text:
Unchanged from its glory days of racing, this hot piece of American muscle is very special. Originality was the primary reason Larry Weymouth wanted to add this Hurst AMX Super Stock to his collection of great American muscle car iron.
"I knew they had this car," he told us at The Forge Muscle Car Classic in Pigeon Forge, Tennessee, referring to the father-and-son duo Bill and Brian Rodekopf.
Bill Rodekopf, now 89 years old and as sharp as a tack, still owns the beloved '51 Packard Patrician 400 he bought new from his former Packard dealership. Bill was also a Nash dealer in those early '50s days. When Nash merged with Hudson to form American Motors, he became an AMC dealer.
Luckily for Brian Rodekopf, his father was a car guy and into racing. In 1968, the dealership sponsored a 390 Javelin on the dragstrip, driven by Bob "Tree" Smith, a local insurance adjustor nicknamed for his proficiency at the starting line.
When AMC announced its '69 AMX SS, Bill Rodekopf wrote a check for $5,011.08, dealer cost, for a purpose-built drag car engineered to compete in Super Stock. The window sticker was $5,994, huge money then for a new car.
Brian was hanging out at the dealership on an April day in 1969 when an AMC transport truck rolled into town with the AMX aboard. The arrival of a raucous Super Stock drag car transformed an otherwise sedate, Norman Rockwell–like setting at Bill Rodekopf Motors in Independence, Missouri, into high excitement.
Once the car rolled off the transporter, Bob Smith went to work. "By the end of the week he had the cam changed and the tires and wheels swapped out," Brian told us. "On Saturday night he raced the car at Kansas City International Raceway. On his first pass off the trailer that car went 11 flat at 128 mph."
SS Equipment
How different from a regular AMX was an AMX SS? AMX SS equipment entailed more than 20 performance enhancements. Henry's Machine Works in Bellflower, California, supplied one-piece racing axles to withstand the tremendous torque loads of a drag car. Hurst modified the suspension, but the changes were "very minimal," said Brian. He credits Landruth Corporation with design work on leaf springs, manufactured by Rockwell International and "built along the lines of the fabled Chrysler Super Stock leaf springs."
With six-cylinder front coils (what AMC called "Special Super Stock Springs"), the front end would rise farther on launch, just what a drag car needed for weight transfer.
Brian said, "The big deal was the motor. It had a stock stroke but 12.3:1-compression JE pistons and heads modified in conjunction with Crane," including porting, polishing, and "valve changes."
An Edelbrock aluminum cross-ram intake manifold mounted a pair of Holley 650-cfm four-barrels with what the factory called "un-silenced" air cleaners. Spark came from a Mallory distributor, coil, and wires.
Oddly, the cam was bone stock. "The cars left the assembly plant in Kenosha with the same camshaft and lifters an Ambassador station wagon would have had," said Brian. He feels AMC did not ask Hurst for a cam swap because every racer had a favorite manufacturer. Bob Smith, for example, favored Sig Erson cams.
Brian said, "He had umpteen different Sig cams he had tried in the course of 1968 and several profiles he knew worked well [in the 390]. He had already ordered a brand new cam and had it ready to go when the car arrived."
With the stock hydraulic cam the factory rated the 390 at 340 hp, or just 25 more than the 390 in a regular AMX. Brian recalls how the NHRA refactored the horsepower in the spring and early summer of 1969 to 375, pushing the SS AMX from the SS/E class to SS/D. Shortly thereafter, NHRA refactored the power again to 405 and moved the car into SS/C.
Among the Elite
Bob Smith knew how to make a 390 run on the dragstrip. There were about a half-dozen AMX Super Stocks that were really fast back then, Brian said. The most famous was H.L. and Shirley Shahan's Drag-On Lady. Then there was Peterson Motor Company in Kearney, Nebraska, with another fast AMX SS named Pete's Patriot.
Brian places his dad's SS in the elite group of top AMXs. Bill Rodekopf sponsored Bob Smith locally and elsewhere in the Midwest. AMC donated go-fast parts.
Brian said, "KCIR [Kansas City International Raceway] was primarily where Dad liked to run the car for the most exposure for the dealership." Smith won AHRA and NHRA events, including various SS and Eliminator class victories.
Brian began driving the AMX in 1971 and ran the car nonstop "clear through the end of the '77 season." Clark Rand also drove an AMX SS, and they became good friends.
At the start of the '78 season, Brian partnered with Clark to run a Hornet AMX in Pro Stock. Clark sold his AMX, but Brian stored his car. Incredibly, his AMX sat untouched and out of the daylight (in a limestone cave) for the next 16 years.
When Clark moved away, Brian bought out his partner, but after a few years racing on his own and with a traveling sales job, he could not devote the time he needed to the sport. He did not want to go back to Super Stock or a bracket class with the AMX, so he finally stepped away from racing.
Super Shifters
In 1993, while making a sales call around the Lake of the Ozarks, Brian heard about the Ozark Mountain Super Shifters. The rules were simple. The car had to be clutch-launched and manually shifted, and have no electronics, delay boxes, or power-adders. The AMX, pretty much unchanged since the early '70s, fit perfectly.
Enthused, Brian dragged the AMX SS home. He installed a battery, changed plugs, cranked the motor, ran a compression test, rebuilt the Holleys, poured in some Sunoco racing gas, and turned on the fuel pump, and the 390 fired up. He loaded the AMX on the trailer and drove to St. Louis for the race. First pass was a 10.89 at 123 mph, pretty much the same e.t. he'd been running when he parked the car in 1977. He ended up eliminating all the other competitors.
After running one or two more Super Shifters events the following year, Brian retired the car again. In 2005 he accepted an invitation to park his AMX in the Kenosha History Museum in Kenosha, Wisconsin. He regrets not taking the car to the 2007 NHRA Hot Rod Reunion in Bowling Green, Kentucky, where, 30 years before he had won a Wally award with this car.
In 2008 and 2009, Brian showed his AMX locally, including a muscle car reunion and nostalgic drag race at KCIR. His big finale with the car came in a 2009 exhibition run against the Red Alert '70 Chevelle LS6.
At that point Brian figured he had had all the fun he could with this car over the course of 40-some years. The lines crossed between the car's sentimental and monetary value. Larry Weymouth seemed to Brian like the collector who would maintain and preserve the AMX. The deal went down in 2011.
That August, Larry transported his AMX SS to the Woodward Dream Cruise. According to the original window sticker, the SS is "not intended for highway or general passenger car use." But Larry had other ideas.
"I have another '69 AMX, a street one," he said. "I took the [license] plate off that and put it on the SS and drove it to the Dream Cruise. My friend has an AMX Super Stock as well. We took both of them. Let me tell you, we had a hell of a crowd around us all day. His is restored, and mine is not. You should have seen the crowd that came when we said we were going to leave. It was unbelievable.
"I got on it a few times," Larry told us. "What I didn't know at that time, though, is that the brakes were pretty nonfunctional. The first time I got on it I had a lot of speed and I realized the brakes were pretty bad. After that I didn't get on it too hard unless I had a lot of room."
Maybe Larry will race the car for nostalgia sake in the future. How great would it be to watch either Bob "Tree" Smith or Brian Rodekopf on the dragstrip, just like in the glory days?
At a Glance
1969 AMX Super Stock
Owned by: Larry Weymouth, Washington, MI
Restored by: Original unrestored
Engine: 390ci/340hp V-8
Transmission: BorgWarner T-10 close-ratio 4-speed
Rearend: 8¾ Chrysler with 5.00 gears
Interior: Black bucket seats
Wheels: 14×3½ front, 14×7 rear Cragar SS
Tires: 26×4 Goodyear Front Runners front, 28×9 Goodyear Eagles rear
Period performance: 10.82 sec @ 128 mph (1970)


text:
If you've signed up for the Sun City Veterans Association at the club fair, chances are you've run into Arnold Rosen and been asked to talk about your military experience. Most agree but tell Rosen there is no story to tell.
Rosen, a former U.S. Air Force Korean War veteran, was named the 2011 SCVA Member of the Year. Capturing and sharing those stories are among the reasons he was selected.
"It occurred to me that those guys and gals had a lot to tell," he said. "And many had never been asked."
Retelling the stories is just one service Rosen has performed.
"You have to talk about the fact he has made contributions in at least three different ways: To the Sun City vets themselves, to the community and his published books on memories," said SCVA Commander Tom Burke. "He has been widely asked to come to schools and bring veterans who then tell their stories to the middle schools and elementary schools. He has heard many stories about the wars and the war experiences of our veterans. He was made vet of the year because the longevity of services to our association has been exemplary."
Telling his own tale
During the Korean War, Rosen was a radio operator with the 75th Air Depot Wing and 543rd Ammo Supply Squadron, Korea. He once said his own experience was "unremarkable," yet an anecdote adds humor and shows everyone has something to share.
"When I completed Radio Operator School at Keesler Air Force Base, I had a choice of selecting ground or airborne radio operator. As it happened there were several days when our airborne radio op was unable to fly and I had to fly as part of the crew. I never told my parents about my flights during my tour in Korea. It was my little secret and decided it was best not to reveal it to them," Rosen said with a twinkle. "I remember the brutally cold winters; the hot and humid summers; and the rainstorms that flooded our tents and Quonset huts — but when you are 19 years old these things didn't bother me."
Publishing their stories
Rosen quickly became known in Sun City for the vets' stories in the SCVA newsletter. Eventually he had so many profiles that he was encouraged to publish a book complete with personal photos. The result was "Keeping Memories Alive — Our Aging Veterans Tell Their Story," published in 2008. Rosen produced another volume two years later — "Before It's Too Late." In all there were more than 80 servicemembers featured.
"It was amazing how the veterans would let me come into their homes and interview them. For some of the guys, the interview was difficult. Some of them were terminally ill yet they were willing to speak with me," Rosen said. "Some had never been asked or would not talk about it if they had. They'd say, 'I was thinking about writing this story but never got around to it.' Then they'd tell me about going into concentration camps, landing on beaches, fighting in the Pacific. The gratification I got from the veterans and their families was wonderful."
On stage and
on the road
The books served as a basis for the documentary "Shoebox Memories," produced by the University of South Carolina Beaufort and featuring seven World War II veterans.
Rosen also served as "talent scout" for the directors of "Follies 2010 — A Sentimental Journey." The variety show featured acts in a USO setting and in one scene, several real-life veterans apepared on stage as the audience.
"The vets loved it," said Rosen. "I am so thankful to all the gracious Sun City veterans who were willing to sit for an interview and share their memories of military service. One of the greatest privileges I have had has been meeting so many wonderful and decent men and women. They served their county with honor. When discharged they returned home and went on to create interesting and useful lives as productive members of society. They all found a home here in Sun City and continue to serve noble causes as volunteers that 'give back to the community' by visiting schools to tell their story.
"I'm the storyteller of the profiles," Rosen said. "Whether they were radio operators or cooks or truck drivers, they all had stories. And they served."
Born: Aug. 11, 1932, in Sea Gate, Brooklyn, N.Y.
Family: Partner Marylyn Staines; son Paul and daughter-in-law Suzy; grandsons Cyrus and Gus
Education: Graduated 1950 Abraham Lincoln High School, Brooklyn; Bachelor of science in business education, Ohio State University; Master of science in business education from Hunter College, N.Y.
Military service: U.S. Air Force four years; radio operator; Osan, Chinhae, Pusan, Korea
Career: 30 years teaching typing, business machines, machine transcription, word processing.

subset: commoncrawl


text:
Your list is empty.
Save musicians, entertainers, speakers, and services, and they'll appear here.
Children's Music Near You
Oh man, you have been asked to do what may seem impossible - find entertainment to capture a large number of children's attention and keep them entertained. Well you're on the right track since you're at GigSalad! Childrens' musicians and bands often infuse stories, special voices, music, and sounds into their performance to engage children with the diversity of their show. With these fine folks singin' and strummin' a guitar, those kids will be singing along, dancing, and having a ball! So book a children's musician today!
Where do you need Children's Music?
About booking Children's Music
Children's Music, Sing-alongs and more: Among the best entertainment picks for childrens' parties, school fairs, assemblies and church festivals is live music. Musicians and bands specializing in parties for kids often use singalongs, games, and other participation-oriented activities as part of their act and can be fun and memorable for children of all ages. You can book these artists to perform at your school or event now! It's important to support live music and the people who create for children. Children's entertainers infuse stories, special voices, music, and sounds into the day and can engage children with the diversity of their show, whether they perform on stage in front of hundreds (like Raffi) or they appear to a small group of 10-12 kids. Start your search for the perfect kid's music on GigSalad.
Some things to consider when hiring Children's Music are to make sure you listen to audio and watch video clips. This will ensure that you truly do book the best for your next event! Next, you want to get references. Talk to people in the area about the performer or group and get feedback. Finally, get a contract. Many professional kids' music performers require a deposit to secure them at your next event. Make sure to read through the contract carefully before contracting the group or performer for your child's party or public children's performance.
Children's Music around Ashburn, VA:
Funk Band / Children's Music
Washington, DC
1 Verified Booking
Recent review: Swagfunk was a great choice for our engagement. They were professional in their skill level and…
Cutting Edge Dueling Pianos(3)
Dueling Pianos / Children's Music
Baltimore, MD
7 Verified Bookings
Recent review: Jacob Wolfson. Is. Amazing! I had limited space.... so I asked for 1 keyboard but didn't want…
Musical Fun with Mr. Hyson(60)
Children's Music
Gaithersburg, MD
12 Verified Bookings
Recent review: Mr. Hyson is amazing!! We hired him for our son's first birthday party and I am so glad we did…
Tracey Eldridge Entertainment(46)
Children's Party Entertainment / Children's Music
Baltimore, MD
113 Verified Bookings
Recent review: Ms. Tracey was awesome! She did all the things you'd expect: showed up early, was prepared, professional,…
Children's Music for hire across the U.S. and Canada:
United States:
- Alabama
- Alaska
- Arizona
- Arkansas
- California
- Colorado
- Connecticut
- Delaware
- District Of Columbia
- Florida
- Georgia
- Hawaii
- Idaho
- Illinois
- Indiana
- Iowa
- Kansas
- Kentucky
- Louisiana
- Maine
- Maryland
- Massachusetts
- Michigan
- Minnesota
- Mississippi
- Missouri
- Nebraska
- Nevada
- New Hampshire
- New Jersey
- New Mexico
- New York
- North Carolina
- Ohio
- Oklahoma
- Oregon
- Pennsylvania
- Rhode Island
- South Carolina
- South Dakota
- Tennessee
- Texas
- Utah
- Vermont
- Virginia
- Washington
- West Virginia
- Wisconsin
- Wyoming
- Alberta
- British Columbia
- New Brunswick
- Ontario
Want more Children's Music gigs?
If you provide Children's Music services in the United States or Canada, get more gigs by joining GigSalad.


text:
We decided to go geocaching in a preserve near the Hudson River last weekend. It was quite an interesting trail. There weren't any signs or information that we saw that explained the history of this preserve, so quite a few of the things we saw were a mystery. Like this pile of bricks. And the other innumerable piles of bricks all throughout the whole preserve.
One of the geocaches we found, which was nicely stocked:
Another thing we came across was a benchmark, in this rock by the river
Here is a close up:
Benchmarks are all over - I'm sure you've seen them without even realizing it. I realize there may be many of you who don't know what they are, so from Geocaching.com's page:
What is a benchmark?A benchmark is a point whose position is known to a high degree of accuracy and is normally marked in some way. The marker is often a metal disk made for this purpose, but it can also be a church spire, a radio tower, a mark chiseled into stone, or a metal rod driven into the ground. Over two centuries or so, many other objects of greater or lesser permanence have been used. Benchmarks can be found at various locations all over the United States. They are used by land surveyors, builders and engineers, map makers, and other professionals who need an accurate answer to the question, "Where?" Many of these markers are part of the geodetic control network (technically known as the National Spatial Reference System, or NSRS) created and maintained by NOAA's National Geodetic Survey (NGS).
I'm not going to go into much more - I could easily do a whole post about benchmarks (which I might), but you can hunt them too, and we look for them as a sort of side hobby. DH knew there was one down here by the shore, so we specifically did go looking for this one. (If you're interested, you can find out more here.)
There were lots of people fishing down at the shore for striper. We passed a gentleman on the way in who had caught a really big one.
This post is getting rather long, so I will leave it to be continued....


text:
Review: Berlin Alexanderplatz
To his credit, Rainer Werner Fassbinder's highly problematic directorial intentions don't emerge from the literal nowhere.2.5
Until its self-described two-hour epilogue, Rainer Werner Fassbinder's adaptation of Alfred Döblin's 1929 novel Berlin Alexanderplatz is an engrossing psychological portrait of Franz Biberkopf (Günter Lamprecht), a Weimar-era worker bee whose slow corrosion of self both parallels and paves the way for the impending rise of Nazism. He's a vividly realized allegorical golem, at moments passive and acquiescent, at others viciously in control. Emerging from a four-year prison stint at the start of Fassbinder's 15-hour-plus epic, he plugs his ears and contorts his mouth in silent scream (the on-screen title reads: "The Torment Begins"), though he's no mere victim of the pogrom's progress slowly infecting the German id.
In retrospect, Biberkopf is more of an accumulative symbol, as he wears his ideologies—Nazi newspaper seller, drunk, underground criminal, pimp—like the latest fashions, discarding them when they violently fester or cease to be useful. The residue of his experiences—multifaceted, oft-contradictory—nonetheless remains, so the impression in the moment is one of revelation: With each narrative step forward, Biberkopf seemingly gains in clarity (the length of the work is a benefit, allowing for a novelistic density and, at times, a mesmeric depth of character), though Fassbinder is, in fact, merely setting up his metaphor-slathered patsy for an empty-headed last-act kill.
To his credit, Fassbinder's highly problematic directorial intentions don't emerge from the literal nowhere. The bibilical story of Abraham and Isaac is crucially invoked, played in voiceover counterpoint to a scene of a younger Biberkopf strangling his lover Ida (Barbara Valentin). This is the only glimpse we get of Biberkopf's past—the only extra-narrative detail—and Fassbinder returns to it again and again over the course of Berlin Alexanderplatz, the same matter-of-fact shot-sequence replayed, each time with a different aural accompaniment, so that it burns irremovably into the psyche. This is the wellspring, the moment in time that births the character of Biberkopf and sends him flailing forth on a sacrificial ascension up the Teutonic mount. Yet it is finally lazy psychology, in toto suggesting that all of Biberkopf's travails—and, implicitly, Germany's—can be traced back to a singular point.
I don't think Fassbinder entirely believes in this bill of goods he's selling us, but he seems incapable of resolving the complex undercurrents of Berlin Alexanderplatz, preferring to indulge his (not incorrect) instincts toward self-destruction. In conception, the film's two-hour epilogue is ingenious, a descent into absolute hysteria and madness wherein Biberkopf wanders through a politically and spiritually charged psychosexual dreamscape, complete with anachronistic musical cues from the likes of Janis Joplin, Lou Reed, and Kraftwerk.
Yet the experience of watching this intentionally incongruous coda is excruciating, and to no defensible effect beyond a shrug of the shoulders and an acknowledgement that literalizing the metaphysical isn't Fassbinder's forte. This is the sequence that helped me to understand Phillip Lopate's otherwise erroneous dismissal of the film ("flat and indifferently realized, a TV mini-series directed by the yard") in the closing paragraphs of his essay "A Date With Fassbinder and Despair." I would personally urge Lopate to go back and re-view certain parts of Berlin Alexanderplatz, some of which rank with the finest work in cinema, though in light of where it all finally goes—a haphazard succession of sub-Anger sexual imagery, half-hearted slaughterhouse/Christ motifs, and the kind of head-slappingly pretentious apocalyptic imagery brilliantly skewered by The Critic—I'd understand his hesitation to do so.
Berlin Alexanderplatz's best scenes revolve around more interpersonal matters, specifically in Biberkopf's relationship with the treacherous Reinhold (Gottfried John), the man who indoctrinates him into the criminal underworld and who eventually kills Biberkopf's prostitute lover, Mieze (Barbara Sukowa). When the duo first meets in the fifth episode, they agree to share several revolving-door lovers—when Reinhold tires of his latest conquest, he passes her onto Biberkopf. It's a brilliantly sustained roundelay on Fassbinder's part, aided and abetted by an incessant Windham-Hill-from-Hell underscore and by the metronomic rhythms of an endlessly flashing neon sign. In ultimate effect, it is second only to the film's best scene—captured in a distanced, yet empathetic single take—in which Reinhold murders Mieze.
Fassbinder recognizes this as Berlin Alexanderplatz's high point: Reinhold and Mieze moving as if on a woodland proscenium, helplessly trying to avoid a violent, practically preordained confrontation. When it comes, it's awkward, messy, yet possessed of a cosmic significance, an act at once unintentional and inevitable. Even the mist in the fog-shrouded forest descends as if on heavenly cue. It's telling that Biberkopf is nowhere to be found (he spends the majority of the episode off screen) and even more revealing that Fassbinder appends the tail-end of this sequence to the final moments of his ill-advised epilogue, as if trying—desperately, regretfully, impossibly—to recapture and reclaim a long-lost moment of clarity.
Cast: Günter Lamprecht, Gottfried John, Barbara Sukowa, Hanna Schygulla, Franz Buchrieser, Annemarie Düringer, Ivan Desny, Hark Bohm, Roger Fritz, Brigitte Mira, Karin Baal, Elisabeth Trissenaar, Barbara Valentin, Irm Hermann, Margit Carstensen, Helmut Griem, Helen Vita, Gerhard Zwerenz, Raul Gimenez, Mechthild Großmann, Angela Schmidt, Claus Holm, Fritz Schediwy, Axel Bauer, Volker Spengler Director: Rainer Werner Fassbinder Screenwriter: Rainer Werner Fassbinder Running Time: 940 min Rating: NR Year: 1980 Buy: Video
Interview: Lynn Shelton on Honing Her Process for Sword of Trust
The filmmaker discusses how she wants viewers to feel like they're paratrooping into her characters' lives.
Lynn Shelton has amassed a formidable body of work between her eight features and countless television episodes. Her latest outing, the comic adventure Sword of Trust, represents her most topical work to date. After pawn shop owner Mel (played by Marc Maron) purchases an old sword, he gets plunged into world of conspiracy culture as the relic attracts legions of online prowlers convinced that the weapon represents proof that the Confederacy won the Civil War. The logline might be Shelton's wildest yet, but the elements that have made her work indelible for over a decade remain intact: realistic conversations, emotional authenticity, and a commitment to multi-dimensional characters.
I chatted with Shelton on Sword of Trust's opening day, which saw the director, writer, producer, editor, and occasional actress in great spirits. Our conversation covered her pursuit of Maron for this specific project, how she developed her unique script-development process, and why she wants viewers to feel like they're paratrooping into her characters' lives.
Last year on Marc Maron's podcast, you mentioned that you liked exploring relationships between people who wouldn't normally interact. Sword of Trust continues in that tradition for you. What keeps bringing you back to these dynamics?
Have you heard of this theory of multiple intelligences, like different types of intelligences we have? I can't remember the names that [Harvard psychologist Howard Gardner] came up with, I think there's eight. I know I'm not the brightest bulb on all of these scales, but one way that I think I'm pretty high is in emotional intelligence. I like to think I am, anyway. I've always been that close observer of human behavior. I also really love humans. I feel like the thing that makes humans human are their flaws. So, on screen, I don't like to see people who are too smoothed out, all good or all bad. I'm interested in characters who are essentially good people, but they may be total fuck-ups and well-meaning who may sabotage themselves. Individual fucking up often happens in relation to other people. We may have a pre-determined need to connect to other people, but we're constantly sabotaging ourselves.
Sometimes, like I said on the podcast, I'm much more interested in unlikely combinations of people because it's not a prewritten script we're handed. It's not like, "This is who would be appropriate for you as a friend. This is the way you should act. This is the box we've already determined for you." Any kind of out-of-the-box way of living one's life or being surprised by a connection you feel to a human being, all those little happy accidents in life are the things I like to explore. To inspire people, not to just go through life in this sort of "this is what someone else had in mind for me, and I should follow that plan"—that feels very depressing to me. It's more interesting to open your heart and your life up to other experiences.
To explore relationships in that way makes the everyday more interesting and exciting.
Yeah, exactly. It gives you a reason to stick around.
Having been a guest of Marc's on his podcast twice, do you see any of his interviewer "persona" having an impact on the person you film on screen? Does training himself to listen and be present have any effect on making him a better screen partner?
Absolutely! The first time I directed Marc was on his TV show Maron, and I was so fascinated by his process. He's raw and a really natural actor. He steps in front of the camera, and he's looking at his scene partner and really knows how to listen and engage. A lot of that comes from sitting across from people and staring into their eyes. That's why he's such a good interviewer and has the top interview podcast, because he has a genuine conversation with people. And that's all acting really is too. He also has this weird ability to let the camera and crew and other extraneous details just fade away for him, and a lot of people find all that really distracting and difficult to shut out. He doesn't know where the camera is half the time. He said to me, "The next thing I want to do as an actor is figure out when the camera is on me." I said, "What?! That camera's right there!" He's like, "I don't see it. I'm not aware of it. I'm just in this scene with the person." I'm like, "That is a gift, my friend. That is incredible that you're able to not see the lights and craziness, just be in the scene." He's really able to do it. I think that definitely comes from that same skill set he's drawing on.
Where does the genesis of your films occur? They usually have some kind of strong conceptual selling point or hook, but they're often like a Trojan horse to get to deep conversations between the characters about something else.
It is, and the genesis of the vast majority of my films is an actor as a muse that I want to work with. Humpday was Mark Duplass, Outside In was his brother, Jay Duplass, this movie was Marc Maron, who I've been really wanting to make a movie with for three and a half years. Then there's other things, like a territory I want to explore or an element I want to return to, like improvisation, which I haven't done since Your Sister's Sister. I've done several movies in between that have been scripted, but I wanted to allow myself a new genre. I knew I wanted to laugh because the last movie was a drama, and I was ready to laugh—and let myself really laugh by going into the outlandish and ridiculous, plot-wise. Go into some comedy-caper territory, which I've never let myself do before. I've been totally real in every moment, and this time I was like, "What if I have real characters who go to a crazy place?" I wanted to make a culturally relevant movie that didn't make you want to slit your wrists. It referred to what was going on and some of the problematic elements of what we're dealing with in society. We're having this peak moment in conspiracy theories. They've always been around, but this is definitely where they've achieved a peak moment that I find very disturbing. So, it's usually a territory I want to explore and an actor I want to work with.
How do you research or prepare to authentically treat conspiracy culture?
Well, there's this thing called a computer and a thing called the internet, and boy, is it all in there! [laughs] We went down a rabbit hole with Mike O'Brien, my co-writer. It's so fascinating because there's little in-fighting. They really bonded over Pizzagate and the Twin Towers being an inside job, but then when it comes to hollow earth versus the earth is on fire, they're at odds and frenemies for life. It's insane, the shit you find.
How do you approach shooting improvisational dialogue? There's a very naturalistic feel to it, but there are hardly any vocal fillers like "um" or "you know."
Well, you get the right cast, so that really helps. I'll tell you, you can do a lot in the editing room. You'll see it on screen, there are these runs of incredible monologues. But if I'm cutting away to another actor for a reaction shot, it's often because I'm slicing out an "um" or an "ah" or a little bauble. The edit room is the most redemptive place in the universe. It's incredible what you can do and how you can carve out the right story. Especially with improvisation, it really is where the actual script is written. Our first cut—it didn't feel fat, it was funny throughout—was two and a half hours long. I was like, "How am I going to cut out five to seven minutes, much less an hour?" And for me, a comedy has to be 90 minutes, so I knew I needed an hour out of there. It was like, "This is hysterical, this is gold, but it's not serving the story. Ultimately, what is the story? It could be this, or it could include this, but let's just hone it down to Mel's emotional arc and make sure we can track it through the craziness." We want to care about these people just enough and balance it. There was so much work in the edit room.
Sword of Trust is definitely a comedy, but the scene I found most striking was Mel explaining his history to your character, Deidre, and in such a matter-of-fact, serious fashion, in the back of the truck. Did you always intend to set off this important part of the story with such a stark tonal contrast?
No, it wasn't. When Mike O'Brien really insisted that I be in the movie, I finally relented and thought I was going to be a random customer who came in for five seconds. But then, I realized she could be a device that helps us track Mel's arc. I was really panicking for a long time because I couldn't figure out how to make her funny. I can be comedic, but she wasn't comedic. She was so desperate and tragic. Then I finally realized that I wasn't going to worry about it. I wasn't going to try to turn her into some kind of laughing-stock. I was just going to be what she feels like she needs to be. That was an indication that this movie is going to have that real element of heaviness to it, but it happened really organically. I wanted you to care about these people, but I didn't realize there was going to be that much depth to one of them, so much poignant heart and humanity. That was a nice surprise.
You've described your writing process as being "upside-down," where the script develops alongside the characters. How did you develop this writing style?
I never went to traditional film school. I had this long, circuitous route to get to what I'm doing. I started as a theater actor, then I went to photography and started doing experimental work, but everything as a solo artist. The most important work of the film, making the process of the acting, is obstructed at every turn by the process of making it. You're out of order. In theater, you at least get to play a story from beginning to end and feel it out. You're at scene 35 on the first day and like, "What's happened before this? Where am I emotionally?" And then you've got to do it 40 times with the camera in different positions and act like nobody else is there. The whole thing is so hard, unless you're Meryl Streep! But if you're not working with Meryl Streep, what do you do as a director? I need real people on screen.
My second feature, My Effortless Brilliance, was a total experiment. I came up with these characters in my head and tried to cast them from a pretty small pool of actors. They were nothing like the characters. I realized, "What if you did it the other way? What if you had a person you wanted to work with…" That was where I started with that idea, and all I cared about was to make it feel like a documentary. I wanted you to turn the TV on and be like, "What am I watching? Am I in these people's lives?" And people have said they've had that experience where they'll turn it on in the middle of Showtime and have no idea what they're watching but that it feels like a documentary. Which is like, "Yes! That's what I meant."
And then I honed it with Humpday. Once I knew I could work in that way, I upped the stakes. I'll bring in a few lights. I had said, "No lights! Me and another camera operator with tiny cameras, a boom op, that's it." I eliminated the crew. But that was where I came up with that initial impulse, to make it feel really real. If the character fits the actor like a glove because it's half them or three-quarters them and they've developed it with me…I want real humans.
I actually had that experience of picking up one of your movies and not missing a beat. I was late to my showtime of Your Sister's Sister in the theater, but I didn't feel like I was lost. Then a few years later I watched it at home from the beginning, which helped it make a little more sense. But I felt I had easily intuited what I had missed.
It's funny because I want my movies to feel like you're paratrooping into somebody's life. We're taking a little journey down the river of their life for a while, and then we leave again. I don't like to tie things up too neatly at the end because I want you to get the sense that they're continuing to live their lives, and who knows what's going to happen in the future. But you just sort of paratrooped in a little bit later! [laughs]
On that note, there's a line toward the end of the film where Jillian Bell's character, Cynthia, takes a deep breath and says, "What a strange experience." Is that line improvised or scripted? In a lot of ways, the line feels like it sums up where characters often net out at the end of your films.
That was all improvised! It's all ordinary people going into crazy land, but yeah, ordinary people having weird dramas in their everyday lives. I mean, it can happen. I've heard stories of shit happening to random people that feel like…you couldn't write that shit!
Review: Into the Ashes Brings Nothing New to the Country Noir Genre
Aaron Harvey is prone to pulling back from any moment that might give greater depth to his revenge tale.2
Aaron Harvey's Into the Ashes is the latest in an increasing string of so-called country noirs set in the dilapidated backwoods of rural America, places ravaged by the opioid crisis and populated by jobless people long ago abandoned by politicians. It has little to distinguish itself, narratively or thematically, from similarly dour films, and it lets generic images of its rundown Alabama locale (rusted trucks, cramped houses, landlines in a wireless world) stand in as symbols of national decline without truly seeping into the complex social rot of the place. Its plot, of a reformed criminal forced to contend with his old gang leader over some stolen loot, is similarly superficial, hitting the typical beats of its genre.
Where Into the Ashes gets a boost is in its excellent cast of grizzled character actors, all of whom vibrantly express varying degrees of weariness and rage. Luke Grimes plays the erstwhile ne'er-do-well and ex-con Nick Brenner with the nervousness of a man who's just learning to let go of his past and give in to hope. The man's gruff, taciturn nature is leavened by his tender relationship with his wife, Tara (Marguerite Moreau), and he projects his faith in normalcy onto her. Nick relies so heavily on Tara for his emotional wellbeing that he anxiously calls home while on an overnight hunting trip just so he can hear her voice.
Equally human beneath a hard exterior is Nick's father-in-law, Frank (Robert Taylor), the local sheriff whose intimidating Tom Waits-esque voice and stiff demeanor belie his fumbling, masculine attempts to welcome Nick into his family. Strongest of all, though, is Frank Grillo as Sloan, Nick's recently paroled and vengeful boss. Grillo is at home playing big-fish-in-small-pond villains, and the actor makes the most of Sloan's thin characterization, exuding psychopathic menace when Sloan confronts Nick in the latter's home, drawing out every oblique threat as he circles the subject of the money that Nick stole from the crew's last job before Sloan was sent to prison. Grillo expertly inflects even the silliest moments of sub-Tarantino dialogue with a disarming venom, such as an extended riff on pie and ice cream.
But if the actors are primed to explore the contours around a basic premise, Henry constantly pulls back from any moment that might give greater depth to his revenge tale. Women exist to be supportive and to become victims, while character-driven conversations between Nick and Frank devolve into asinine ethics debates over justifiable violence. Worst of all, there's just no sense that the film is saying or revealing much of anything. There's one moment where Into the Ashes achieves a touch of bleak grace akin to the work of Cormac McCarthy by skipping over the events leading to a shootout and focusing only on its grisly aftermath: bodies strewn about in puddles of blood that look like reflective pools of black ice in the pale moonlight. Then, not five minutes later, we get a flashback showing the lead-up to that carnage. As with so much else in the film, a haunting moment of elision is negated by literal representation.
Cast: Luke Grimes, Frank Grillo, Marguerite Moreau, James Badge Dale, Robert Taylor, Brad Smith, Jeff Pope, Andra Frankle Director: Aaron Harvey Screenwriter: Aaron Harvey Distributor: RLJE Films Running Time: 97 min Rating: NR Year: 2019
Review: Stéphane Brizé's At War Is Politically Charged but Artistically Inert
The film is content to bluntly affirm that corporate attempts at compassion are always secondary to providing profit to shareholders.2
Seven months after the first flare-up of France's Gilets Jaunes, the nascent populist movement shows no signs of ceasing. Combined with the country's ongoing Telecom scandal, in which several executives have been charged with "moral harassment" after 35 workers were allegedly hounded into committing suicide, it's evident that what's simmering there is an extension of the same unease escalating around much of Europe, and the world at large. It's a state of affairs that makes At War seem especially of the moment, and which leaves its eventual failure to offer any special insight so disappointing. Provided with a prime opportunity to animate the zeitgeist, Stéphane Brizé's labor-focused drama instead uses this timeliness to prod along the most obvious of points, its nuts-and-bolts, process-oriented approach never amounting to more than a surface look at the issues it purports to confront.
The film in some ways functions as an unofficial prelude to Brizé's prior The Measure of a Man, in which an unemployed machinist played by Vincent Lindon finds a new career as a hyper-market security guard, where he's eventually forced to choose between serving as a traitorous management lackey and losing his job. Here, Lindon's Laurent Amédéo is still in possession of his original occupation, though things are hanging by a thread, as a last-ditch organizing effort attempts to halt the closure of a manufacturing plant in Agen. Surrounded by a cast of convincing non-professionals, Laurent leads the picket line, refusing to waver from the straight and narrow, an intense figure of principle whose scruples are never in doubt.
At War is largely notable for its steadfast devotion to a kind of mechanistic aesthetic, which unfortunately lines up with its cheerless didacticism, the two qualities cohering in a scene-by-scene summation of a strike action that repeatedly hammers home the same general points. The scenes themselves evince heft, fluidity, and an impressive sense of improvisation, but the staging is static and the eventual outcome is always clear. The game is given away by Lindon's stoic face and the gradual unraveling of the plot, which envisions internal disintegration—leveraged by outside pressure—as the insidious method by which solidarity is smashed. Despite some genuine drama in this dissolution, it's always clear who's right and who's wrong, which material interests each is representing, and who's lying and who's telling the truth.
This didn't have to be the case, as proven by David France's procedure-focused documentary How to Survive a Plague, which balanced a similarly diagrammatic narrative with extensive character detail, expanding the stakes while affixing a deeper subtext about the ways the victory of a marginalized group eventually diminishes its radical standing. Intent on emphasizing the connections between callous corporate greed and populist unrest, Brizé's film is bluntly focused on the bottom line. There's a certain dramatic function to this technique, as it examines the individual human actions that allow such interests to put their will into practice, but it doesn't justify the flat, exhortative style of address.
As another example of how well this kind of economic criticism can be carried off, there are the dazzling docu-essays of German filmmaker Harun Farocki, who routinely found surprising intricacies in the cold façade of modern capitalism, while offering empathetic alignment with workers as a matter of course. At War, on the other hand, merely summarizes what its audience already knows, affirming that corporate attempts at compassion are always secondary to providing profit to shareholders, and that genuine humanity and integrity are liabilities when confronting such an unfeeling monolith. Like Ken Loach's recent Palme d'Or winner I, Daniel Blake, it's a film whose political principles are hard to disagree with, yet which leans so heavily on this moral certitude as to render itself entirely inert.
Cast: Vincent Lindon, Melanie Rover, Jacques Borderie, David Rey, Olivier Lemaire Director: Stéphane Brizé Screenwriter: Stéphane Brizé, Olivier Gorce Distributor: Cinema Libre Studio Running Time: 115 min Rating: NR Year: 2019
Review: Bottom of the 9th Strikes Out with Too Much Plot Incident
Raymond De Felitta's film offers a sampler course of formulas, which creates a strangely unfulfilling tension.1.5
Raymond De Felitta's Bottom of the 9th offers a sampler course of formulas, which creates a strangely unfulfilling tension. Just when you expect the film to go in a certain direction, it goes in another, only for it to again switch routes, though there's never a sense of expectations being deliberately challenged or tweaked. Rather, the filmmakers merely seem to be indulging a variety of passing fancies, which is a shame because the actors here are game and occasionally imbue the shopworn scenes with liveliness.
Sonny Stano (Joe Manganiello) is the perfect hero for either a noir or a redemptive sports film, a man approaching middle age who just served a 19-year sentence for manslaughter. Famous in his Bronx neighborhood for being drafted by the Yankees, only to flush his life down the toilet, Sonny is attempting to patch his life together while doing a perpetual apology tour on behalf of friends and strangers alike. He's initially hired by an old friend, Joey (James Madio), to work in a fish market that seems to be a front for something. Joey has a cagey energy, and this narrative isn't without intrigue, but De Felitta and screenwriter Robert Bruzio unceremoniously lose sight of it in succumbing to a number of clichés.
Of course, Sonny is revealed to have a woman who got away, Angela (Sofia Vergara), who one day runs into her old beau at a market. They clearly have chemistry, as do the actors playing them, but their dialogue is composed of nothing but redemptive platitudes. In these scenes, Manganiello and Vergara are stuck in a worst-of-all-worlds situation. Their characters are relentlessly mousey, which is appropriate to the awkward context of Sonny and Angela's reunion, but which also robs these sexy actors of the opportunity to enjoy playing off one another. Meanwhile, said mousiness isn't poignant either, as the characters haven't been imagined beyond the respective stereotypes of the fallen man and jilted woman.
Bottom of the 9th then flirts with a narrative similar to that of Bull Durham and Major League, in which Sonny is hired by a local minor league ball team to rein in the fiery, egotistical talents of a rookie named Manny (Xavier Scott Evans). Evans is ferociously charismatic, suggesting a young Wesley Snipes and giving Manganiello a kinetic vibe to play off of, and so the film finally begins to come to life, with great character actors like Michael Rispoli and Burt Young riffing on the sidelines. However, this conceit is also left hanging, as the film shifts into a story of the unlikely comeback, with Sonny's own talents taking center ring.
De Felitta might've gotten by with these contrivances if he were a natural showman, but the filmmaker displays little interest in the Bronx setting in which his characters live, or in rendering their experiences in a fashion that refutes screenwriterly index-card portraiture. For instance, a prison flashback in which Sonny gets into a fight during a ball game is reduced to trite and melodramatic close-ups, while much of the remainder of the film is composed of medium shots designed to accentuate only the largely uninteresting dialogue. There's truly nothing in Bottom of the 9th but plot incident, and the leisurely, impersonal one-thing-after-another-ness of the film's construction is stifling.
Cast: Joe Manganiello, Sofía Vergara, Denis O'Hare, Burt Young, James Madio, Yancey Arias, Michael Rispoli, Vincent Pastore, Dominik García-Lorido, Michael Maize, Kevin William Paul Director: Raymond De Felitta Screenwriter: Robert Bruzio Distributor: Saban Films Running Time: 111 min Rating: R Year: 2019
Review: Crawl Is Fun and Economical but Lacks Go-for-Broke Inventiveness
The film is more straight-faced than Alexandre Aja's prior work, trading absurd kills for narrow escapes from gaping alligator jaws.2.5
Unlike the giddily crass Piranha 3D, Alexandre Aja's Crawl is a quiet beast of a film. It's built not on a foundation of over-the-top gore, but on a series of escalations. As a hurricane barrels toward Florida, ace swimmer Haley (Kaya Scodelario) becomes worried after her father, Dave (Barry Pepper), doesn't return her phone calls. She travels to her old family home and finds him unconscious in the house's flooded crawl space, with large alligators swimming in the water.
Early on, the camera often lingers on the deceptive stillness of the rising water for maximum suspense. Haley and her father are trapped in the house with no more than the tools they can find or already have on hand, MacGyvering their very survival out of shovels, flashlights, and flares. The best parts of the film slyly set up those tools and other objects, including a swing set and a rat trap, only to bring them back at some later, climactic moment.
If Crawl, then, is an easily digestible piece of workmanlike thrills, its only real bit of gristle is its po-faced father-daughter bonding. Haley and Dave are somewhat estranged; the family home was meant to have been sold off after Dave's recent divorce from Haley's mother; and flashbacks to childhood swim meets show father and daughter tempting fate with flagrantly ironic use of the term "apex predator." In the face of certain death, they cobble their relationship back together through Hallmark-card platitudes while sentimental music plays on the film's soundtrack. It's the absolute thinnest of familial drama, and it will do little to redirect your emotional investment away from the survival of the family dog.
Between these family moments, of course, the flood waters run red as people get got by gators. Aja is prone to lingering in prolonged closeup on things like a protruding bone being shoved back into place, but he otherwise seems to have gotten the most inspired bits of underwater violence out of his system with Piranha 3D. Crawl is more straight-faced than his prior work, trading absurd kills for narrow escapes from gaping alligator jaws. And while these moments are suspenseful, with nail-biting scrapes involving a handgun, some loose pipes, and one particularly clever shower-door maneuver, there's precious little of the go-for-broke invention or outrageousness that might have made the film more than a fun and economical thriller.
Cast: Kaya Scodelario, Barry Pepper, Ross Anderson, Morfydd Clark Director: Alexandre Aja Screenwriter: Michael Rasmussen, Shawn Rasmussen Distributor: Paramount Pictures Running Time: 87 min Rating: R Year: 2019
Review: The Farewell Thoughtfully Braids the Somber and the Absurd
The film taps into universal truths about the passage of time, the inevitability of loss, and how we prepare one another for it.3.5
In the opening scene of writer-director Lulu Wang's The Farewell, a Chinese grandmother (Zhao Shuzhen), affectionately referred to as Nai Nai by her family, and her Chinese-American granddaughter, Billi (Awkwafina), have a warm, affectionate phone conversation in which each woman incessantly lies to the other. A professionally adrift, financially bereft millennial whose writing ambitions have come to naught, Billi lets her grandmother believe her life is busy and full of social engagements; for her part, Nai Nai insists that she's at her sister's house, rather than in a drably decorated doctor's office. Wang frames Nai Nai against the kitschy, oversized picture of a lagoon that hangs on the wall, as if to emphasize the flimsiness of the illusions the pair is painting for one another.
The sequence calls to mind the advantage of audio-only phone calls: for allowing us to more easily maintain the falsehoods that comprise a not insignificant portion of our relationships. Given that minor mistruths prop up our most basic social connections, Wang focuses The Farewell on the moral quandary of whether a big lie—specifically, culturally contingent situations—might actually be an expression of genuine love. The film takes up the question with a tone of melancholic drollery, a sense of irony that doesn't lose touch with the human feelings at its core. The Farewell is "based on an actual lie," evidently an episode from Wang's life, and its careful mixture of the somber and the absurd rings true to life.
As it turns out, Nai Nai has terminal lung cancer, but Billi's father's family elects to lie to the woman about her MRI results, an action that's evidently within the bounds of Chinese law. But as Billi's assimilated immigrant father, Haiyan (Tzi Ma), points out to his brother, Haibin (Jiang Yongbo), during a crisis of conscience, such a thing is both frowned upon in America and prosecutable. Struggling even more with the decision, of course, is the more Americanized Billi, who can't reconcile her Western notions of love and the sanctity of the individual with the widespread practice of lying to family members about their impending deaths.
To create a cover for a family visit to Beijing, the family forces Billi's cousin, Hao Hao (Chen Hanwei), who lives in Japan, to marry his girlfriend, Aiko (Aoi Mizuhara), of three months. This plan provides plenty of fodder for Wang's dry humor, as the family attempts to maintain the veneer of celebration while also bidding farewell to their ostensibly clueless matriarch, who's confused by Hao Hao and Aiko's lack of affection and the generally dour mood that predominates in the lead-up to the wedding. It's potential material for a farce, but even in its funny moments, Wang's film is contemplative rather than frenetic, preferring to hold shots as her characters gradually, often comically adjust to the reality that Nai Nai will soon be gone.
Awkwafina, hitherto notable mostly for her comic supporting roles, gives a revelatory lead performance as Billi, the thirtysomething prone to bouts of adolescent sullenness. Perhaps playing a Bushwick-based, first-generation-American creative type isn't much of a stretch for the Queens-born rapper/actress, but she immediately brings to the role the depth of lived experience: We believe from the first frames in the long-distance love between Billi and her grandmother, and the existential crisis the young woman feels as she negotiates two cultures' differing approaches to death and disease. In taking us to Beijing through Billi's eyes, which are often blinking back tears as she says goodbye without articulating "goodbye," The Farewell's morose but not hopeless comedy taps into universal truths about the passage of time, the inevitability of loss, and how we prepare one another for it.
Cast: Awkwafina, Tzi Ma, Diana Lin, Zhao Shuzhen, Lu Hong, Jiang Yongbo, Chen Hanwei Director: Lulu Wang Screenwriter: Lulu Wang Distributor: A24 Running Time: 98 min Rating: PG Year: 2018
Review: The Lion King Remake Finds Its Place in the Circle of Consumption
This ostentatiously expensive remake is reliant on our memory of the original to accentuate every significant moment.1
It's somewhat paradoxical to critique Disney's recent series of "live-action" remakes for precisely repeating the narratives, emotional cues, shot sequences, and soundscapes of their earlier animated versions. More than young children, who might well be content watching the story in vibrant 2D, it's the parents who are the target audience of this new take on The Lion King, which aims to light up adults' nostalgia neurons. In this sense, Jon Favreau's film achieves its goals, running through a text beloved by an entire generation almost line for line, and shot for shot—with some scenes extended to reach the two hours seemingly required of Hollywood tentpoles. Throughout, though, one gets the impression that there's something very cheap at the core of this overtly, ostentatiously expensive film, reliant as it is on our memory of the original to accentuate every significant moment.
The new film differs from its source in simulating a realistic African savannah and wildlife through digital animation and compositing, but it doesn't provide anything resembling a genuinely new idea, visually or dramatically. Favreau meticulously recreates the framing and montage of 1994's The Lion King as he runs through the unaltered storyline. The young lion prince Simba (voiced as a cub by JD McCrary and as a grown lion by Donald Glover) witnesses his father Mufasa's (James Earl Jones) seemingly accidental death by stampede. Unknown to Simba, his uncle, Scar (Chiwetel Ejiofor), murdered his own brother, but the jealous would-be heir manipulates the rambunctious young lion into accepting the blame for his father's death. In self-exile, Simba represses his guilt by adopting the carefree philosophy of meercat Timon (Billy Eichner) and warthog Pumbaa (Seth Rogen), until his long-lost betrothed, Nala (Beyoncé Knowles-Carter), happens across him and convinces him to return to reclaim his throne.
The film's world, as conceived by Favreau's camera and an army of CG animators, is far less expressive than the one Disney's original artists created in 1994. Tied to the idea of recompositing a reality, the filmmakers take less license in making the elephant graveyard where malicious hyenas Shenzi (Florence Kasumba), Azizi (Eric André), and Kamari (Keegan-Michael Key) live a fantastical, nightmarish terrain, and they constrain the choreography of the animals during Simba's performance of "I Just Can't Wait to Be King" to the bounds of actual animal physiology. Such musical sequences suffer under the regime of realism: Scar's villainous exposition song, "Be Prepared," appears in a truncated version spoken more than sung by Ejiofor, effectively robbing the original song of its devious exuberance.
The characters' faces are also less pliable, less anthropomorphized—their demeanor harder to read—than in the traditional animation format of the original film. This isn't necessarily a hindrance to crafting an affecting story (see Chris Noonan's Babe), but the closeness with which Favreau hews to the original film means that the moments crafted for the earlier medium don't quite land in this one. Scar isn't nearly so menacing when he's simply a gaunt lion with a scar, and Nala and Simba's reunion isn't as meaningful when their features can't soften in humanlike fashion when they recognize each other. The Lion King invites—indeed, attempts to feed off of—reference to the original but consistently pales in comparison.
There's another important difference one feels lurking in the margins of this film. The attitude of the first Lion King toward nature approached something like deference. The original film isn't flawless: In its depiction of a patrilineal kingdom being saved from a usurper and his army of lazy serfs by the rightful heir, it questionably projected human politics into a nonhuman world. But it was an ambitious project by the then comparatively modest Walt Disney Studios to craft an expressive, living portrait of the animal kingdom. In contrast, there's a hubristic quality to this CG-infused remake, as if Disney is demonstrating that its digitally fabricated imagery can fully capture the reality of a healthy, autonomous animal world—at a historical moment when that world is in danger of being totally snuffed out by the human race's endless cycles of production and reproduction. The subject of this tiresome retread is ultimately less the "circle of life" and more the circle of consumption.
Cast: Donald Glover, James Earl Jones, Beyoncé Knowles-Carter, Chiwetel Ejiofor, Alfre Woodard, Billy Eichner, Seth Rogen, Keegan-Michael Key, Eric André, John Kani, JD McCrary, John Oliver Director: Jon Favreau Screenwriter: Jeff Nathanson, Brenda Chapman Distributor: Walt Disney Studios Motion Pictures Running Time: 118 min Rating: PG Year: 2019 Buy: Soundtrack
Review: Rojo Is a Chilly Allegory for the Distance Between Classes
It masterfully sustains a sense of "wrongness" that will be felt even by those unfamiliar with Argentina's history.3
With Rojo, writer-director Benjamín Naishtat conjures a haunting aura of debauched boredom, evoking a climate in which something vast yet barely acknowledged is happening under the characters' noses. Though the film is set in Argentina in 1975, on the cusp of a coup and at the height of the Dirty War, when U.S.-backed far-right military groups were kidnapping, torturing, and killing perceived liberal threats, these events are never explicitly mentioned. Instead, the characters do what people choosing to ignore atrocity always have, talking around uncomfortable subjects and focusing on the mundane textures of their lives. Meanwhile, Naishtat expresses Argentina's turmoil via symbols and sequences in which aggression erupts out of seemingly nowhere, actualizing the tension that's hidden in plain sight. Throughout the film, Naishtat masterfully sustains a sense of "wrongness" that will be felt even by audiences who're unfamiliar with Argentina's history.
The film opens with a home being emptied of its belongings—an image that will come to scan as a metaphor for a country that's "cleaning house." Naishtat then springs an odd and creepy encounter between a famous attorney, Claudio (Darío Grandinetti), and a man who will eventually come to be known as "the hippie" (Diego Cremonesi). Claudio is sitting at a stylish restaurant minding his own business and waiting for his wife, Susana (Andrea Frigerio), when the hippie storms in and demands that Claudio give up his table. The hippie reasons that he's ready to eat now, while Claudio is inhabiting unused space. Claudio gives up the table and proceeds, with his unexpected civility in the face of the hippie's hostility, to humiliate this interloper. And this scene reflects how skillful Naishtat is at tying us in knots: In the moment, Claudio is the sympathetic party, but this confrontation becomes a parable of how people like the hippie are being pushed out—"disappeared"—by a country riven with political divisions.
Tensions between Claudio and the hippie escalate, and the hippie eventually shoots himself in the face with a pistol. Rather than taking the man to the hospital, Claudio drives him out to the desert, leaving his body there and allowing him to die. What's shocking here is the matter-of-fact-ness of Claudio's actions; based on his demeanor, Claudio might as well be carrying trash out to the dump, and he moves on with his life, returning to work and basking in the adulation that his profession has granted him. In a conventional thriller, this moral trespass would be the driving motor of the film, yet Naishtat drops the incident with the hippie for the majority of Rojo's running time, following Claudio as he networks and engages in other scams.
Naishtat emulates, without editorializing, the casualness of his characters, and so Rojo is most disturbing for so convincingly suggesting idealism to be dead—with gritty brownish cinematography that further suggests a sensorial muddying. With little-to-no sense of stability, of faith in a social compass, the characters here often emphasize what should be trivial happenings. Susana's decision to drink water at a gathering, rather than coffee or tea, becomes a kind of proxy gesture for the resistance that her and her social class are failing to show elsewhere, while a comic disappearance during a magic show macabrely mirrors the government's killing and kidnapping of dissidents. Rojo's centerpiece, however, is an eclipse that engulfs a beach in the color red, as Susana wanders a wooded area lost while Claudio, lacking sunglasses, blocks his eyes. The color red is also associated with communism, of course, as if the targets of this regime are demanding to be recognized.
Rojo eventually reprises the hippie narrative, as a famed Chilean detective, Sinclair (Alfredo Castro), comes hounding Claudio for answers, yet this development is soon revealed to be an elaborate fake-out. Out in the desert, one's primed to expect the ruthlessly intelligent Sinclair to provide the wandering narrative a catharsis by forcing Claudio to take responsibility for something. But these men, both wealthy and respected, are of the same ilk. Though they're each bound by routine and pretense, the death of lower classes means equally little to both of them. At this point, it's clear that Rojo is less a thriller than a brutally chilly satire, concerning men who have the privilege, like other people who haven't been deemed expendable by their government, to playact, offering ceremonial outrage that gratifies their egos while allowing a diseased society that benefits them to carry on with business as usual.
Cast: Darío Grandinetti, Andrea Frigerio, Alfredo Castro, Laura Grandinetti, Rafael Federman, Mara Bestelli, Claudio Martínez Bel, Abel Ledesma, Raymond E. Lee Director: Benjamín Naishtat Screenwriter: Benjamín Naishtat Distributor: Distrib Films Running Time: 109 min Rating: NR Year: 2018
Review: The Art of Self-Defense Totters Between Raw Ferocity and Lifeless Comedy
The dojo of this film is the ultimate unsafe space, a place of deadpan irony and appalling brutality.2
Writer–director Riley Stearns is a fan and practitioner of jiu-jitsu, which he's credited with making him healthier and less lazy. Yet the filmmaker's sophomore feature, The Art of Self-Defense, would seem to posit martial arts as the epitome of toxic masculinity. The dojo here is the ultimate unsafe space, a fight club stripped of Fincherian chic, which Stearns replaces with deadpan irony and appalling brutality.
The film centers on an accounts auditor, Casey Davies (Jesse Eisenberg), the platonic ideal of a hypomasculine twerp. He tells people his name like it's a question, and his favorite music is "adult contemporary." Even his pet dachshund reads as a loser: scrawny, with disproportionate features. Such meekness attracts the ire of bullies: his inanimate answering machine surreally berates him; French tourists in a coffee shop laugh at him (in French, which they don't realize he understands); and, most seriously, a motorcycle gang nearly beats him to death. He's just that kind of guy, so contemptibly inadequate that people want to hurt him.
Wandering the lonely streets of his unnamed city, Casey happens upon one of the film's few populated spaces: a karate studio where Anna (Imogen Poots) provides a group of children with the affirmation and social support system Casey so desperately craves. "I want to be," he says, "what intimidates me." When he joins the adult class, he gets something extra from the studio's sensei (Alessandro Nivola): a heaping side of male chauvinism. Soon, Casey is studying German—a manlier language than French, says the sensei—and listening to metal. He also stops petting his dog, so as not to coddle it, changes his desktop wallpaper at work to bare breasts, and punches his accommodating boss in the throat for being friendly.
Nivola dominates The Art of Self-Defense as his sensei does his loyal students, achieving alpha-male status with well-articulated arrogance, while Poots provides a valuable counter voice as Anna, calling attention to the preposterousness of that sexism as a talented and powerful woman, held back by the gender roles ingrained in this system of unarmed combat. (A scene in which Anna recounts an attempted sexual assault against her at the dojo, for which she was subsequently blamed and punished, is particularly affecting.) And Eisenberg's Casey is the easily influenced straight man caught between the two, drawn to the pride and confidence offered by the sensei but also to the compassionate strength embodied by Anna.
The whole cast, however, struggles with Stearns's overarching tone, and his screenplay's occasional wit is usually delivered by the actors in such a deadpan that it flatlines. The contrasting flashes of ultraviolence, on the mat and off, thus have no counterbalance, leaving The Art of Self-Defense tottering between raw ferocity and lifeless comedy.
Stearns's 2014 feature-length debut, Faults, was a tightly constructed and alluringly mysterious riff on similar issues, about the malleability of a man who lacks confidence. But it was unpredictable in its depiction of the slowly changing power dynamic between its characters; the film broke down and unmoored its audience along with its protagonist, a deprogrammer of cult members tricked into becoming one. In this film, though, the plot twists are telegraphed early. The hero is overly coded as pathetic, and we're invited to laugh at him with the French tourists, not only to shake our heads at his brief, incel-like transformation into an overcompensating bro, but finally to find comfort in his use of violence to depose his violent sensei. The stakes seem low: Casey rejects the manipulative madman, a blackmailer with a black belt, who harnessed karate's power for ill, but Steans is careful to vindicate karate itself, which might please its admirers but leave everyone else feeling indifferent.
Cast: Jesse Eisenberg, Alessandro Nivola, Imogen Poots, Phillip Andre Botello, David Zellner, Steve Terada Director: Riley Stearns Screenwriter: Riley Stearns Distributor: Bleecker Street Running Time: 104 min Rating: R Year: 2019
Review: Sword of Trust Is an Amiable Look at Southern Disillusionment
Marc Maron's commanding aura of regret gives the film, despite its missed opportunities, an emotional center.2.5
Like most Lynn Shelton films, Sword of Trust is amiable and humanistic almost to a fault. The filmmaker has a gift for oddball humor, and for allowing her actors to form memorable and moving rapports, yet with the exception of Your Sister's Sister, there often seems to be little at stake in her work. Sword of Trust often feels similarly slight, even though it's about the legacy of the American Civil War and the "post-truth" crisis that's currently plaguing the country. An engaging tension between tone and theme animates the film, but you may wish that Shelton had approached her material with more focus.
Much of the film is set in an Alabaman pawn shop presided over by Mel, who's played by Marc Maron and who resembles every character the actor-comedian played since enjoying a career resurgence with his series Maron (episodes of which Shelton directed). Like Maron himself, Mel is a lovable curmudgeon, a recovering addict who utilizes his past troubles as a signifier of his hard-won wisdom and humility, which he laces with acidic humor and sharp timing. Since Maron, a spin-off of his "WTF" podcast, Maron has grown astonishingly as an actor, with a rumpled charisma that suggests 1970s-era legends like Elliott Gould. Unlike most comedians acting in films, Maron isn't afraid to slow down his performative biorhythms, which is especially evident in a lovely early scene in Sword of Trust when Mel sees an ex (Shelton) and silently trundles toward the front of the shop closer to her, clearly weighing his words.
Shelton takes her time acclimating the audience to life in Mel's pawn shop. Mel has a lackadaisical millennial assistant, Nathaniel (Jon Bass), who's enthralled with internet conspiracy theories, and he enjoys ice teas with Jimmy (Al Elliott), an elderly African-American man who runs a nearby restaurant. These loose observational moments are Shelton's specialty, and she subtly allows us to grasp the sadness of her characters. These people have forged a kind of liberal bohemian idyll in the middle of a red state, but they're lonely, drifting through life. Maron telegraphs this loneliness in how he has Mel appraise objects, with a weariness that suggests a need for both connection and money.
Kicking the film's plot in gear is a couple, Cynthia (Jillian Bell) and Mary (Michaela Watkins), who inherit from Cynthia's deceased grandfather a Union sword that a cult of truthers believes to be evidence that the South won the Civil War. This is a spectacular idea for a satire of our modern age—in which memes and online mythology warp discourse—that Shelton reduces mostly to an inciting incident and a MacGuffin. Cynthia and Mary partner with Mel to sell the sword to the cult, which leads to a few surprisingly scary-flaky scenes that momentarily jolt the film's easygoing vibes. Particularly eerie is a scene with Hog Jaws, a truther henchman who's played by Toby Huss with an unusually casual sense of menace. This is a man who doesn't need to threaten people because he understands he's inherently threatening.
Given its narrative involving a Jewish man pretending to take reactionary Southern values seriously, Sword of Trust at times suggests a kind of sketch-TV version of BlackKklansman. Shelton sees the truthers as bigoted buffoons, as symptoms of people's current need to follow their own ideology, regardless of facts and carefully nurtured online, but with few exceptions, she doesn't bring the tension between the liberals and the good-old-boys to a head. The filmmaker comes very close to suggesting that everyone has their reasons, even hateful fanatics—a potentially explosive implication in itself that, in this context, deflates the satire. One wishes that the film's political textures had been nurtured, as they are essentially window dressing for what becomes a miniature coming-of-age road-trip comedy, the sort of indie that used to be common in the '90s. Yet Maron's commanding aura of regret gives Sword of Trust an emotional center despite its missed opportunities.
Cast: Marc Maron, Jon Bass, Jillian Bell, Michaela Watkins, Toby Huss, Dan Bakkedahl, Lynn Shelton, Al Elliott, Timothy Paul, Whitmer Thomas Director: Lynn Shelton Screenwriter: Lynn Shelton, Michael Patrick O'Brien Distributor: IFC Films Running Time: 88 min Rating: R Year: 2019
Review: The Lion King Remake Finds Its Place in the Circle of Consumption
Review: Thom Yorke's Anima Finds the Singer Raging Against the Apocalypse
Interview: Paul Tremblay on Growing Things and the Hope of Horror Fiction
Review: Jean-Luc Godard's Alphaville on Kino Lorber Blu-ray
Review: The Art of Self-Defense Totters Between Raw Ferocity and Lifeless Comedy
Interview: Lynn Shelton on Honing Her Process for Sword of Trust
Review: Thom Yorke's Anima Finds the Singer Raging Against the Apocalypse
Review: Into the Ashes Brings Nothing New to the Country Noir Genre
Review: Stéphane Brizé's At War Is Politically Charged but Artistically Inert
Review: Bottom of the 9th Strikes Out with Too Much Plot Incident
- Film5 days ago
Review: The Lion King Remake Finds Its Place in the Circle of Consumption
- Music2 days ago
Review: Thom Yorke's Anima Finds the Singer Raging Against the Apocalypse
- Books5 days ago
Interview: Paul Tremblay on Growing Things and the Hope of Horror Fiction
- Video7 days ago
Review: Jean-Luc Godard's Alphaville on Kino Lorber Blu-ray


text:
Carole recommended Kiva, a non-profit organisation that allows you to lend as little as $25 to a specific low-income 'entrepreneur' across the globe. You choose who to lend to, and as they repay their loan, you get your money back. This is a simple and sustainable way to empower someone to support their family and lift themselves out of poverty. As your money is repaid you can either withdraw it or lend it again.
In the very unlikely event of a loan not being repaid, I can easily afford to think of the $25 as a donation. To me, $25 is a few takeaway lunches or coffees, which I would not miss. For the borrower, it may be equivalent to a fortnight's income. Micro-loans are also a good way of using money I earn from online surveys (which will be the subject of a future blog post).
The first four borrowers I chose to support were Janina in Peru (sewing), Leonora in the Philippines (rug-making), Roberto in El Salvador (food production/sales) and the 'Por un Futuro Mejor' (For a Better Future) communal bank (ten women involved in agriculture in Ecuador). By the time you read this, my sisters and I will have added to that list.
You are warmly invited to join the Kiva lending team named 'Genealogists for Families', whose slogan is 'We loan because... we care about families (past, present and future).'
- Register with Kiva and join the team.
- Make a $25 loan. If you're cautious, chose a short-term low-risk loan.
- To publicise your Web site or online family tree, enter its address in 'My Website' on your Kiva Lender Page.
Checkout and payment are quick, easy and secure. (If you have not heard of Paypal, I can recommend them. I have used them for business and personal transactions for many years.)
If you enjoy your experience with Kiva, please invite others to join the team. Let's show the world that family historians can make a difference! I hope you will share your experiences and suggestions by leaving a comment below.
('Thankful Thursday' is a theme used by Geneabloggers to express gratitude for anything that has had a positive impact on our lives.)


text:
Mission Statement: The Transportation Department's mission is to provide safe and efficient transportation to and from school and school activities.
Parents: Please call the main number 620.805.8750 to notify transportation if your child will not be riding the bus. You will also need to call your child's school and notify them as well.
Office Location:
139 Cloverleaf Rd.
Summer Office Hours:
7:00 a.m. - 4:00 p.m.
Closed for lunch between 12:00-1:00
Office Hours:
5:30 a.m. - 5:30 p.m.
Call: 620.805.8750
BUS PASSES: All students attending Intermediate, Middle, or High School must have their school ID in order to be transported to school. Busing students ID's must have the busing logo placed on by their school office. New busing students needing ID's, or existing students needing to replace their ID may go to their school office.


text:
Tuesday, January 14, 2014 - 13:00
Join us for a one-hour Art Works Design grant guidelines workshop. A presentation by NEA Design staff will be followed by a Q&A session. You can listen to the webinar using your computer speakers or dial-in to 1-877-685-5350, participant code: 739587. An archive will be available on our website a few days after the webinar.
The new Art Works guidelines will be available in early January.


text:
Cold cold time again baby
I'm back in the, back in the, back in the building
Juelz Santana (Aye!)
Dip Set bitch
I need all my soldiers and my block men to stand up for me
It's 'bout that time you know
My hood, my city, my side
Whatever you wanna call it nigga I ride
My town, my corner, my block
Whatever you wanna call it nigga I rock
My state, my strip, my ave
Whatever you wanna call it nigga I'm bad
My building, my porch, my stoop
Whatever you wanna call it nigga I'm proof
[Juelz Santana]
Straight for paper
Paper chaser
Gangsta gangsta
Gangsta gangsta
I know my block is a crazy zoo
But it got me crazy glued (stuck)
I got to make these moves
So I hustle the hardest (drugs)
I got no team
Just a connect and a couple of partners
I keep my street niggas, my street niggas (yup)
I keep my cheese niggas, my cheese niggas (Yup)
I keep my beef niggas, my beef niggas (yup)
And I keep my weed niggas, my weed niggas
Keep business business, keep pleasure pleasure
And I never mix it, ever ever
Yeah the code of the street
Eyes open don't sleep
There go the police
That's why you catch me moving through dolo
Moving through solo, steel weapon, still reppin'
[Hell Rell]
Niggas always catching bodies in the hood (yup)
Stay shootin up a party in the hood (uh-uh)
Mafia ties, I'm like Gotti in the hood
Tint a hoopty or the black Maserati through the hood
Remember when we used to play karate in the hood (remember)
Now my rims look like ninja stars
Nigga I've been a star (been a star)
I remember when I didn't have shit to borrow (I ain't have shit)
Now I can lend you a couple of clips
You hungry homey you could eat a couple of clips
Come through my strip, you gon see niggas G'd up cuz
We slangers (slangers)
Gang bangers (east-side)
And when it comes to squaley we strangers, plus
I keep my thug niggas, my thug niggas
I keep my blood niggas, my blood niggas
Spend it all I ain't no cheap ass nigga
I'm always gonna ride cause I'm a weed sack nigga, YUP!
[Juelz Santana]
I represent mine to the fullest (oh yeah)
I represent the grind to the fullest (oh yeah)
I represent scar time, bar time, hard times
Yeah, our time to the fullest (oh yeah)
We need to have a million man march again
We need to have a million man march up in
The white house start a million man argument
Like Bush why a million men starving and sh-
My city, my town, my hood
Whatever you wanna call it nigga what's good
We riders, we rollers, we survivors, we soldiers
We don't crack under pressure
We relaxed under pressure
Most of all, we don't rat under pressure
We bang, and we pitch this crack
'Till the cops shut us down or our wigs pushed back
[Hook] - repeat to fade
Track #9 off of Juelz Santana's 2005 album, "What The Game's Been Missing!"


text:
The latest installment of the Home Run Derby series saw a lot of action this past Saturday in Lancaster. Fourteen teams and four individual batters came out to Clipper Magazine Stadium to Take a Swing Against Breast Cancer®. In the end, Guns of Roses, a team of City police officers, beat out UTI to take home the pink bats. Guns of Roses was also the day's highest fundraising team.
Here's how other teams did:
Guns of Roses – 1,575
UTI Performance – 1,370
UTI Power – 1,305
Furlong Boys – 1,280
Susquehanna Bank 1 – 1,145
Susquehanna Bank 2 – 1,070
Wells Fargo 2 – 920
Ameriprise Financial – 835
PSU Hershey Medical Center 1 – 810
Dart Container 2 – 785
Dart Container 1 – 775
Wells Fargo 1 – 760
PSU Hershey Medical Center 2 – 260
Individual Batters:
Corey Deyo – 345
Josh Blantz – 345
Dan Virgil – 335
Kelly Krasley – 240
You can check out all of the pictures from the day here. Don't forget to stay up-to-date on everything PBCC by following us on Twitter and Facebook. Thank you to all of the batters, volunteers, and stadium staff who made the event run so smoothly. We couldn't do it without you!
The derby series wraps up in Erie on Tuesday, July 30th.


text:
Wednesday, March 15, 2006
In Store….Domenico Vacca, NYC, Spring 2006 -II
CommentsClose comment
12 comments
My favorite designer. The store is so well thought out. The colors are so vivid and regal. I wish i could get all my clothes there now.
Unmistakable silhouette! Starting to become a big fan of the DV cut.
Aren't DV suits made by Attolini?
yes the domenico vacca collection is ….sawned by cesare attolini on domenico vacca design, exclusive model and style. also 80% of the design of the fabrics are designed by domenico vacca.
i have know domenico vacca for 5 years and he has been making all my cloths. he is truly the best for design style and knowledge of quality
exquisite looking shirt except for the two-buttoned french cuff…!
That lapel is just perfect, and the blue shirt/green tie/pinstripe is like clockwork.
domenico vacca…the master! the number one designer in sartorial clothing. Bravo for bringing style, quality and craftmanship to modern clothing!
I'm a little unsure why he has that awful chain hanging from his pocket to his belt. I take it it's a pocket watch, although it reminds me too much of 'punk' fashion for me to feel comfortable with it in any way.
By comparing it to "punk" makes me like it more.
I love the idea of a Sartorialist wardrobe with a punk heart.
I just had the mental image of Jello Biafra and Ian MacKaye chatting, one in Saville Row wares and the other in Neapolitan.
" That's called a "cocktail" or "James Bond" cuff."
A Napolitean cuff…
This suit is fabulous exquisite looking shirt http://www.ritoot.com/blog/


text:
I post a pair of scripting resources of mine in hope that someone will find them useful:
I post a pair of scripting resources of mine in hope that someone will find them useful:
Thanks for posting this Nils!Originally Posted by kotori
This is a great tutorial, and everyone who writes scripts knows of the Nils script editor. It is a must have for everyone interested in writing K2 scripts. Go get it now!
"So what if some parts of life are a crap shoot? Get out there and shoot the crap." -- Neil Peart
Hint:1.6180339887498948482 Φ
Thanks Brian. Let me just add that my tutorial is best seen as a complement to NI's introduction and not a replacement.
I have now made available a new version 1.18 of the editor with support for all features of Kontakt 2.2 (it has earlier been available as a patch, but now it's integrated into the installation). Download it here. (updated screenshot)
Thanks! I want to get into ksp programming, and now I know where to start!!Originally Posted by kotori
These remarks are crucial for my decision for contact sampler. thank you for this information
Best regards Hans Borrmann
Thanks! I want to get into ksp programming


text:
Computational Electrodynamics: The Finite-difference Time-domain Method
Artech House, Jan 1, 1995 - Technology & Engineering - 599 pages
Written by the pioneer and foremost authority on the subject, this new book is both a comprehensive university textbook and professional/research reference on the finite-difference time-domain (FD-TD) computational solution method for Maxwell's equations. It presents in-depth discussions of: The revolutionary Berenger PML absorbing boundary condition; FD-TD modelling of nonlinear, dispersive, and gain optical materials used in lasers and optical microchips; unstructured FD-TD meshes for modelling of complex systems; 2.5-dimensional body-of-revolution FD-TD algorithms; Linear and nonlinear electronic circuit models, including a seamless tie-in to SPICE; Digital signal postprocessing of FD-TD data; FD-TD modelling of microlaser cavities; and FD-TD software development for the latest Intel and Cray massively parallel computers.
From inside the book
81 pages matching method in this book
Where's the rest of this book?
Results 1-3 of 81
What people are saying - Write a review
We haven't found any reviews in the usual places.
ChaptetV Introduction to Maxwells Equations and the Yee Algorithm
19 other sections not shown
Other editions - View all
Computational Electrodynamics: The Finite-difference Time-domain Method
Allen Taflove,Susan C. Hagness
No preview available - 2005
Common terms and phrases
angle Antennas and Propagation applied approximation array assumed boundary conditions calculated circuit contour contour-path derivative dielectric dimensions discussed electric and magnetic electric field electromagnetic field electromagnetic wave error excitation far-field FD-TD algorithm FD-TD grid FD-TD modeling FD-TD simulations FDTD field components finite-difference time-domain method Fourier free-space frequency function geometry grid boundary grid cell ground plane IEEE IEEE Trans impedance implemented incident wave integral interface lattice linear located loop magnetic field Maxwell's equations mesh method microstrip Microwave Theory mode nonlinear normal numerical stability obtain optical parallel parameters permits permittivity phase velocity plane wave PML ABC problem processors pulse radiation reflection coefficient region scattered-field scattering second-order SIBC sinusoidal solitons solution spatial step structure surface Taflove tangential Theory and Techniques three-dimensional total-field two-dimensional unstructured grids values vector components voltage wave equation wave propagation waveform waveguide Yee algorithm zero


text:
It looks like someone trying to scratch the itch when the reverential thumb and the equally respectful index finger gently rise to ceremoniously touch -- and strictly not press, says the manual -- the earlobe when the Guru's name is to be uttered.
It's a similarly earlobe-touching occasion as Doosra pays tribute to the Murdoch family that has taken phone-hacking to a new level, setting a benchmark that posterity would struggle to match.
Upholding the same spirit, Doosra serves you hot the spicy telephone interaction that took place between chief Indian selector Krish Srikkanth and axed spinner Harbhajan Singh.
Srikkanth: HelloIsThisTeamIndiaHotel?
Harbhajan: Oye Khote Da Puttar! Ordered butter chicken two hours back and you are calling now instead of delivering it? Go and cook it fast. And when you have made the dish, ask yourself "Have I Made It Large?"...because I'm very hungry and can eat an entire poultry farm.
Srikkanth: HeyYouHabsoluteSonOfAGun…ThisIsChikaHere.
Harbhajan: O Teri Ki! Chicken? Did you say Chicken? You mean you are the chicken I ordered? I can't believe it! I'm talking to the chicken I'm going to eat! What a hotel!
Srikkanth: I'mGoingToEatYouMoron…ThisIsChikaAndNotChicken.
Harbhajan: O Teri! Chika Sir. Sorry sir...made a mistake.
Harbhajan: Do little? I could do little sir. The pitches here are not spinning at all. Only thing that spins is my head sir. So tough.
Srikkanth: YouBowledCrapInTheSecondTest… WantedToKickYou...Don'tRememberAnyoneBowlingSoMuchFilth…
Harbhajan: Don't remember? Memory loss? I know sir, happens with ages. Our coach Fletcher also has this problem. He met Sania Mirza and said "Don't tell me you have a 40-year-son who will be India's next Prime Minister!". Hahaha...
Srikkanth: YouBrainDeadBowledHabsolutelyNegativeInTheSecondTest..
Harbhajan: Strategy sir, strategy. You remember how I bowled in the first test?
Srikkanth: HabsolutlyRememberHagainYouBowledNegativeLine.
Harbhajan: Exactly sir. Haven't you heard sir that two negatives make a positive?
Srikkanth: WhatCrap...YouThinkI'mMadOrWhat? Ican'tTakeItAnymore...YouAreSackedFromOnedayTeamAndI'llMakeSureYouAreNotAllowedWithin10kmOfDressingRoom...YouHabsolutelyMoronHaveNoIdeaHowBigAHoleYouAreIn…
Harbhajan: Have I made it a large, sir?


text:
Fun Time
THE TALK celebrates Sheryl Underwood's birthday with surprise giveaways during a game called "There's Something Big Under Sheryl's Wig," Friday, October 26, 2012 on the CBS Television Network. Sheryl Underwood, from left, Sara Gilbert, Sharon Osbourne, Aisha Tyler and Julie Chen, shown. Photo: Lisette M. Azar/CBS ©2012 CBS Broadcasting, Inc. All Rights Reserved.


text:
iSSH is a front-end application to the command line application "ssh". It provides a quick and easy way to start an SSH connection to a remote computer. You may be asking, "What's the point of running SSH without an interactive command prompt (Terminal)?" Well, running SSH in the background will not supply a prompt, but, it will forward ports. This is the main purpose of iSSH. You can set two options with iSSH; which ports to forward to the remote computer, or, to start an SSH SOCKS proxy. The first could be used to forward a VNC connection over SSH and the latter could be used to bypass your work's website filters! Either way, it
What's New in iSSH
Version 3.1:
- Support has been added for the Sparkle software update framework version 1.5b6. This means all new updates to iSSH are downloaded and installed securely.
- Also, the release notes look nicer!
Requirements for iSSHMac OS X 10.4 or later, OpenSSH.
Similar Software
Suggest other similar software


text:
Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
"Quantified self" apps know where you are, how you got there (by foot, bike, or train), who you're with—even how well you slept last night. Ellis Hamburger, a reporter at The Verge, reviews a handful of apps that track your daily movements, such as "Human" and "Moves."


text:
Our detailers use SDS/2 and consistently go to workshops, user meetings, and webinars to stay up to date with the most recent trends and improvements. Our structural detailing staff members has in excess of 25 many years put together experience producing detailing deals for purchasers like you.
Export structural steel customers from the Revit product to Progress Steel, and reference styles in other disciplines in Navisworks for structure and detailing.
The steel detailer results in "instruction manuals" for your fabrication store and the sector erection crew. With no breaking any with the constraints outlined within the arch/struct drawings (and protection principles) - the steel detailer need to strive to make the fabrication and set up of your steel as fast and straightforward as feasible.
Welcome to DJ Steel Engineering Consultant Internet site we provide structural steel detailing services. We element with 'Tekla buildings' presenting 3D modeling to all our clients.
The detailer just about builds the organization in 3D just before building unique retailer drawings Along with the appear.
The structural engineer and/or architect conceives an notion a couple of venture and puts this on paper inside a normal way. These drawings could also include merchandise linked to mechanical units which pertain on the fabrication from the steel users.
We Adhere to the exacting requirements on the National Institute of Steel Detailers, a nationally acknowledged Group with the promulgation of steel detailing specifications.
Experience self-confident, knowing your steel is in great hands. Our tactics are tried & examined to be certain steady precision on each challenge.
These common trends are making facts modelling and sustainability. The three dimensional Building Information Modelling (BIM) approaches when incorporated with the detailing process, assists Every single and every member of the design crew to acquire a comprehensive Image-real looking look of The full structural task. It even more helps to discover CAD Detailing Services Pittsburgh the mistakes in the early levels of layout effortlessly. The sustainability principle is yet another norm that may be currently being practiced by a lot of the engineering organizations whilst supplying steel detailing services to consumers belonging to various sorts of assignments.
In steel detailing, the detailer's drawings masking the building of these steel pieces are known as store drawings. They determine the Structural Steel Detailing precise requirements for fabricating Each and every member/piece of a structure.
DJ Steel Engineering Consultant is a company specializing in excellent Layout style and design, starting services. Our style get the job done will likely be accomplished by get more info a collaborative staff of engineers, landscape, architects and environmental scientists.
Because we use the newest 3D modeling possibilities. This implies you might have assurance that each detail will healthier with one another superbly when it will get to the field. In the event the steel erector is content, everyone seems to be content material.
Whether it is business, residential or industrial, This system is Utilized in all sorts of assignments. This technique also allows to keep up accuracy in the scale and measurement of each and every steel component.
Steel Steel Detailing detailers in our firm provide finest work for any type of projects like homes, villas, buildings, towers, bridges etc. We at DJ Steel Engineering Consultant, assist you in every manner to provide awesome services at affordable rates.


text:
Bobby Bonds: Nothing Else To Say, Except That He's Barry's Dad. (Click Image to Enlarge)
March 15, 2011 Leave a comment
|Remarkably consistent career, and no evidence of PED use.
A great way to detect an abnormal career progression; it uses OPS+ as a proxy to measure overall batting skill. Relative OPS+ is measured by comparing 5-year periods of a player's career. For instance, when 32 is seen on the age axis it represents the player's performance from age 28 through age 32, and age 33 represents ages 29 through 33 and so on. The relative part is introduced when all of the player's other 5-year periods are indexed to the player's best 5-year period. The best 5-year period equals 100 and the rest of the 5-year periods are measured accordingly. The chart above displays the career progression in which 80% of players fit. A couple of things to remember when viewing the chart is that the area between the 10% lines is 80% of all players measured. Additionally, the player's performance is compared to himself, so if Player A has an 85 rating at age 32 and Player B has an 89 rating at the same age, that does not necessarily mean that Player B was a better player; it just means Player B closer to his peak than Player A.


text:
Teacher resources and professional development across the curriculum
Teacher professional development and classroom resources across the curriculum
Channel-TalkForce is the email
discussion list for Science in Focus: Force and Motion. Participants
in the workshops, content guides, and Channel staff will participate
in this discussion list throughout the broadcast of the workshop.
Use this space as an area to share information and pose questions
about the workshop and get to know your colleagues.
To sign up for this list, please enter your email address here.
You will receive a confirmation email shortly after submitting your
To post a question or reply, you can send an email to [email protected].
© Annenberg Foundation 2017. All rights reserved. Legal Policy