, The Pawnbroker and The Hill in the 1960s, Serpico, Murder On the Orient Express, Dog Day Afternoon, and Network in the 1970s, Prince of the City in the 1980s, Q & A in the 1990s, and his last movie Before The Devil Knows You're Dead in the 2000s…and that's before you start listing films that miss greatness by a hair or those like Fail-Safe or The Verdict that are merely very, very good.) It is part of our culture, and the latest word has it that it's about to be remade again. We therefore take this opportunity to discuss both the original, which can be seen as a dramatization of what's so great about America…and a recent version that can be seen as a dramatization of everything that's gone wrong in Russia.
One point before we continue: readers of these essays always risk being exposed to plot spoilers, but this is especially true of what follows, and particularly in its coverage of the 2007 film. Beware.
Twelve Angry Men (1957)
Movie fans who want to know the difference between what a screenwriter does and what a director does could be profitably directed to this film.
The story, essentially a two-hour argument where the jurors supporting a not guilty verdict gradually break down and overcome the opposition of those who want the kid to go to jail, was all on paper long before Sidney Lumet ever got involved; what he added in this, his very first theatrical film, was a superb mastery of the form that over the course of 96 grueling minutes gradually moves the POV of most shots closer and closer to table-level, increasing the tension and the sense that all of the jurors are stuck with one another. He's the one who makes this an astonishingly fluid and stylish film for one largely set all in one room, and it manages the trick long before the days of queasy shakicams and swooping, spinning, 360 degree pans. That is all Lumet, with his cinematographer Boris Kaufman and his editor Carl Lerner. Please note that it is not showy direction; the average moviegoer will never be consciously aware of Lumet's craft. But it's there. It can be felt, and it ratchets up the suspense to the breaking point.
Similarly, movie fans who want a primo demonstration of the importance of star power need look no further than the introduction of Juror #8 (Fonda), initially the only one who even wants to subject the evidence to discussion. He is the last one whose face we see, after the jury files into the room and everybody else expends the next few minutes in idle conversation and joking around; at the moment when he's called to the table for deliberation, having spent the last few minutes gazing out the window in silent contemplation, he turns around and reveals himself for the first time as Fonda, from The Grapes Of Wrath and The Ox-Bow Incident onward an icon of American rectitude, and instantly the guy the movie audience wants to win. (Jack Lemmon, who played the same role in William Friedkin's 1997 TV version, played decent men as often as Fonda did, and for all his talent couldn't match the impact of Fonda's big turn-around.)
The movie also benefits from being superbly cast. Any list of who's superb here will amount to a simple recitation of the entire jury, but special attention should be paid to Lee J. Cobb, as the bullying juror #3, who is just as quickly the guy the audience will want to see lose; and to E.G. Marshall, as Juror #4, another antagonist who happens to be the most level-headed, logically-driven person in the room; he never raises his voice and, until a memorable moment late in the film, never sweats. (There's also Jack Klugman, who just a few years later played tribute to this movie with another deadlocked-jury story on an episode of his sitcom, The Odd Couple.)
The movie is filled with cheer-worthy moments. What audience doesn't feel tremendous satisfaction when the old man changes his vote to support Juror #8? What audience doesn't cheer when Juror #4 interrupts another's bigoted rant by telling him to sit down and not open his mouth again?
Really. It's like an action movie, with arguments instead of gunfights, so pleasurable with every frame that some viewers, this essayist included, can see it dozens of times with undiminished appreciation.
It's so very terrific, in toto, that just making this next observation is extraordinarily painful.
It is also incredibly contrived.
It has to be. All courtroom dramas are. It's one thing if they're based on actual court cases, where the transcripts exist; but if concocted, they by necessity compress into an hour or two or at most three the high points of what is, in real life, often a mind-numbingly dull process, with testimony given in monotones and long stretches spent in wrangling over evidentiary minutiae. Creating an effective courtroom drama almost always depends on the careful concealment of, and timely unveiling of, straw men: obstacles that seem fatal but aren't, evidence that seems iron-clad but isn't, a closing argument that seems to put the final nails in the opposing side's coffin but nevertheless leaves room for a rhetorical flourish that makes everything before it seem flimsy and stupid. In Twelve Angry Men, it's the pile of evidence implicating a kid in the stabbing-death of his father – a case that Reginald Rose carefully designed to look air-tight at first, but to which he also carefully attached serious reasons to doubt.
Everything depends on the writer's deliberate placement of these straw men; if Henry Fonda's character had not been able to buy an identical switchblade after the police failed, if the elderly witness had not been dragging a leg, if the woman across the street not rubbed the bridge of her nose in court, or even if the jurors had not changed their minds with the regularity that they did, the defendant would be on the first train upstate. In that sense, at least, Twelve Angry Men functions not as an indictment of our legal system, but as a fond tribute to the efficacy of having the case against you designed by an omnipotent screenwriter who wants it to fall apart at the first gust of strong wind. This has been discussed, at length, but Supreme Court Justice Sonia Sotomayor, who as an educator also characterized the independent investigation of Juror #8 as likely grounds for a mistrial. (And, by the way, if you want another case of a courtroom drama artfully hiding the fact that it all depends on a screenwriter carefully hiding straw men – in this case evidence that's been squirreled away by the culprits, that the defense attorney protagonist uncovers at the last minute — look no further than that other Lumet drama, The Verdict.)
None of that matters all that much. The case may be designed to fall apart, but it's designed to fall apart in a suspenseful manner, driven by the characters of the jurors; and it's designed to fall apart in a manner than remains inconclusive at the end, leaving open the possibility that the kid might have killed his Dad after all.
William Friedkin's 1997 version pretty much hits the same story points, with a just-as-impressive cast that included in addition to Lemmon such powerhouses as George C. Scott and Ossie Davis; it is effective enough, but lacks Lumet's brilliant staging. On the plus side, we are no longer talking about Twelve Angry White Men, and indeed one of its more audacious touches is casting a young Black man, Mykelti Williamson, in the role of the film's vengeful bigot. On the negative is the one reason we bring it up, the odd casting glitch that presents us with a large number of elderly men among the jurors, not just Lemmon and Scott but also Ossie Davis and Hume Cronyn. This is only an issue because, as in the original, much is made of Juror # 3 being scolded failing to show the proper amount of respect toward the frail and lonely retiree, Juror # 9. That makes a small degree of sense when Lee. J. Cobb, circa 1957, is being upbraided for the way he treats the "old man," Joseph Sweeney; less so when George C. Scott, circa 1997, is told off for the way he treats old men like Hume Cronyn. They're both old men, and it's downright surreal when another old man, Ossie Davis, makes noises that seem to regard Cronyn, who's admittedly somewhat older, as ancient by comparison. Look around you, people. If you count Armin Mueller-Stahl, who was 67 at the time and the youngest of this group by several years, almost half the jury is eligible for social security.
12 (2007)
This award-winning Russian remake, which intends to be not just an examination of the elusiveness of justice in a system that depends on the fairness of human beings serving on juries, but also a harsh examination of the current state of Russian society, is a full hour longer – and a slog even for those of us who normally have little problem with lengthy films. Things just take longer they need to, and many of the jurors stop everything in order to regale everybody with long, dramatic soliloquys about their backstories, a number of which end with the jaw-dropping conclusion, "And that's why I'm changing my vote to Not Guilty." (Really? You rip off mourners at the cemetery where you work, use the money to fund schools, and that's why you're changing your mind? Really? That's…um….different.)
Nobody in the film reacts to these extended personal monologues the way human beings would. Oh, sure, the other jurors ask leading questions like, "Why are you telling us this?", but that just gives the speakers an excuse to continue talking. In real life, one or two of these might be tolerated, but as the tension level rose, somebody would react to the latest with an exasperated, "Oh, great. Now he's starting." Instead, everybody always freezes and allows the soliloquys to play out. I can't be any clearer than this: in real life, eventually, they wouldn't.
Also taking up time: a substantial number of flashbacks to the childhood of the young defendant, a Chechen orphan accused of killing his Russian stepfather. It is a past that includes huddling in a dark basement filled with corpses, and for what it's worth these war scenes are both horrific and well-staged…but even the best-staged scenes can be tiresome if they interrupt the story we care about, and these serve to dilute the overpowering narrative momentum of the original, which takes place in something resembling real time. In 12, we leave the jurors regularly to catch up on some more images from the defendant's tragic life, and return to clear indications that substantial time has passed for the members of the jury and that we've missed some of their deliberations. (If what we've missed amounted to more monologues, then this can be counted as a mercy.) As an extra added treat, we are shown a skirmish from the war in Chechnya, where many rounds of automatic weapons fire are exchanged between two buildings while the boy presses himself flat in the rubble-strewn street between them; thus making this the last thing anybody ever expected in this universe, a somewhat defensible remake of Twelve Angry Men with explosions in it.
That deserves repetition. This is a defensible remake of Twelve Angry Men with explosions in it.
That's a remarkable achievement. I guess.
The sacrifice of the original's claustrophobic setting extends to this film's jury room, the gymnasium of a run-down high school. The jury members have plenty of room to move about, and sometimes wander far from the central table. This, surprisingly, works, and not just because the basketball tossed by one near the beginning, that refuses to fall through the netless rim and instead just lodges against the backboard, as clear a symbol of the belated verdict as anybody could have ever arranged. Much is made of the exposed heating pipe in the ceiling, and the broken window temporarily blocked off by a cement bag that, one juror discovers, has been there for decades. All around them sit manifestations of a nation's crumbling infrastructure, and the widespread corruption that permits it. One juror, screwing around, discovers a hypodermic needle in a kid's locker, while another discovers and oohs over an abandoned brassiere, and yes, both discoveries are part of it. There's another nice touch involving the school's upright piano, which is stored behind iron bars, and which a couple of the jurors manage to play anyway; you couldn't buy more potent symbolism than that.
We must also give props to this film's bailiff, who unlike the glorified prop of the original film is actually a living and breathing personality, who uses the jury's confiscated cell phones to make his own calls, and reacts with open, comic, and a precisely modulated level of confusion to the antics going on in the jury room. We don't get any more of the him than the film needs, just enough. And that is a plus.
The murder, and the means by which the various members of the jury poke holes in what had seemed an airtight case, are similar to the ones originally posited by Reginald Rose. We get the supposedly unique knife used in the crime, the limping old man from downstairs who says he witnessed the boy's flight but couldn't have, the unlikelihood of the boy blithely returning to the scene of the crime hours after the killing, and even the woman with compromised eyesight who claims to have witnessed the murder from across the street. There is no passing elevated train, but that's a difficult story element to translate to Moscow and a loud construction site works just as well. The unlikelihood of a boy used to handling knives stabbing a much taller man with a downward thrust also comes up, and that scene is, here, wonderful; the proper method of knife-handling is demonstrated by a surgeon among the jurors who happens to be a Chechen himself and who turns out to be a frightening wizard with a blade. Some of the dramatics work identically, as well; for instance, the main antagonist is a bully of a juror who has issues involving his relationship with his own son, though the details are very different (and are related in the last and best of the film's many extended monologues).
Some of the character stuff is genuinely hilarious. The cemetery guy is eager to get back to his hot 21 year old wife, who according to him looks like Angelina Jolie. He has had three wet dreams in three consecutive nights, thinking of her. He demands to know of his fellow jurors whether they still have wet dreams at their age. (To the film's credit, this results in helpless laughter on the part of everybody.) The film's bully keeps attacking the film's elderly Jew, who just takes it with a knowing amusement that would infuriate any bigot more than any tirade. This is good stuff.
But that's all before we get to some of the strangest and most extreme departures from Reginald Rose's original story.
You have already been provided with a spoiler warning. Proceed past this sentence at your own risk.
One juror puts together the evidence and comes up with an alternative theory that not only fits the facts, but seems to be the story's objective truth: i.e. the father was murdered, the boy framed, and the elderly witness downstairs paid off, by the construction company working on the building next door, that wanted to force them all out of their homes. The police and the prosecution have been paid off to see to it that the boy is railroaded.
Again, that deserves repetition.
This is a version of Twelve Angry Men where the jurors actually solve the crime.
Subsequently, the foreman, a retired ex-intelligence officer who has said almost nothing during the film, reveals that he put together this theory almost immediately and still intends to vote guilty, as the boy has nowhere to go and will certainly be assassinated by the true culprits if freed. In prison, at least, he will live longer. He asks the others if they'll take responsibility for the boy's future now, knowing what they know. They all demur, as they all have lives to live. He reluctantly joins them in a Not Guilty verdict. At the end, post-trial, he not only tells the defendant that he knows what really happened and that he will not rest until the true killers are exposed…he tells the kid to come home with him.
That also deserves repetition.
This is a version of Twelve Angry Men where the foreman of the jury adopts the defendant.
I can't be any clearer than this. 12 is a well-meaning and in many ways admirable version of the basic story, that tries to adapt the story skeleton for its own entirely defensible purposes. But The film's several cogent observations about life in modern-day Russia notwithstanding, these touches make 12 about as ludicrous a re-imagining as we've seen at any point, even in the age of remakes.
The Verdict
Twelve Angry Men: an incredibly contrived, but brilliantly told film. 12: a lumpy and ludicrous but frequently powerful report on the state of life in Russia today.
And now, the wife produces an identical switchblade from her jacket pocket and stabs it into the table…
Second Commentary by Judi B. Castro
Twelve Angry Men (1957). Directed by Sidney Lumet. Screenplay by Reginald Rose, from his prior teleplay. Starring Henry Fonda, Lee J. Cobb, E.G. Marshall, Jack Klugman, Jack Warden, Ed Begley, others. 96 minutes.****
12 (in Russian with Subtitles Available; 2007). Directed by Nikita Mikhalkov. Screenplay by Nikita Mikhalkov, Alexander Novotsky-Vlasov, Vladimir Moiseenko, based on original screenplay by Reginald Rose. One third of the actors on the jury have the first name Sergei, and two others are named Alexei; it must have been fun whenever one got a phone call. 157 minutes.**1'2
Other Known Versions: The original TV production (1954); the William Friedkin TV-movie remake (1997); Ek Ruka Hua Faisla (Hindi, 1986); many many other parodies and imitations.
In my nearly 30 years working in and around court rooms and juries, I could never imagine a juror able to bring a weapon into the jury room. That being said, I have seen many odd bits of evidence in both civil and criminal trials. (OK, for you dying to know, everything from a human leg to a 1960's era VW Beetle, not to mention a life size replica of a male plaintiff's genitalia with removable parts to demonstrate his injuries!) But, after viewing these films, I wonder if screenwriters have a clue how juries really work.
I have seen the group who just want to get it over with, the group who want to sock it to the insurance company, the group who actually care and the jury that can't understand a darn thing! The twelve men in our tales all begin as the primary and in the 1957 actually come full circle back to that with only their verdict changed. The jurists in the Russian film not only want the whole deal over with, they obviously also want group therapy. It seems the 2007 theme was we can heal ourselves by freeing the boy.
The Lumet-directed piece plays tight and tense, the climate in the room mirroring the temperament and tenor of the deliberations. The claustrophobic conditions only add to the exquisite morality play we witness. But, alas, it feels like a play. In my reality, the single hold out would have either been abused verbally and possibly physically, or requested to be excused before the abuse could begin. Seldom will one person be persuasive enough to sway eleven others, and in this case his opening gambit would never have been able to work. This is an idealization of the jury process, not the truth of the fallibility of our justice system.
The Russian piece, while hitting all the salient points, doesn't have the edge to make it work. Again, we are dealing with prejudice and poverty, but this version needs to show us the depravity that the accused boy has lived through and the ongoing horror of his continued existence. Ok, great, but that's not the story of justice served. The added sequences (including the repetition of the wet dog) do nothing to move the story forward and in my opinion bogs it down enough to cause serious breaks in what should have been some decent dramatic scenes. Yes, we are dealing with these twelve guys trying to work out their own problems through this deliberation, but the sense of urgency, the need to get this right, just doesn't feel present here. The very fact that life or death is not only based on the verdict, but what happens afterward, blows the premise of the play to shreds.
I have been the fool left "babysitting" the jury. Hours spent sitting, running questions to the judge, getting evidence and meals. But, I have also been a juror. These idealized versions of courts and juries just don't cut it, but then, truth is much more boring than fiction (in most cases).


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I know that there are a lot of threads referring to that issue, but my problem is different.
I'm running Debian testing. I totally removed gnome-shell and turned it to xfce4 following the official wiki here: Install Xfce in an already installed system
From the first loggin i realized that some application (i think mainly those that where launched as root [like synaptic] but not only them) were looking ugly, not even sing the default theme.
I followed some instructions and I found that I had to install the themes to /usr/share/themes and the new icons to /usr/share/icons. I did it. Nothing happened. Then someone else said that he fixed his problem by installing lxappearance and runninig it as root.
I did it, and thigs gonne worse!
Now, nore applications look ugly (for example gnote) and no only that, but tollbar icons have been removed as well. Look the keys in the gnote toolbar in the photo.
I thing something went wrong with the permissions. Any ideas?
Which theme are you using? Does it have any engine dependencies? This can break a theme leading to a Widows 95 look.
It happens with any theme, even those preinstalled. All gtk2 and gtk3 engines are installed!
In Debian Stable I have gtk2-engines and gtk2-engines-xfce.
Have you selected Style in both Settings > Appearance and Settings > Window Manager?
Do themes work OK in ~/.themes?
Try launching an application in a Terminal and see what theme-related error messages it throws up.
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Of populists and political fusion
The last time the Democratic Party held its national convention in Denver was exactly a century ago, in 1908. That was also the first time the Democrats convened west of Kansas City.
The presidential nominee that year was no novelty, though; for the third time, William Jennings Bryan, once known as "the boy orator of the Platte,'" was selected. Bryan is sort of a historical footnote today, perhaps best known as the inspiration for the character of Matthew Harrison Brady in the play and movie Inherit the Wind -- a prominent lawyer who prosecutes a teacher for teaching evolution, much as Bryan did in the famous Scopes trial of 1925.
But Bryan was once a power in the land. He served as secretary of State under President Woodrow Wilson, resigning in 1915 because he was a pacifist and could not support Wilson's belligerent attitudes. Bryan was also the Democratic candidate in 1896, and was nominated again four years later.
Bryan, then only 36 years old and an obscure two-term congressman from Nebraska, electrified the 1896 convention with his "Cross of Gold'" speech, which got its name from its biblical conclusion:  "Having behind us the producing masses of this nation and the world, supported by the commercial interests, the laboring interests, and the toilers everywhere, we will answer their demand for a gold standard by saying to them: You shall not press down upon the brow of labor this crown of thorns, you shall not crucify mankind upon a cross of gold.'"
It was a speech that enabled him to carry most of the West in 1896, along with what was then the Democratic "Solid South'" of the old Confederacy.
The issue that brought those delegates to their feet was something that, today, is seen as an arcane matter best left to the Board of Governors of the Federal Reserve System: monetary policy. Back then, it was the hottest of election issues, discussed in pool halls and barbershops throughout the country.
For farmers, then 43 percent of the American labor force and 47 percent of the population, the problem was deflation: The dollar was gaining in value every year. That meant it bought more, which tended to work against farmers. In 1881, for example, corn fetched 63 cents a bushel. In 1890, it was down to 28 cents. In 1881, a farmer with a mortgage payment of $1,000 a year would have needed to raise 1,587 bushels to make that payment. But nine years later, he would have needed 3,571 bushels -- more than twice as large a harvest. If he could not raise that much corn, foreclosure loomed.
Little wonder, then, that the nation teemed with millions of angry farmers who wanted to see the nation's money supply increased to reverse the deflation. But how to do that, when the dollar was then tied to gold?
"Greenbackers'" suggested that the government just print more dollar bills, or "greenbacks.'" Another idea was to make silver, which was then being mined in abundance in the West, a legal currency, thereby expanding the money supply. The resulting inflation would drive up crop prices; farmers could pay their bills while silver miners in the Rockies kept their jobs.
Thus arose the uneasy alliance that became the Populist Party of the early 1890s. It elected a governor in Colorado, Davis H. Waite, in 1892. That year, the Populist presidential candidate, James B. Weaver, carried Colorado, Kansas, Idaho and Nevada. Six Populists served in the U.S. Senate of that era. Seven states, mostly in the West, elected Populist governors, sometimes as fusion candidates with the Democrats -- that is, they were nominated by both parties.
And that's what Bryan was in 1896 -- a fusion candidate nominated by both the Democrats and the Populists.
Some of the Populist platform eventually became law: direct election of U.S. senators (they were previously selected by state legislatures) and a graduated income tax. The party fizzled away for a variety of reasons, but it was certainly as influential as any "third party'" in American history.
Bryan fizzled, too, from the nation's leading progressive advocate for farmers and laborers, to a standard-issue Democrat in 1900 and 1908 (carrying only Nevada, Colorado and Nebraska in the West), to the puritan reactionary of the Scopes trial in 1925.
Political alliances were different then. Today, Prohibition is seen as an extremely conservative position, but back then most progressives supported closing the saloons and breweries -- a goal shared by much of the women's suffrage movement. Populists opposed immigration because it would lower wages, and many, like Tom Watson, became vile race-baiters even if they didn't start out that way.
Bryan's opposition to the teaching of evolution in public schools was more progressive than it might seem today. It was motivated by more than his adherence to a rather literal interpretation of the Bible. Bryan had a humanitarian objection to "social Darwinism'" -- the theory that the strong are supposed to oppress the weak in human society.
As for Populism, the party that dominated the West at the end of the 19th century, consider the preamble to the 1892 platform, and how much of it might remain relevant today:
"... we meet in the midst of a nation brought to the verge of moral, political, and material ruin. Corruption dominates the ballot-box, the Legislatures, the Congress, and touches even the ermine of the bench. The people are demoralized; most of the States have been compelled to isolate the voters at the polling places to prevent universal intimidation and bribery. The newspapers are largely subsidized or muzzled, public opinion silenced, business prostrated, homes covered with mortgages, labor impoverished, and the land concentrating in the hands of capitalists. The urban workmen are denied the right to organize for self-protection, imported pauperized labor beats down their wages. ... The fruits of the toil of millions are boldly stolen to build up colossal fortunes for a few, unprecedented in the history of the world. ... From the same prolific womb of governmental injustice we breed the two great classes -- tramps and millionaires.'"
Ed Quillen lives in Salida, Colorado, where he publishes Colorado Central Magazine and is a regular op-ed columnist for the Denver Post.


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Liverpool's Gary Murphy is widely regarded as one of the finest guitarists in the UK, receiving many local and nationwide awards.
His guitar playing has a very unique and diverse style both on electric and acoustic guitar.
At the Cavern, Gary covers pretty much everything – jazz, blues, country, rock…always a great show.
The Live Lounge is a standing venue with some unreserved seating. Seating is not guaranteed and may not be available for all shows. If you have a disability and need a seat please get in touch with us in advance to make arrangements!
Most events are 18 yrs and over please see our age policy for more information before booking. If you have any questions please get in touch with us.
Featured Artists *
* All bands are subject to change...sorry for any inconvenience.


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It seems the graphical installer requires the libpcre3-dev package for the verve plugin, but does not list it as a requirement. If you don't have it installed, it will fail.
Yeah I know... Will be fixed in the next installer.
I had the same problem .. but I just did the following instead :
./xfce-goodies-4.4.0-installer.run --extract-only
Then went to the folder of the plugin I wanted and did :
./configure && make && make install && make clean
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text: Mix and match your way to a stylish holiday capsule with a JETS bikini top. Find your perfect fit for that made for you feeling, in our best selling collection of bandeau bikini tops, triangle bikini tops, halter bikini tops, and underwire bikini tops. Pair with our signature high waisted bikini bottom for a modern look, or under a printed kaftan for perfected poolside style.


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This game, much like the pitching performance of Tim Lincecum, started like crap but finished just fine. Hell, it ended a little bit better than just fine. In a rather stunning ninth inning 4 run outburst, the Giants came back to take the opener in Oakland, 5-4. A big win at a crucial time of year and especially sweet as it ends the horror of nine straight losses with Timmeh starting. Shit, it was also the first time we won in that crappy stadium in two years!
The joy we feel now certainly makes it easy to forget the terror we felt after the first six Athletic batters: Infield hit,( steal 2nd, steal 3rd ), single to score a run, single, walk to load the bases, safe on fielder's choice to score a run, and then ... wait for it ... a walk to score the third run. Three runs in without an out recorded. I'm sure we all felt that crushing disappointment that comes when Shitty Tim shows up again. But then it all went away, like a summer thunderstorm. He struck out the next three batters (which probably saved the game as it worked out!) and went on to slice through 5 more dominating innings. Go figure. This is one crazy year. So, if you forget the 42 pitch terrible first inning, it was a great game for Tim (game score 58).
The good: Obviously, the big story of the game is the come-back ninth inning. Four hits (Brandon Belt, Justin Christian, Hector Sanchez and Gregor Blanco) and two walks (Buster Posey and Pablo Sandoval) mostly against a previously untouchable closer, Ryan Cook, is something that doesn't happen too often. Don't believe me? We are now 2-29 when trailing after 8 innings. Blanco deserves special notice for driving in two runs and stealing three bases! I love our running game and it is definitely helping us score more runs.
The bad: After a good month, it does seem like Ryan Theriot is fading fast. Today he completed the rare sombero (0-5, 4 K) and made an error. Maybe he just needs a few days off.
Tim's next start is Wednesday against the doggers. Will we get another mixed message or has Tim finally turned the corner of this nightmare? Time will answer that, time to enjoy a great win!


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Welcome to the Simply Living Blog Carnival cohosted by Mandy at Living Peacefully with Children, Laura at Authentic Parenting, Jennifer at True Confessions of a Real Mommy, and Joella at Fine and Fair. We hope that you will join us on the third Tuesday of each month as we share posts about simple living in our lives. Submission deadline will be the second Tuesday of each month.
Gift Giving Gift giving is the cause of much stress for many families. Some families make handmade gifts while others find it more simple to purchase items. Gift exchanges and drawing names add more gifts to find, and budget often plays a part for many families. What do you do to keep gift giving simple? Submission deadline: December 10. Carnival posting: December 17.
To submit an article to the blog carnival, please e-mail your submission to mandy{at}livingpeacefullywithchildren{dot}com anddelilahfineandfair{at}gmail{dot}com, and fill out the webform by December 10. Please write a new, unpublished piece for the carnival. We will e-mail you with instructions before the carnival date. We ask that you publish your post on December 17.
We want you to use creativity and to express yourself as you see fit. To that end, you are welcome to post at your discretion with a few guidelines in mind. Please be respectful in your posts. Avoid excessive profanity and poor grammar or spelling. As the co-hosts of the carnival are all advocates of peaceful living and gentle parenting, we ask that you not post about non-gentle practices or violence toward others. While we will not be editing your articles, we do reserve the right to not add your post to the carnival if it is not on topic, is poorly written, or goes against the guidelines which have been set forth.
Blog carnivals are a great way to generate blog traffic and build a supportive community. Your blog will receive links from many other blogs and you and your readers will have the opportunity to discover other blogs with similar goals in mind. Please join us as we embrace Simply Living through Simple Living! We hope you will consider joining us every month as we discuss ways we simplify our lives.


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Musician Phil Collen got married on Friday—no, not the similarly-sounding Phil Collins from Genesis.
Collen, the guitarist from the rock band Def Leppard, wed costume designer Helen L. Simmons on a beach at the Ritz-Carlton, Palm Beach in Florida, People magazine reported. Guests at the ceremony included Def Leppard members Rick Savage and Vivian Campbell.
The bride was adorned in an Adele Wechsler gown, while the groom wore a J. Lindeberg suit.
U.S. & World
News from around the country and around the globe
Both Collen, 52, and Simmons, 42, met during Def Leppard's "Sparkle Lounge" tour two years ago.
"We've been looking for each other our entire lifetime," Collen told the magazine. "To say we're ecstatic this day has finally come is putting it mildly. It could only be us for each other."
The wedding also incorporated some environmentally-conscious flourishes, including e-mail invitations and a vegetarian and vegan menu at the reception.
"We didn't intentionally start out trying to have green wedding," Collen said to People. "But since it's a natural part of our lifestyle to respect the environment, everything flowed pretty naturally."
Collen joined Def Leppard for their 1983 album "Pyromania," that contained the hits "Photograph," "Foolin'" and "Rock of Ages."
As far as Def Leppard's future plans, lead singer Joe Elliott told Billboard.com that the group was assembling a live record from a tour last year.


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Growing Interest in Networks
The National Science Foundation has asked CAISE (Center for the Advancement of Informal Science Education) to explore creating a focus on networks at it's PI Summit in the spring. CAISE is using the ASTC session that NISE Net Manager Vrylena Olney proposed, with me as moderator, as a jumping off point for their planning their network strand, along with a meeting in DC in November. Here's what the announcement in a recent issue of ASTC Informs says about it. Our ASTC session takes place at 9 AM on Sunday, October 16 in Baltimore.
CAISE to Explore Effectiveness of Networks: Building on a conversation that will begin at the ASTC conference session, "Net Working: Lessons Learned from Working in Networks," the Center for the Advancement of Informal Science Education (CAISE) will be convening a group of NSF ISE Program Principal Investigators on November 17-18 in Washington, D.C., to further explore the particularities of networks as a mechanism for doing effective, cross-sector informal science education work. For further information, contact Jamie Bell at [email protected].
It's also time for me to write the final report about the first award, which covered the first 5+ years. So in a reflective mood, networks are on my mind. Here's one abstract way of representing the NISE Net.


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Posted by Editor on 08/13/07
Race Across Canada to Combat Juvenile Diabetes
Courtesy Willie Cromack
The race across Canada is almost upon us. For those of you who haven't been following along, check out www.teamh2v.com and see how 5 riders will attempt to cross Canada in just 9 Days all in aid of Juvenile Diabetes.
Team Halifax 2 Vancouver is only 31 days from lift off and so it is time to help us down the stretch. We need your voices. It is time to donate and motivate those that don't have a cause to do the same. Go to www.teamh2v.com and we'll make sure your money finds its way to the hands of those that can make the research become a cure.
We are closing in on $700,000 but need to keep pushing. TSN has officially picked up the story and so we will be National with media attention. Also look for a story to appear in Time Magazine shortly and, hopefully, some of you have seen our videos, heard us on the radio and seen the team in action on the news and in the paper. We're working as hard as we can to do our part.
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A transition road was closed in Long Beach after a large spool of cable on a flatbed truck collided with an overpass at the 710 and 91 freeway interchange.
The transition road from the northbound 710 Freeway to the eastbound 91 Freeway remained closed during part of the morning drive as crews inspected the overpass and worked to transfer the cable spool to another flatbed truck. The spool, measuring 14 feet, 3 inches tall, struck the overpass, according to the truck driver.
- Map: Traffic Page
The driver was bound for San Marcos at about 4 a.m. when he was traveling under the overpass, rated for heights of 14 feet, 9 inches, and felt a jolt.
"It didn't fit," said the truck driver, Robert. "I was almost ejected through the windshield. I just held on and pulled over."
- Updates: NBCLA News App
Caltrans crew members at the location said the bridge does not appear to have sustained structural damage.


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It's not often this job fools me. Twenty-eight years (hopefully) engenders a certain savoir faire even to the dim-witted. Besides, automakers are a conservative lot for whom disguising their true intentions is as alien as good judging is to Olympic boxing.
Thus, when I first drove Infiniti's new JX35, I expected something approaching a sport-utility vehicle. Not a Land Rover bounding-over-hill-and-dale Defender to be sure but something with at least pretensions to faux-roading, as in, given its Wheaties and some knobby tires, the big Infiniti might actually leap a log or crest a sand dune.
What I got was a minivan. What else would you call a people mover with a large, commodious interior, excellent on-road handling and fairly comfortable seating for seven? For those looking for an instantaneous metaphor, think of it as a Mercedes-Benz R-Class without the mistake of making it look too much like a minivan.
For that is the death knell of any vehicle in any pseudo luxury segment. Like it or not, a whole bunch of you reading this road test are potential minivan owners as long as you never ever have to actually admit that you drive a minivan. It is the greatest self-delusion in motoring (other than perhaps Ferrari owners thinking they actually know how to drive) and there's an entire segment — crossovers — devoted to those who can't stomach admitting that they drive a people mover (or a station wagon, for that matter).
Allow yourself just a minute of true introspection, however, and you'll see that the new JX fits the bill as a minivan that isn't. For instance, it's roomy. My God, is it roomy. The front seats are positively spacious, the second row possibly even more expansive. The third row — always the compromise — is still fit for youngsters as long as they have no pretensions to varsity basketball. Yes, access to the rear seats is tight, mostly as the result of the SUV styling's biggest compromise: normal doors rather than minivan de rigueur sliding items. Nonetheless, the new Infiniti makes easy work of moving people and their belongings, these last aided by a trunk that Infiniti claims holds an impressive 15.8 cubic feet of cargo even when the third row of seats is in situ.
The JX35 is also incredibly safety oriented. The cruise control system maintains a specific distance to the car in front. There's a blind spot warning system and another audible alert if a front collision is impending (ideal for those textaholics with important communication needs in stop-and-go traffic). There's even a gizmo — Infiniti calls it Backup Collision Intervention — that detects people, objects and vehicles crossing behind the JX and alerts the driver. The electronics will even automatically brake if rear-facing doom is impending. It's a boon to any driver trying to herd children into the back seats, avoid trampling their randomly discarded tricycles and back out of the driveway. I sometimes lament the intrusion of safety nannies into modern driving, but anything that lets us better know where our toddlers might be playing is a definite plus.
The JX's powertrain is equally foolproof. Essentially, the JX35 is powered by Nissan's award-winning 3.5-litre V6 mated to a thoroughly revised continuously variable transmission (CVT). There's 265 horsepower available — not exactly overwhelming power for an all-wheel-drive vehicle that weighs 2,004 kilograms — but the super efficient continuously variable transmission makes the most of each and every pony. Infiniti Canada claims a zero-to-100-kilometres-an-hour acceleration time of around eight seconds while averaging 10.2 litres per 100 km in Transport Canada's fuel economy ratings.
OK, that's the good news. Now for the compromises Infiniti had to make.
The first is that Nissan Motor Company is one of the few automakers that soldiers on with CVTs. They are more efficient (though with the advent of eight-speed automatics, their advantage is much reduced), but they can be annoying since they can cause the engine to drone when accelerating hard. Essentially, a CVT keeps the engine spinning at a constant rpm, an especially annoying trait with buzzy four-bangers.
Mated to the Infiniti's V6, however, the CVT is far less intrusive. For one thing, the 3.5L is far torquier than any small four and doesn't have to spin as hard for moderate acceleration. For another, Nissan's VQ is a sweet- spinning V6, which means that it's buzziness isn't as intrusive. Nonetheless, a hard run on to a highway on-ramp will alert even the most technical illiterate that there's something odd (or at least different) about the JX since the transmission doesn't shift.
Nissan does offer a manual mode in which the CVT artificially creates gears, but unlike most automatics trying to disguise themselves as manuals, there are no paddle shifters on the steering wheel; you shift gears via the floor-mounted gear shift lever. There are a couple of other oddities. For instance, though one would suspect that the "Drive" mode would be preferable for economy, the V6 actually spins slower — and, therefore, should consume less gas — in the manual's mode's sixth gear. Another oddity is that, when cruise control is activated in Manual mode, the tranny may not shift down from sixth gear and so the heavy JX may not be able to maintain the desired speed up a steepish hill since the engine is spinning so slowly. All that is my long-winded way of advising you to just leave the gear selector in Drive.
My only other concern — especially for those soccer parents unwilling to admit that they're soccer parents — is that the JX's suspension is quite firm. Indeed, other than the steering being a little overboosted (a concession, I suspect, to the aforementioned soccer parents), I found that the big Infiniti handled very well with limited body roll and excellent directional stability. But, over rough roads, the ride can be a bit jarring. That's fine for a corner-carving motor head like me who is almost always willing to sacrifice some comfort for greater control. But little Astrid and Joshua in the rear seats might not agree and there's nothing like a little caterwauling to transform your well-equipped toddler hauler into the people mover from hell. Everything else about the JX35 — the seating, the safety equipment, even the powertrain — seems designed for moving people in comfort, so the performance-oriented suspension stands out.
Nonetheless, I think the JX fulfills its mandate, namely being a minivan gussied up as an SUV. It performs its people-hauling duties quite well; it's success will be determined by how adroitly it is disguising its true intentions.
Type of vehicle All-wheel-drive luxury SUV
Engine 3.5 L DOHC V6
Power 265 hp @ 6,400 rpm; 248 lb-ft of torque @ 4,400 rpm
Transmission Continuously Variable
Brakes Four-wheel disc with ABS
Tires P235/55R20
Price: base/as tested $44,900/$58,700
Destination charge $1,995
Transport Canada fuel economy L/100 km 11.5 city, 8.5 hwy.
Standard features Power door locks, windows and mirrors, heated exterior mirrors, tri-zone air conditioning with micron air filter, AM FM/CD/MP3/DVD player, XM satellite radio, steering wheel-mounted audio controls, cruise
control, information display, tilt/heated
steering wheel, leather seats, eight-way driver power-adjustable/heated front seats, auto headlights, dual front air bags, dual front side air bags, side curtain air bags, Vehicle Dynamic Control, Tire Pressure Monitoring system, Intelligent Brake Assist with Forward Collision Warning, Blind Spot Warning, Lane Departure Warning and Lane Departure Prevention


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- 【DESIGN】These slots can hold any shoe footwear outfit and size. Get your shoe pair at a glance, stiletto, high heels, sneakers, slippers or sandals.
- 【VERSATILE】You can save space for all your shoe pairs on existing shelves, cabinets,decks or on the floor.
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- 【OPTIMIZE STORAGE】Get double storage capacity instantly for up to six shoe pair with these slots. Best possible space saving solution for your shoes at bedroom, closet and wardrobe. Stack all your shoes with this modern and fun design.
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Complete Package (Original price before discount)
Devon Victorian Lilac Vest and Ties
The subtle woven pattern of the Devon Collection puts a modern spin on the traditional solid satin vest. Complete the look with a bow tie cut from the same fabric or a necktie with an ombre pattern to add intrigue to a classic look.
- Four button
- Matching pre-tied bow tie
- Ombre pre-tied necktie
- Available in boys sizes


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Wonder Woman 2 will be first film to officially adopt new PGA policies on sexual harassment. It is our obligation to change our culture and eradicate this abuse. The Producers Guild of America's Anti-Sexual Harassment Guidelines are sanctioned as best practices for our members. – PGA. More:
Until I know this sure uncertainty, I'll entertain the offered fallacy.
Poemas de Mustafa Güçlü en Español
love each other like you are the lyric and they are the music
Musings of a millennial. Life, the world and everything in between
ѕмιℓєѕ, Tнσυgнtѕ, ℓσνє& α ρєn
do it your way.
for the love of words
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Life past, present, thoughts about the future, and ever changing world
An opinionated girl penning down her thoughts.🌸❤
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unlimited book!!
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Today I went in for volunteer duty with a local agency and took with me four books written from a Christian perspective. We have a box marked "free books – help yourself" and clients can take and keep anything they want while waiting their turn to be seen.
At the end of my 3 hour shift three of the four books had been taken away.
I had a long conversation with one woman client who was going through life's trials and had recently split up with her lesbian partner. She showed me two severe injuries her partner had inflicted and for which she had needed lots of stitches. She was very open to talking with me and admitted she found there was a spiritual dimension to our conversation that she really appreciated. In fact she said she sensed that God was in our encounter in a very real way. I was surprised to hear this, as I hadn't said anything particularly spiritual up until this point.
She then picked up a little booklet "Finding Hope" and put it in her bag, saying that was exactly what she needed. She had experienced quite a bit of rejection in life, so I told her that Jesus was the only one who truly loved her and that he would never reject her. I also told her about an encounter I had where Jesus had appeared to me when I was distressed many years ago. She seemed quite touched by this. I asked her: "would it be OK if I gave you a hug?" She said that would be good, so I did and she also hugged me tightly back for a few moments. Before she left she saw the book box, picked up the one at the front with the title "Finding God" and said with a laugh: "this has all been planned!" I agreed that it had, so she left with the book on a high, and a big smile on her face.


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I just had this comment from a distant distant cousin of mine…
Denis Lagasse's wife Henriette Alexandre was my great aunt.
My grandfather and grandmother moved to Bristol, Connecticut, from Adams, Massachusetts, about 1895.
I just moved out on my grandfather's house about 4 years ago. I am now living in Plainville, Connecticut. I have an early picture of the St-Jean-Baptiste Society.
The only person I can identify is my grandfather but there is one guy that looks like it "could" be Stanislas/Dennis.
Let me know if you are interested.


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DANIEL C. MOORE; PONTOCAINE HYDROCHLORIDE FOR BRACHIAL BLOCK ANALGESIA: ONE HUNDRED AND FIFTY CASES. Anesthesiology 1948;9(3):281-284.
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The news just broke that Julian Assange will play himself on the 500th episode of The Simpsons, which is set to air February 19th.
The Entertainment Weekly report comes just days after we heard that Julian Assange would have his own TV show in mid-March. Apparently, when you're an international man of secrets who is wanted by multiple governments, your talents are in great demand on television. Simpsons creator Matt Groening heard a rumor that Assange was interested in appearing on the show, so Simpsons producers tracked the elusive hacker/activist down and made it happen. Assange's voice-overs were recorded, go figure, in an unknown location. [Entertainment Weekly]


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Current Law Students / fylse« on: April 07, 2009, 01:28:26 PM »
I have been researching the requirenments of the FYLSE in calif. I have some questions that maybe somebody on this site can enlighten me on my current understanding. In reference to the firat year law student exam that one has only three chances to take the exam when offered, after they become eligliable to take the exam. In the event that a individual does not pass withinn the first three attenpts of taking the FYLSE, but passes the exam on a later attempt that individual will only receive credit for 1 year of law school. can an individual who has experienced this can that still continue on in law school and still be able to take the regular bar exam? even though it took more that three attempts to pass the FYLSE? thanks to all who enlighten me in my quest to enhance my knowledge


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Imran wanted to back out of 'Matru ki Bijlee Ka Mandola'
Bollywood actor Imran Khan, who will be seen in a brand new Haryanvi avatar in his next film 'Matru ki Bijlee Ka Mandola', said initially the character was very tough for him and he thought he had made a big mistake taking it up
'During the first script reading of the film, I was unable to say the Haryanvi dialogues. It was not easy, I felt I made a big mistake and I should back out,' he said at the trailer launch of the film here Tuesday evening.
Directed by Vishal Bhardwaj, the comedy-drama also stars Anushka Sharma, Pankaj Kapoor and Shabana Azmi. 'When I told him (Vishal Bhardwaj) I won't be able to do it, he said he was sure I could. He had faith in me, even when I didn't,' the actor added. The actor will be playing such a rustic role for the first time and said that he devoted almost two to three months in preparing for the it.
'The role is different. It required a lot of preparation for almost two and a half months. I have always felt that the more we rehearse, the better we perform,' he said. Imran has often worked with new directors like Shakun Batra and Abhinay Deo, but the actor was happy to work with an experienced director this time.
'He (Bhardawaj) was very calm on the set and guided all the performers. Even if something was not working out, he would find a way to make it work. He knows the right way to do things,' he said. Talking about Imran's look in the film, Bhardwaj said that he wanted to give him a completely different look.
'I wanted to see Matru in Imran. I had liked him in 'Delhi Belly' but I wanted to do more. He was very patient with me and we finally achieved the look,' he said referring to the actor's over grown beard and rustic look in the film. All of Bhardwaj's films have strong female characters and the director seems to have maintained the same with his heroine Anushka Sharma as well.
'My female characters are always very strong. It comes naturally. I see women as stronger than men in real life as well,' he said. Talking about being paired with Imran for the first time, Anushka said that she never thought they would look like the way they do. 'This is the first time we are working together. I never thought we would look like this. But Imran has looked the hottest in the film,' Anushka said.
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Quiet Riot – Guilty Pleasures (2001, Bodyguard)
- Vicious Circle
- Feel The Pain
- Rock The House
- Shadow Of Love
- I Can't Make You Love Me
- Feed The Machine
- Guilty Pleasures
- Blast From The Past
- Let Me Be The One
- Street Fighter
- Fly Too High
Band Lineup:
Kevin DuBrow – Vocals
Frankie Banali – Drums
Carlos Cavazo – Guitars
Rudy Sarzo – Bass
Total Time – 50:49
Kevin DuBrow official website
Frankie Banali official website
Out of nowhere, Quiet Riot releases their best album since CONDITION CRITICAL. Eleven songs by the reunited band that take a step back to the past, creating an '80s style Hard Rock party album. Sing-a-long choruses, guitar solos, gang background vocals, melody and power…..the makings of a great album. What is unique about this album is that the band writes in some old parts into the new music: the title of an album or song within the lyrics, a drum intro/pattern that sounds very similar to one from an earlier album, guitar melodies and riffs that were primary pieces of early classics. The songs are well written, fun, and stick in your mind.
'Vicious Circle' kickstarts the album into high gear right off the bat with it's pounding drums and electrified riffs. I like the vocal enhancement DuBrow uses in parts of the song to give a deeper, sinister sound to his vocal, then it kicks back into the trademark scream. A definite fist-pounder, Banali's drums really set the tone. This was the set opener for their slot on the Summer tour with Poison. The guitar into to 'Feel The Pain' reminds me of something from QR III but it the song quickly kicks into a mid-tempo groove that recalls AC/DC. The guitar has that big synthesized sound at times but it's just multi-tracked, it just has that big sound. Another song from the live set.
'Rock The House' is the first single and was basically created to be this album's 'Cum On Feel The Noize', it's anthem. Complete with a similar drum intro with Kevin kicking in the chorus over the top, I also detect a small guitar fill that sounds all too familiar. It's a good party song but a little predictable, sing the lyrics to 'Cum On Feel The Noize' over the music and you'll get the point. 'Shadow Of Love', keeps the album moving along with it's fast pace. I really like this song but I can't help thinking it would also fit on Judas Priest's POINT OF ENTRY album.
Four '80s styled rockers in a row means ballad time. 'I Can't Make You Love Me' is an average track. It has a powerful sound but I think it feeds off the rest of the album and gets lumped in with the good rather than the bad. Not bad but missing something. Back to the party with 'Feed The Machine'. A very catchy song with a little more of those DuBrow enhancements like 'Vicious Circle'. The title track is the best song on the album and another concert staple. I really like the funky guitar and bass and this is by far the catchiest song on the record, the chorus sticking in your head well after the album's over. Another vintage anthem with 'Blast From The Past', the band making no bones about sounding dated. Great song with a guitar riff that steals a part from 'Party All Night'.
Ballad #2, 'Let Me Be The One', is a little better but still average. It gets a pass because it's surounded by the fun songs. 'Street Fighter' is the closest thing to Speed Metal that Quiet Riot will get. It's the fastest song on the album, employing a chugging guitar but it's not up to par with the rest of the uptempo songs. It's like it is fast just to be fast. 'Fly Too High' is this album's answer to 'Thunderbird' as far as pace and style, making ballad #3 a success. The cool thing is that the song's verses are a slower version of 'Metal Health'. Listen to the song and sing the words to 'Metal Health', they fit.
Bottom Line:
It sounds dated, it sounds too familiar, it sounds like it came from the early '80s……but that is exactly what makes the album great. Quiet Riot have come full circle tight back to their party Metal roots that made them household names. Well worth the money if '80s Hard Rock is your thing. Favorite songs: 'Guilty Pleasures', 'Vicious Circle', 'Feed The Machine', 'Feel The Pain', 'Blast From The Past'. I saw the tour three times and the songs really translate well to the live show. I pull this album out regularly and I find myself singing the songs even after the album ends, it's that type of music.


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Section 8: Prejudice, the $15 shooter available on Xbox Live and, as of today, PC, will deploy a new online game mode - once the number of in-game kills surpasses 10 million.
Developer TimeGate Studios posted the 10 million bodycount bounty on Prejudice yesterday, but don't worry; in-game kills for all platforms figure into its tally, which means the nearly 7 million tallied in the Xbox Live version since its release two weeks ago are good toward the unlock of Assault mode. A counter on the game's home page is keeping track.
Section 8 says Assault is a "team-versus-team game mode where teams race to capture all Control Points in the fastest time." It is split into two rounds: attack, where one team attempts to capture the opposition's control points; and defense, where it repels the opposing effort.
As of now, the counter stands at 7,142,398. So, get on out there and kill.
Help the Section 8: Prejudice Community Get to 10 Million Kills to Unlock New 'Assault' Mode [TimeGate Studios]


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[Intro: Daddy-O (RZA)]
Yo, yo, yo, yo Bobby
What up, what up? I can't really hear you
Aiyo, I left ten pounds in the trunk and I gave Sha' ten
Make sure he drops them shits off
I'm on my way back to Mexico, to pick up another hundred
(What up?) Can you hear me? can you hear me? (Uh-huh)
Yo make the drop off, don't forget man!
I got niggas on the block, block
Niggas with them gats, gats
Niggas on the strip, strip
Pumpin' them packs, packs
To my workers that stays sharp like razors
Play my part and blaze it, we braveheart with paper
My niggas got that Dutch, Dutch
Niggas got that black, black
Niggas got a bitch, bitch, head in they lap, lap
My team ain't wit' it, we dreamed and did it
Leaned and pivot, schemed for digits
Everything you seen, we lived it
Nigga front then we get at duke
Dick hard like statues go to hole like Shaq do
Cut you like a cantelope
Like Iverson the truth and the answer
I'm the poison and the antidote
Don't care if the bitch cute, we don't sex raw
We play the corners like the castles on a chess board
Up in the Lex 4, drinkin' a Beck's boy
Shoppin' in the best stores, I'm the nigga to check for
[Hook: Freemurder]
Wanna spend our cheese, smoke all our weed
No tattoo on titties, sayin' F-R-E
And my nigga Crizzee baby, and my nigga Digi baby
Wanna spend our cheese, smoke all our weed
No tattoo on titties, sayin' Bob Digi
Or ShaCrizzee baby, or Lil' Frizzee baby
[Interlude: girl (RZA)]
Bobby stop!
Bobby *sirens* the cops is comin
(That shit is tight girl)
*cops: "hey you!"
(Fuck that mothafucka, you know how I do)
*car speeding off*
Up in the drop-top Boxter headin' the opposite
Direction of the cop inside the chopper
I got the tall Grey Goose vodka
This bitch on my side, with no panties, finger pop her
Ten pounds of skunk up in the front trunk
Bird like hittin' a blunt, about to cum, and I'm pinchin' her cunt *girl moans*
Ninety miles per hour I'm like "Fuck these punks!"
It's the land of the free son, you only live once
You a smart motherfucker or stupid dunce?
Music blastin', she orgasm like a singer
Sweet, wet pussy got all over my fingers
Now I'm sniffin' my hand, I'm shiftin' the plan
Got the pedal to the floor, goin' swift as I can
Hit the exit, chk-chk-chuh, make the left quick
Hit the garage and slip inside the Lexus
I got many whips, many clips, many chicks
And my dick's been sucked by many lips
Many tips, on many vicks, many sticks
And left the God with plenty chips
He got many whips, many clips, many chicks
And his dick's been sucked by many lips
Many tips, on many vicks, many sticks
And left the bar with plenty chips


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UPDATED: To support Curl, if it is installed. It appears that some servers have the 'fopen' wrapper disabled, preferring Curl – which is faster too ! )
OK, so I have just knocked up a PHP5 script which, WITH SOME MORE WORK (on your part) will grab all your photos from flickr, should you want to move away from them.
This script takes your screen name and then lists all your photos, with the original photo file url, the title, description and any tags, comments and geocoding data too.
That's as far as I go – the script is not doing any downloading at all – I leave the rest up to you 🙂 You could add the details to a database, store images anywhere you like, ftp them somewhere – it's up to you to get the PHP to do what you want.
If I get the time, I will create a desktop version which does the same thing. The tricky bit might be deciding on a static xml format for all the rest of the data – maybe a big RSS file would do. Or OPML. Or both?
NB: You MUST have PHP5 with simplexml and fopen wrappers or Curl activated (Some webhosts prefer you to use Curl, so they deactivate file_get_contents)
Enjoy! Feel free to use this code and hack and mash it up at will. Please add to the comments of this post, if you do extend it. Cheers! 🙂


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Before you go to see this feel-good romp about a girl who discovers roller derby and first love in the same week, there are a few things you should know about Whip It! (Exclamation theirs. I would have gone with an ellipsis.)
1. It is not a period piece. Vintage clothes and old-fashioned values abound, but the movie is set in present day. It's hard to tell from the commercials, and just as hard to tell from the movie, which features only one real pop culture reference, and two late-in-the-game uses of computers.
2. It is not a comedy. Believe it or not. Kristen Wiig plays it straight, an uber-violent Drew Barrymore is kinda scary, Jimmy Fallon does a parody of himself and Ellen Page... doesn't really talk very much. It's really more of an inspirational sports movie and touching coming-of-age story than a laugh-out-loud knee-slapper. You will laugh at Juliette Lewis, but that will not be based on anything she says, but rather, how she says it and what she's wearing when she does.
U.S. & World
3. It is based on a book. You may be surprised, because there are big chunks of the movie with no real dialogue, and yet there are several lengthy voiceover explanations of the rules of roller derby. Also, what dialogue there is sounds like it was made up on the fly, with little to no embellishment, which is strange, since the script was written by the author of the book. Not having read it, I am assuming it contains no dialogue.
4. This movie contains a romp in a field, an underwater make-out scene AND a food fight. I just thought the guys should be prepared, in case they weren't expecting that much cutesiness in what is otherwise a tale of female empowerment. Did I mention Drew Barrymore directed this?
5. There's a lot of skin in this movie. Not nudity, of course, but some of the derby costumes are pretty skimpy (especially on Zoe Bell, whose costume may have been made for a much shorter actress), and Ellen Page spends an inordinate amount of time in her underwear. And guys out there who have a fetish for women showing off their bruises to each other... well, let's just say you hit the jackpot and leave it at that.
6. Marcia Gay Harden plays two characters. One is a hard-working mother who sneaks a cigarette now and then, used to love Christian rock and is willing to take her daughter shopping at funky shops for clunky boots; the other is a stereotypically prim and proper Southern matron who longs to relive her days as a cotillion queen and thinks a bong is a pretty vase. Unfortunately, the two characters are one and the same, and while the disapproving mom being a flawed former wild child is a nice dichotomy, Harden only plays one at a time, depending on the needs of the scene, so her character comes off as having multiple personality disorder. But, for what it's worth, she plays them both brilliantly, and really elevates the movie.
7. Roller derby does not have the same rules as rollerball. Luckily, I learned this before I joined a league myself.
8. You can get to be a roller derby star without ever throwing a punch. Page's character, Babe Ruthless, gets knocked around a bit, but her job as jammer is to get past the other players, and she rises to fame and notoriety by using her size and speed. (And getting "whipped" through the throng, hence the title.) She throws one hip check at the end of the film, but they don't really make a big deal out of it, except that Juliette Lewis is really surprised.
9. Did you know there's a third Wilson brother, Andrew? He's actually the funniest thing in the movie. Hell, at this point, he may be the funniest thing in the Wilson family.
10. The movie's actually not that bad. I don't know if it's the soundtrack, the crazy uniforms, the timeless aesthetic or the who's-who cast, but the movie is enjoyable, despite the occasional schoolgirl-fantasy interludes, the bare-bones script and the lackluster performances. It's raw and unpolished, but then again, so is roller derby.
Did you see Whip It!? What did you think?
For more from Television Without Pity:


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August 31, 2012 at 640 × 480 in Cool Art how to create? You want to know?
Drawings Paintings Prints Photography
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Graphic Designer |Illustrator | Typographer
selected pieces
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The Light & Dark Sides of Me
Sketches, illustrations, designs... all that good stuff =)
a wordpress.com art blog by kate crowley!
Painting, Sculpture, Drawings
A work of art is the unique result of a unique temperament——www.oilpaintingsstore.com
compulsive drawing, and flailing
Never be afraid to dance!
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The wacky stories of a crazy lady.
The writer gives life to a story, the reader keeps it alive.
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a memoir
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thinking searching surfing
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music is life, music is breath, music is us
my world in photographs
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in here, every day is show and tell
Paintings, doodles & other art by Marco Bigliazzi
the art and design work of Roy Robinson
This blog is a collection of things that I like, here you will find the finest of film, literature, music, photography and art from artists around the world. Enjoy!
I'm an ARTGEEK! I scribble. I print. I love it.
A modern painter and artist observing contemporary subjects
An Artist's Perspective
Oil Paintings, Watercolors, Ink Drawings
Purveyor of pop culture...burdened with glorious purpose...
Maine landscapes in oils by Susannah Haney.


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(LONDON, ENGLAND) – Middleweight Terrell Gausha (Cleveland, Ohio) has proven that he has a flare for the dramatic in the ring and he showcased that trait in explosive fashion with a last second stoppage win over Armenia's Andranik Hakobyan in his Olympic opener. The bout went into the final minute in doubt and Gausha refused to leave it to the judges, putting Hakobyan down twice in the final seven seconds before the referee called a halt to the contest in the last second.
The middleweight preliminary round bout was highly contested through all nine minutes of action with each of the boxers enjoying their moments of success. Both boxers were busy in the first round, landing sharp punches and looking for openings and it was Hakobyan taking the 4-3 lead after one. The punch output dropped in the second as the contest became more tactical and the third round began with Hakobyan holding a one-point lead.
Gausha came out firing in the third, but as the contest moved into the final 30 seconds, the outcome was still in doubt. Yet the American refused to leave it in the judges hands, he landed a double jab, right hand combination flush to the Armenian's chin with less than 10 seconds remaining, sending Hakobyan to the canvas. The Armenian managed to get up but Gausha stayed on the offensive, dropping him once again with a left hook in the final second. The referee stopped the bout as the clock hit triple zeros and Gausha won his first bout of the 2012 Olympic Games in thrilling fashion.
"Going into the third round, I knew I had to leave it all in the ring. I didn't want to have any excuses or wish that I had done something. I just wanted to leave it all out there," Gausha said. "I threw a double jab and a right hand (for the first knockdown) and it caught him right on the chin. I dropped him twice and the referee stopped the fight."
"This is definitely a confidence booster but I'm still taking it one day at a time. This is just the first fight, I still have a ways to go," he said. Gausha will return to action on Thursday in a second round match-up with India's Vijender.
Due to fundraising efforts by his local community, Gausha's mother and sister were able to travel to London and cheered him on to victory in Saturday night's bout.
Two American boxers will compete in preliminary action on Sunday as lightweight Jose Ramirez (Avenal, Calif.) takes on France's Rachid Azzedine and welterweight Errol Spence (Desoto, Texas) faces Brazil's Myke Carvalho de Ribeiro. Both boxers will compete in Sunday's evening action with Ramirez competing at 9:30 p.m. London time (4:30 p.m. ET) and Spence boxing at 10 p.m. London time (5 p.m. ET).
U.S. Result
165 lbs: Terrell Gausha, Cleveland, Ohio/USA stopped Andranik Hakobyan, RSC-3
Terrell Gausha quotes
"I didn't know the exact time (when he knocked him down), but I have a mental clock in my head. I've been around for the game for awhile so I knew I was cutting it close."
"I felt it was a close fight, I wasn't sure if I was winning (before the knockdowns). It was too close for comfort so I had to go for it."
"He was bigger but it's all about the heart."
"I had a little nerves going into the fight because it was the first one but I was confident that I was going to pull the win off."
"I always try to gain a little bit from every fight so I took some things from this fight. I always get better as I progress in the tournament."
"I heard my family. I heard my team cheering but I was kind of focused on the fight. I heard the crowd cheering Armenia and I used it as motivation for me."
USA Boxing, as the national governing body for Olympic-style boxing, is the United States' member organization of the International Amateur Boxing Association (AIBA) and a member of the United States Olympic Committee (USOC).


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According to Frank Costigliola's meticulous book, the U.S.-Soviet relationship fell apart primarily because Roosevelt was no longer around to keep it together. Like those admirers of John F. Kennedy who contend that the world would have been spared the worst of the Vietnam War had he not been shot, Costigliola argues that the Cold War could have been avoided had Roosevelt not suffered a fatal stroke early in his fourth term. "Especially because of Stalin's suspicious, touchy nature," he writes, "safe passage to peacetime collaboration required a U.S. leader with the emotional intelligence, elasticity, charm, and confidence of a Franklin Roosevelt rather than the personality of a Harry Truman."For more on presidents and war: the Wall Street Journal has a review of Amy S. Greenberg's A Wicked War (Knopf) on President Polk and the War with Mexico, and, in the Washington Post, Eric Foner reviews The Man Who Saved the Union: Ulysses Grant in War and Peace (Doubleday) by H.W. Brands. According to Foner:
Brands is essentially a storyteller, and a good one. His prose is lucid and colorful. He evokes the atmosphere of Grant's era by filling the book with lengthy excerpts from primary sources — letters, first-person observations and recollections. What Brands does not do, however, is present new interpretive insights on questions that have engaged generations of historians: the "modernity" of the Civil War, the centrality of emancipation to the war's outcome, the reasons for the failure of Reconstruction.reviews Alan Ryan's On Politics (Liveright). And over at the Washington Post Jeff Greenfield reviews Sasha Issenberg's The Victory Lab: The Secret Science of Winning Campaigns (Crown), and Kevin Boyle reviews Shirley Sherrod's memoir The Courage to Hope: How I Stood up to the Politics of Fear (Atria). Here's the start:
In the summer of 2009, the U. S. Department of Agriculture named Shirley Sherrod its director of rural development for the state of Georgia. It was a routine appointment, one of thousands the Obama administration made that year, except for two things. Never before had an African American held the position. And Sherrod had spent 40 years working on behalf of Georgia's rural poor, sometimes in opposition to the very programs she would be running. That made her selection an audacious act, a sign — small as it was — of change.
Thirteen months later, she was very abruptly, very publicly fired.Read on here.
Also of interest this week: In the Wall Street Journal George Ayittey reviews Wle Soyinka's Of Africa (Yale) and Chinua Achebe's There Was a Country (Penguin). Both books are also reviewed in the New York Times this week (here and here).


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Le Mans Blog
Thursday, June 9, 2011
As a first timer at the 24 Heures du Mans, I had a laundry list of places I wanted to visit and things to experience.
To begin, it was good I was not the one driving to the track because as soon as I got a glimpse of the facility, I couldn't turn my head away. The pit structure stood five stories high with so many grandstands I couldn't keep track of how many I saw and in the distance was the historical ferris wheel that I had seen so many times before in pictures. It was the best feeling to finally be here, in person!
My first stop: Registration. This large sphere shaped building with a very tall rounded ceiling was set up with several desks to help patrons' receive their tickets. It sure is nice they know how to speak some English, because otherwise I would have been there awhile!
Sliding on my Le Mans lanyard and hard card, it was time to actually enter the facility. Cars were lined up all around to get into the famous racing circuit. They actually scan in each person and vehicle as you enter and leave the track, which makes the wait longer to get in but results in accurate attendance numbers.
Since I am the media geek of the Road Atlanta group, I have to talk about the media center. I was absolutely blown away by the amount of dedicated media and the space to accommodate such a crowd. The system as a whole was very organized and easy to figure out. And the view! The view over looking pit row and down the front straight is priceless. Every time you look up there are thousands of fans across track staring right back at you. What a sight!
7 Awesome Areas to View a Race at Road Atlanta
Watching a race at a road course is very different from watching an oval race. Watching a race at Road Atlanta is even more different than watching a road race anywhere else!
For starters - you don't have to stay put. You can roam around the 750 acres - you can watch screaming high end speeds at over 200 mph – and in less than ten minutes you can watch some cars slamming it up through the esses or taking the challenging hairpin turns at 6 and 7.
So here are my top 7 places to watch a race from Road Atlanta...
1) The Grandstand situated across from the Paddock area near the start / finish line. Sitting here you get a clear view of pit road and the start / finish line. You also get to watch the cars come down into turn 12 and scream down the straightaway towards turn 1.