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2022 TMS Annual Meeting & Exhibition
Ultrafine-grained and Heterostructured Materials (UFGH XII)
Presentation Title
Superplastic Response of Accumulatively Roll-bonded Aluminum Sheets
Kester D. Clarke, Amy Clarke, Brady McBride
On-Site Speaker (Planned)
Kester D. Clarke
Abstract Scope
Accumulative roll bonding (ARB) is a severe plastic deformation technique used to produce ultrafine grained material. Materials processed by ARB are attractive as they exhibit enhanced strength at ambient temperatures due to Hall-Petch strengthening. Some alloys also demonstrate low temperature superplasticity, which has the potential to decrease cycle time and cost in superplastic forming operations. Lower temperature superplasticity behavior can be quite sensitive to microstructure and processing conditions, and microstructural development during forming operations can have significant effect on formability and post-forming properties. ARB is necessarily a directional processing pathway, so considerations of texture development and strain path are also important.
Proceedings Inclusion?
Aluminum, Shaping and Forming, Mechanical Properties
2022 Institute of Metals Lecture/Robert Franklin Mehl Award: Schwarz Crystal Structures in Extremely Fine-grained Metals
3D Heterostructures via Mechanochemical Reshuffling of Layered and Non-layered Metal Chalcogenides
A Perspective on Microstructural and Phase Evolution in Alloys during Extended Plastic Deformation
Achieving Large Super-elasticity through Changing Relative Easiness of Deformation Modes in Ti-Nb-Mo Alloy by Ultra-grain Refinement
Amorphous Ceramic and Metallic Composites: Microstructure and Mechanical Properties
Breaking the Strength-toughness Barrier through Impact-induced Recrystallization of Single-crystal Silver Microcubes
Bulk Nanostructured Metallic Materials with Superior Multifunctional Properties
Comparing the Thermal, Mechanical, and Radiation Stability of Nanocrystalline Platinum-gold
Control of Layer Instabilities during ARB Processing of Iron-based FCC/BCC Metallic Laminates
Copper and Brass Laminate and Lamella Materials: Probing the Fundamental Deformation Mechanisms of Heterostructured Materials
Defect and Substructure Evolution in Nanocrystalline Cu/Ni Composites under Continuous Shear Deformation and Thermal Annealing
Deformation Mechanism of Magnesium Alloy with Heterogeneous Ultrafine Structures Composed of Soft and Hard Domains
Deformation Mechanism of Ultrafine-grained FeCrAl Alloy – An In Situ Micropillar Compression Strain Rate Jump Study
Deformation Mechanisms of Laser Rapid Solidified Al–Si Heterostructures
Designed Heterostructures in AZ31 Using Linear Corrugated Straightening
Effect of Nanostructuring in Additive-manufactured 316L Stainless Steel on Structural Relaxation Examined by In-situ Heating Neutron Diffraction Analysis
Effect of Processing Temperature on the Microstructure and Mechanical Properties Changes of High-pressure Torsion Processed Al7075 Alloy
Evolution of Microstresses during Elasto-plastic Transition under In Situ Tensile Loading of Harmonic Structure Materials by Synchrotron X-ray Diffraction
H-21: Effect of Severe Plastic Deformation Processes on the Microstructure, Texture and Mechanical Property of Nb-1Zr Alloy
H-24: Enhancing Mechanical Performance of Commercial Al Alloy by Tailoring Their Microstructural Heterogeneity
H-25: Microstructure Evolution Kinetics and Strengthening Mechanisms of the Partially Recrystallized High Entropy Alloys
H-26: New Strategies for the Control, Study, and Scale-up of Surface Nanocrystallization
H-27: Structural Evolution during Nanostructuring of Additive-manufactured 316L Stainless Steel by High-pressure Torsion
Helium in Metal Composites
Hetero-deformation Induced (HDI) Stress in Heterostructured Materials: What We Know and Need to Know
Heterostructured V-Ti-Ni Alloy Containing Superelastic Nano-precipitates
High-strength Gradient-microstructure Steels by Additive Manufacturing
High Load Sliding, Deformation Microstructures, Strength, and Hardening for Gradient Bulk Nanostructures
Implications of Fatigue-crack Healing in Nanocrystalline Metals
In-situ X-ray Diffraction Study on Tensile Deformation of TRIP-assisted Metastable Austenitic Fe-Ni-C Steel
Influence of High-pressure Torsion-induced Strain on Electrical Conductivity and Wear Resistance
Influence of Strain Gradients in Heterostructured Nanomaterials
Investigation of Microstructural Inhomogeneity and Mechanical Characteristics of Severely Deformed Copper Sheet
Mechanical Behavior of Heterostructured Fe Films with Precisely Defined Bimodal Architectures
Micro-macro Synergy Effects in Harmonic Structure Steels Design
Microstructural Evolution and Tensile Properties of Nano-crystalline Twinning Induced Plasticity Steel Produced by High-pressure Torsion
Microstructure Control in Metal Composites Processed by Equal Channel Angular Extrusion
Microstructure Evolution in Additively Manufactured and High-pressure Torsion Processed High-entropy Alloys during Heating as Characterized by Neutron Diffraction
Microstructure, Texture and Mechanical Properties of cp-Ti Processed by Rotational Constrained Bending
Non-equilibrium Evolution of Metastable Grain Boundaries in Nanocrystals at Extreme Conditions
Now On-Demand Only - Introducing Gradient Structure to a CrMnFeCoNi High-entropy Alloy for Superior Mechanical Properties
NOW ON-DEMAND ONLY - On the Role of Gradients on Strengthening, Ductility, and Size Effects
NOW ON-DEMAND ONLY - Predicting the Transformation Strain that Controls Ductility and Toughness in Advanced Steels
On the Underlying Mechanisms in Binary Ni-based Nanocrystalline Alloys
Origin of Extra Strengthening in Gradient Nanotwinned Metals
Severely Deformed Stainless Steel Reveals an Anomaly in Thermal Expansion Behavior
Significance of Grain Refinement on Micro-mechanical Properties and Structures of Additive-manufactured CoCrFeNi High-entropy Alloy
Solid-state Additive Manufacturing of Ultrafine-grained Alloys via Additive Friction Stir Deposition
Strain Hardening and Ductility by Grain Refinement-induced Plasticity in Multi-level Hetero-structured Brass
Strength Softening Mitigation in Bimodal Nanostructured Metals
Strengthening and Improving Fracture Toughness of Tungsten-copper Nanocomposites
Strengthening Mechanisms in Dilute Ultrafine-grained Ag Alloys Processed by Top-down and Bottom-up Approaches
Structural Characterization and Thermal Evolution of Severe Plastic Deformation Processed Materials, by Advanced Synchrotron and Neutron Methods
Superplastic Response of Accumulatively Roll-bonded Aluminum Sheets
Synergistic Thermal and Radiation Stability in Grain Boundary Doped Nanocrystalline Tungsten
The Impact of Hydrogen on the Deformation Behavior of Nanostructured Iron and Nickel
Ultra-high Strength and Ductility of a Multiple Component Alloy with a Heterogeneous Microstructure of Grains and Precipitates
Ultra-strong Low Carbon Nano-steel Produced by Heterostructure and Interstitial Mediated Warm Rolling
Ultrafine δ-ferrite and Transformation-induced Plasticity in Laser Melting Deposition Processed 304L Austenitic Stainless Steel
Ultrahigh-strength and Ductile High-entropy Alloys with Coherent Nano-lamellar Architectures
Unravelling the Strengthening Effects of Microstructural Heterogeneities
Questions about ProgramMaster? Contact


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[Photo © William Gedney]
Bob Dylan's Christmas In the Heart, track by track . . .
Imagine a bad Christmas. You're alone in a strange city, half drunk,
lost, wandering amongst the fake cheer, the commercial decor, the
canned holiday music oozing out over the street.
An old rummy, someone in worse shape than you're in, comes up to you
and grabs your hand and looks you in the eye and says, "Merry
Christmas," as though he means it, as though he really believes
Christmas is going to be a new start for him, and for you.
It's not much, but it could be enough to get you through the night.
"What a deluded old fool," you might think at first, but you're a
deluded old fool, too, and what choice do you have but faith? It's
either that or go back to your hotel room and slit your wrists.
Christmas In the Heart, Bob Dylan's heartbreaking Christmas album, is a
cry from that old man, a handshake from that old man, an irrational
gesture of hope from that old man.
The album opens with "Here Comes Santa Claus" — which has devolved
into "Here Comes the Holiday Shopping Season" in the popular mind. Its
words suggest other things.
Hang your stockings, say your prayers . . .
As Dylan sings, growls, "say your prayers," he's speaking from a place
of desperation, from the edge of the apocalypse. "Say your prayers" —
there's nothing left to do but that. The last radio is playing.
He doesn't care if you're rich or poor
For he loves you just the same.
Santa knows that we're God's children
And that makes everything right.
Everything? Yes, Dylan's voice testifies — everything.
Peace on earth will come to all
If we just follow the light.
Let's give thanks to the Lord above
For Santa Claus comes tonight.
The song bounces along merrily into a transcendent vision. What's
coming, right down Santa Claus Lane, is salvation.
Back to the Christmas In the Heart track list page.

subset: commoncrawl


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TONIGHT! The weekly show-and-tell is SATURDAY NIGHT 8/25/12 at 9:30pm ET!
NEW INSTRUCTIONS ON HOW TO BE ON THE SHOW AND TELL. If you are on Google+ and want to join, post a message/comment on Ladyada's post on Google+ and say you want to show off a project and she will add you the "Show and Tell" circle. Then just look for the hangout announcement on the very same page later for your invite. There's an 8 to 10 (at the same time) people limit per hangout, so if it's full try later or just pop by next week same time. Some weeks are packed!
At 9:30pm ET you will see a link to the hang out. Just keep your mics muted until we call on you and have your project ready.
For those who just want to watch, you'll be able to watch it live on Google+ 's broadcast feature on Ladyada's page AND it will be recorded and uploaded to YouTube automatically.


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Virginia 'Ginni' Thomas appears for interview with Jan. 6 panel
WASHINGTON - Conservative activist Virginia "Ginni" Thomas, the wife of Supreme Court Justice Clarence Thomas, appeared on Thursday for a voluntary interview with the House panel investigating the Jan. 6 insurrection.
The committee has for months sought an interview with Thomas in an effort to know more about her role in trying to help former President Donald Trump overturn his election defeat. She texted with White House chief of staff Mark Meadows and contacted lawmakers in Arizona and Wisconsin in the weeks after the election.
Thomas' appearance on Capitol Hill was confirmed by two people familiar with the committee's work who were not authorized to discuss it publicly.
The testimony from Thomas — known as Ginni — was one of the remaining items for the panel as it eyes the completion of its work. The panel has already interviewed more than 1,000 witnesses and shown some of that video testimony in its eight hearings over the summer.
Thomas' attorney, Mark Paoletta, said last week that Thomas had agreed to meet with the panel and is "eager to answer the committee's questions to clear up any misconceptions about her work relating to the 2020 election."
MORE: Jan. 6 panel prepared to subpoena Virginia 'Ginni' Thomas, Supreme Court justice's wife
WASHINGTON, DC - SEPTEMBER 29: Virginia Thomas, conservative activist and wife of Supreme Court Associate Justice Clarence Thomas, leaves for a break during a closed-door meeting with House Select Committee to Investigate the January 6th Attack on th (Photo by Anna Moneymaker/Getty Images)
The extent of her involvement in the Capitol attack is unclear. In the days after The Associated Press and other news organizations called the presidential election for Biden, Thomas emailed two lawmakers in Arizona to urge them to choose "a clean slate of Electors" and "stand strong in the face of political and media pressure." The AP obtained the emails earlier this year under the state's open records law.
She has said in interviews that she attended the initial pro-Trump rally the morning of Jan. 6 but left before Trump spoke and the crowds headed for the Capitol.
Thomas, a Trump supporter long active in conservative causes, has repeatedly maintained that her political activities posed no conflict of interest with the work of her husband.
"Like so many married couples, we share many of the same ideals, principles, and aspirations for America. But we have our own separate careers, and our own ideas and opinions too. Clarence doesn't discuss his work with me, and I don't involve him in my work," Thomas told the Washington Free Beacon in an interview published in March.
Justice Thomas was the lone dissenting voice when the Supreme Court ruled in January to allow a congressional committee access to presidential diaries, visitor logs, speech drafts and handwritten notes relating to the events of Jan. 6.
Ginni Thomas has been openly critical of the committee's work, including signing onto a letter to House Republicans calling for the expulsion of Reps. Liz Cheney of Wyoming and Adam Kinzinger of Illinois from the GOP conference for joining the Jan. 6 congressional committee.


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FURY, the much anticipated third standalone of The Seven Deadly Series by Fisher Amelie, releases May 4th, 2015! As we count down the days, Fisher is teasing us yet again! Here is the highly awaited cover!!
Revenge is an euphoric thing. Trust me on this. Nothing compares to the release you get when you ruin someone's life. When they've stolen important things. Things that didn't belong to them. Things I revel in making them pay for.
What? Have I offended you? I'm not here to appeal to your delicate senses. I have no intention of placating your wishes or living within your personal belief system nor do I care if you hate me. And you will hate me. Because I'm a brutal, savage, cold-blooded murderer and I'm here for my revenge.
I'm Ethan Moonsong...And this is the story about how I went from the world's most sacrificing man to the most feared and why I wouldn't trade it for anything in the world.
We start where we left off from Fisher's last excerpt. If you'd like to read it, you can go here!
FURY, Excerpt Two
"Ethan?" she asked. "Is that you?"
"Hello, Finley," I answered.
"How are you?" she asked, somehow devoid of the pity I'd often heard in so many greetings since Cricket. I was grateful to her for this.
"I'm fine," I slurred, lifting my head a bit to meet her eyes.
A grin met her lips. "You were always a terrible liar." Her smile fell a little. "What are you doing here?"
"I'm drinking."
She narrowed her eyes. "You hate drinking."
"I learned to love it," I said, downing the remaining contents of my glass, letting it burn.
She looked me up and down, making me feel self-conscious. "But apparently it doesn't love you."
"Thanks," I snorted, acting like I didn't care. But I did.
"You look terrible," she said, ignoring me. "Are you even eating?"
"I'm consuming the daily recommended calorie intake," I hedged.
"Ah," she answered, examining my empty glass.
I shook my head and signaled to Vi for another.
Finley narrowed her eyes once more. "Can I get a basket of chicken tenders too, Vi?" she added.
"Sure thing," she said, ringing up Finley's food before grabbing the bottle of Jack and filling me to the top.
Finley examined my glass but didn't say a word.
"What?" I asked, feeling defensive.
"Nothing," she answered, looking at her hands.
"Judging me?"
"Not at all," she said sincerely and looked me dead in the eye.
This look froze me, and the glass slipped from my fingers and back onto the bar top, spilling a little from the rim.
"I've done that very thing," she said, gesturing toward my glass.
"Drink 'til you're numb?"
"No," she said, "succumb to a vice in order to forget."
I leaned forward, stunned by this admission, and my eyes found hers. "What, Finley?"
She hesitated, started to open her mouth, but someone called her name and she turned around. It was an ex-classmate of ours, couldn't remember her name, the one she'd been dancing with, and I found myself feeling anxious all of a sudden. I hadn't felt anxious in a long time. Hadn't felt anything, really, other than severe pain and shame, in a very long time. Huh.
"Finley, Chris is gonna give me a ride back home. You cool?" the girl asked, eyeing me. She knew. The whole town knew about my tumble down the rabbit hole.
"Yeah, Holly Raye. I'll see you tomorrow," she answered, her brows scrunched in confusion.
Finley was surprised by Holly Raye's apparent worry which I found odd.
Okay," Holly Raye said, kissing Finley's cheek.
Chris was waiting by the door for her, and we both watched them leave, afraid to speak, our earlier moment gone.
Vi walked up with Finley's chicken tenders and set them in front of her. Her fingers found one but lifted up quickly with a tiny gasp.
"Hot," she whispered, resting her fingers against the side of her water glass.
She let them cool for a few moments and we sat in awkward silence. I wasn't sure what she was still doing there. I didn't have any clue why she had even started to talk to me either. I mean, I knew in high school she'd had a crush on me, but I figured it was long gone. She used to stare at me a little doe eyed, and I had always done my best to be kind to her but not too kind. I'd considered her a friend but nothing more, even if I did take solace in my conversations with her. I'd never admitted that out loud to anyone then, though, not that I was ashamed or anything. It's just, I was in love with Cricket.
The ache in my chest burned deep, a restless reminder of all I'd lost. And suddenly I felt guilty for finding Finley attractive even when I thought she was a stranger. Even after Cricket left me for Spencer.
You should probably leave," I told her.
She looked at me like I was crazy. "I'll do whatever I want," she said, sitting taller, pitching me that confident Finley attitude I remembered from high school.
"Whatever," I said, then called out to Vi for another round, which she served up quickly.
Finley tore apart a few tenders then handed me half of one.
"Uh, no," I said, downing my glass.
"Uh, yes," she mocked, shoving the piece in my face.
"Stop," I said, swiping it away.
"Eat, damn it," she said.
I looked at her and the expression on her face told me she wouldn't quit, so I roughly took it from her and took a large bite. She bit into her own piece, a smug look on her face. She practically hand fed me every piece in the damn basket, but I didn't care. I knew what she was doing, but it wouldn't work because the liquor resting in my belly was too substantial to be worked against.
"What have you done with your summer?" she asked me.
"This," I said, gesturing to my glass.
"What the hell, Ethan?"
"What, are you my mother?" I asked, immediately regretting those choice of words. I closed my eyes.
Mom. My heart dropped into my throat. Must remedy that.
"Vi," I said loudly to her at the other end of the bar. "One more."
Vi walked the length of the bar and filled my glass again, much to Finley's obvious horror.
"Vi, can I get some mozzarella sticks?" she asked.
"Of course, darlin'."
Finley smiled at me.
"I'm not eating those," I told her.
"Oh, you'll eat them."
"I won't."
"You will."
"I sure as hell will not, Finley Dyer."
She leaned closer and my head began to swim. Her signature scent of apples and wild daisies swarmed around me, making my heart race. It'd never bothered me before. It's the liquor, I told myself.
"You will or I'm taking your ass home right now."
"You can just kiss that ass, Fin."
That's the Jack talking."
"No, that's me. I don't want to play anymore. I want to be left alone now."
"You see," she said, settling her elbows on the bar top, "I think- No, I know you're lying. Like I said before, you're a terrible liar. I think you've lied so often about wanting to be left alone, though, that you've convinced your head it's the truth, but you can't convince the heart, Ethan. You know why? Because the heart can't ever be lied to, and yours beats the loneliest I've ever heard."
I didn't answer her. Couldn't answer her.
"What have you done this summer?" I asked, ignoring her spot-on observation.
She played along. "I've had a temp job here in Kalispell answering phones for Smith Travel, trying to earn cash for my trip."
My brows furrowed. "What trip?"
"I'm heading over to Vietnam for a year."
This shocked me. "What in the world would you go to Vietnam for?"
"Charity work," she answered, making me laugh.
"Why?" I asked.
"Don't be an asshole," she replied.
"No, really, why?"
"I've wanted to do this for close to five years now."
"How come I don't ever remember you talking about this at school?"
"Ethan," she said softly, "let's not pretend we ever really talked in high school deeper than filler conversation."
This wounded me a little, though I'm not sure why.
What the hell, Finley? You and I were friends."
Now it was her turn to laugh. "We were most definitely not friends. I may know everything about you and you may know everything about me because we grew up together, but we were not friends. You had a constant bodyguard in Cricket."
I sat up at the mention of her name. "Don't ever say her name again," I gritted.
She raised her hands in concession. "Fine."
There was a pregnant pause as she let me calm myself down.
"I talked to you a lot in the classes we had," I offered.
"We talked a lot about the upcoming football games or class assignments. Once or twice, we took the seventy-year-old route and discussed the weather."
I fought my grin. "Okay, so it was always surface observation, but we were kids."
"No, Ethan, that's not what it was."
"Well, you were in love with me," I bravely spit. "I couldn't take it further than just below the shoal." Thank you, Mr. Daniels.
"Full of yourself, are we?" she asked. "Listen," she continued, "I had a crush on you in high school. So what? Lots of girls did. But I was, am, a human being. You didn't have to treat me like some leper. Trust me, Ethan, we all know who you belonged to," she said.
She stood to leave, but I grabbed her arm. The heated warmth of her skin shot straight to my heart. We looked at one another, wide eyed, our chests panting. I shook my head to recompose myself. "I'm sorry," I told her, encouraging her to sit back down. "I'm- I know you deserved better."
She hesitated but sat back in her seat. I stared at her, a little too intently thanks to the Jack. She nodded once and we sat in a comfortable silence as I had five more shots.
The whiskey made my body heavy as hell, the weight of its honeyed venom deadened the ache inside me pleasantly.
I sighed and smiled to myself.
"What's so funny?" she asked.
I looked up at her though it felt unusually burdensome and leaned toward her. "I'm going to get them back," I admitted to her.
She narrowed her eyes. "Who, Ethan?"
"Them," I said, bringing a tired finger to my lips. "Don't tell anyone."
I fell back into my chair. I brought my fingers to my empty glass and tilted it, balancing it on one finger. She was quiet for a moment.
"Ethan," she began, whispering, "that's not like you."
I smiled. "I'm not who I used to be, Finley."
"That's a shame," she said, "because you used to be wonderful."
I narrowed my eyes at her. "Do you know what they did to me?"
"She left you for him," she said matter-of-factly.
I let the glass tip over onto its side at her bluntness. "Exactly. After all I did for her. After all I was to her. She left me for him."
"She wasn't meant for you, Ethan."
My skin burned with hatred at that statement. "No one is meant for anyone, Finley. You choose someone and then you make a commitment."
She shook her head at me. "You have no idea what you're talking about."
"She chose me, convinced me that she was all in, and I was willing to die for her because of it. She convinced me she actually loved me. I thought she loved me."
"She did love you. I believe she, you both really, would have been somewhat happy if Spencer had never shown up."
"You're not hearing me. You both would have been somewhat happy. Neither of you would have been utterly happy."
This infuriated me.
I could have made her happy!" I yelled, earning a few glances from around the bar.
"Yes, you could have made her happy, but not as happy as Spencer does."
My blood simmered in my veins. "You are cruel," I bit.
She leaned forward. "I'm being honest with you. Someone has to since you're not being honest with yourself. I saw them together, Ethan, and she never looked at you like that."
"Stop," I said, gritting my teeth. "Stop."
"Ethan," she said, resting her hand on mine. I yanked it from her. "Don't you want the same thing for yourself? Don't you want forever with someone who burns for you the way you burn for her? You deserve that just as much as she does."
"Shut up," I said, bringing my hands to my hair and fisting it at my ears. I didn't want to hear it.
"Fine," she said, sitting up. She looked around her and asked Vi for two cups of coffee.
I couldn't breathe. Finley voiced everything I'd worked so hard to drown out, I'd attempted to numb. I hated her for ruining the struggle to suppress it. I just wanted to pretend. I wanted my hate, wanted it to live close to me. It was the only thing I felt could keep me alive. I couldn't let her go. I didn't want her to be loved by anyone but me. I didn't want to be reminded that someone else really did love her better than I did, that someone else made her happier. Because I had watched them too. I saw what Finley saw, and my God did I hate Spencer Blackwell for it.
I wanted bitter.
I wanted sadness.
I wanted revenge.
Add FURY to your Goodreads!
Add the SEVEN DEADLY series on Goodreads
And don't miss the first two books in the Seven Deadly series!
Amazon ** Barnes and Noble
Amazon ** Barnes and Noble
Fisher Amelie resides in the South with her kick ace husband slash soul mate. She earned her first 'mama' patch in 2009. She also lives with her Weim, Jonah, and her Beta, Whale. All these living creatures keep the belly of her life full, sometimes to the point of gluttony, but she doesn't mind all that much because life isn't worth living if it isn't entertaining, right?
Fisher is the author of The Seven Deadly Series, The Sleepless Series, and The Leaving Series, and was a semi-finalist in Amazon's Breakthrough Novel Award.


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I heard the word "connector" several times yesterday at the Colorado Innovation Network summit. I gave the final speech of the day after being in Chicago in the morning to give the keynote speech at the Excelerate Labs Demo Day which was an awesome group where I discovered one company I'm very interested in potentially investing in.
In both cities (Chicago and Denver) I gave a talk about Startup Communities using the Boulder Thesis as a framework. The Chicago talk was short and tight (about 15 minutes) to warm up the event. The Denver talk ended up going almost an hour and having a lot of Q&A. Both were simulating (at least to me – hopefully to the crowd) and the entrepreneurial energy in both rooms was significant.
While I missed most of the COIN summit because I was traveling back from Chicago, I caught a few of the last talks before mine. I also talked to a bunch of people and kept hearing the word "connector" come up – it must have been one of the words of the day. This was used to define a role for many of the constituents in the COIN summit which included entrepreneurs, government, university, and big company folks.
My good friend Phil Weiser, Dean of the CU Law School, introduced me to the word "convener" several years ago. CU Law, and specifically the Silicon Flatirons program that Phil created a decade ago, plays a huge convening role for the Boulder startup community. As a result, it sits in the center of a lot of activity. It's not a connector – it's a convener.
Government and universities, in my view around startup communities, are feeders, not leaders. Feeders are important, but they are different – and play a different role than leaders. For a startup community to be vibrant and sustainable the leaders have to be entrepreneurs. This is the first tenet of the Boulder Thesis.
A convener has much more leverage than a connector. A connector implies a lot of work and a lot of control. There's also a hierarchical dynamic – connectors are choosing who to connect; as a result they become gatekeepers which is not the right role for a feeder. I believe most gatekeepers inhibit the growth and development of a startup community so any role that looks gatekeeper-ish is often an inhibitor to progress.
Conveners quickly develop a reputation for being inclusive and accessible. This is another tenet of the Boulder Thesis – everyone in the startup community must be inclusive to anyone who wants to engage.
I was going back and forth with a founder of a startup in Chicago this morning by email who is now eight years old (not really a startup anymore) and just rented a 60,000 foot office and is looking to help the startup community more now that it's gotten to a meaningful size. I suggested that, among other things, they play a convener role.
Basically, all feeders to a startup community can play a convener role. It's more powerful than simply being a connector.


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Stanford, CA – Stanford cornerback Terrence Brown has decided to forego his final year of eligibility and declare for the 2013 NFL Draft.
On Tuesday, the school released a statement from Brown, thanking his coaches for the opportunity to play for the Cardinal.
"My admission to Stanford University in 2009 was a life-changing event for me, and all of the faculty, students and staff I have met since have truly blessed and enriched me. I will forever and always be a Cardinal," said Brown.
He continued by saying, "The past four years have been a great experience for me at Stanford, and I feel well prepared to move on to the next level."
Brown recorded 65 tackles and an interception while starting all 14 games for the Cardinal this past season.


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6 Upon your walls, O Jerusalem,
I have posted sentinels;
all day and all night
they shall never be silent.
You who remind the Lord,
take no rest,
7 and give him no rest
until he establishes Jerusalem
and makes it renowned throughout the earth.
8 The Lord has sworn by his right hand
and by his mighty arm:
I will not again give your grain
to be food for your enemies,
and foreigners shall not drink the wine
for which you have laboured;
9 but those who garner it shall eat it
and praise the Lord,
and those who gather it shall drink it
in my holy courts.
10 Go through, go through the gates,
prepare the way for the people;
build up, build up the highway,
clear it of stones,
lift up an ensign over the peoples.
11 The Lord has proclaimed
to the end of the earth:
Say to daughter Zion,
See, your salvation comes;
his reward is with him,
and his recompense before him.
12 They shall be called, The Holy People,
The Redeemed of the Lord;
and you shall be called, Sought Out,
A City Not Forsaken.
<< | >> |
New Revised Standard Version Bible: Anglicized Edition, copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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The 54th New York Film Festival's Main Slate has been announced, featuring a selection of 25 films from around the globe.
NYFF Director and Selection Committee Chair Kent Jones said, "The cinema is so many things at once. And when I look at the films in this year's selection, I'm aware of the fact that it is a form of response. The Dardenne Brothers, Ken Loach, Cristian Mungiu, Gianfranco Rosi, Kleber Mendonça Filho, and Ava DuVernay are sounding alarms, while Jim Jarmusch, Kenneth Lonergan, Barry Jenkins, Maren Ade, Olivier Assayas, James Gray, and Mike Mills are fixed on internal landscapes, proclaiming the urgency of self-realization. I also see in this year's lineup a bounty of vital work from artists from all around the world who will not stop until they see their visions all the way to the end."
Elle. Photo by Guy Ferrandis, courtesy of Sony Pictures Classics.
This year's Main Slate showcases award-winning films that wowed viewers at international festivals, presented to New York audiences for the first time. Selections from Cannes include Ken Loach's Palme d'Or-winning I, Daniel Blake; Olivier Assayas's Personal Shopper and Cristian Mungiu's Graduation, which tied for Best Director; and Maren Ade's highly acclaimed Toni Erdmann, awarded the Cannes Critics' Prize. From Berlin, Gianfranco Rosi's Golden Bear winner, Fire at Sea, will mark the director's NYFF debut, and Mia Hansen-Løve returns to the festival with Things to Come, which won her Berlin's Best Director award.
Other festival veterans returning to NYFF include Pedro Almodóvar, Kelly Reichardt, Hong Sangsoo, Jean-Pierre and Luc Dardenne, Matías Piñeiro, Paul Verhoeven, Alain Guiraudie, Cristi Puiu, and Eugène Green. A number of celebrated filmmakers will make their NYFF debuts, such as Kenneth Lonergan with his third feature Manchester by the Sea; Kleber Mendonça Filho, presenting Aquarius, his anticipated follow-up to Neighboring Sounds; Alison Maclean with her coming-of-age story The Rehearsal; Dash Shaw, whose animated My Entire High School Sinking into the Sea is his first feature; and Barry Jenkins, with his three-part portrait of a young gay African-American man, Moonlight.
Strong female performances are a prominent focus this year, with standout turns from Isabelle Huppert in Verhoeven's Elle and Hansen-Løve's Things to Come; Brazilian legend Sônia Braga in Medonça Filho's Aquarius; Piñeiro favorite Agustina Muñoz in Hermia and Helena; and Kristen Stewart, Michelle Williams, and Laura Dern in Reichardt's triptych Certain Women, among others. The Main Slate also features two films that bring poetry to the screen: Pablo Larraín's Neruda, a portrait of the beloved Chilean poet, and Jim Jarmusch's Paterson, which carries the spirit of William Carlos Williams through the story of a city bus driver (Adam Driver) who also writes poetry.
Paterson. (c) Window Frame Films Inc., photo by Mary Cybulski.
NYFF previously announced Ava DuVernay's documentary The 13th as the Opening Night selection, Mike Mills's 20th Century Women as Centerpiece, James Gray's The Lost City of Z as Closing Night, as well as the films slated for this year's Revivals section. For the latest news, subscribe to the festival's newsletter and follow the festival on Facebook and Twitter.
Tickets for the 54th New York Film Festival will go on sale September 11. Become a Film Society Member at the Film Buff Level or above to receive early ticket access to festival screenings and events ahead of the general public, along with the exclusive member ticket discount. Click here to learn more.
For even more access, VIP passes and subscription packages offer the earliest opportunities to purchase tickets and secure seats at some of the festival's biggest events, including Opening and Closing Nights and Centerpiece. Benefits vary based on the pass or package type purchased. NYFF54 passes and packages are on sale now. Click here to learn more.
Julieta. Photo by Manolo Pavón, courtesy of Sony Pictures Classics.
The 13th (Opening Night, previously announced)
Directed by Ava DuVernay
World Premiere
The title of Ava DuVernay's extraordinary and galvanizing documentary refers to the 13th Amendment to the Constitution, which reads "Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States." The progression from that second qualifying clause to the horrors of mass criminalization and the sprawling American prison industry is laid out by DuVernay with bracing lucidity. With a potent mixture of archival footage and testimony from a dazzling array of activists, politicians, historians, and formerly incarcerated women and men, DuVernay creates a work of grand historical synthesis. A Netflix original documentary.
20th Century Women (Centerpiece, previously announced)
Directed by Mike Mills
World Premiere
Mike Mills's texturally and behaviorally rich new comedy seems to keep redefining itself as it goes along, creating a moving group portrait of particular people in a particular place (Santa Barbara) at a particular moment in the 20th century (1979), one lovingly attended detail at a time. The great Annette Bening, in one of her very best performances, is Dorothea, a single mother raising her teenage son, Jamie (Lucas Jade Zumann), in a sprawling bohemian house, which is shared by an itinerant carpenter (Billy Crudup) and a punk artist with a Bowie haircut (Greta Gerwig) and frequented by Jamie's rebellious friend Julie (Elle Fanning). 20th Century Women is warm, funny, and a work of passionate artistry. An A24 Release.
The Lost City of Z (Closing Night, previously announced)
Directed by James Gray
World Premiere
James Gray's emotionally and visually resplendent epic tells the story of Lieutenant Colonel Percy Fawcett (a remarkable Charlie Hunnam), the British military-man-turned-explorer whose search for a lost city deep in the Amazon grows into an increasingly feverish, decades-long magnificent obsession that takes a toll on his reputation, his home life with his wife (Sienna Miller) and children, and his very existence. Gray and cinematographer Darius Khondji cast quite a spell, exquisitely pitched between rapture and dizzying terror. Also starring Robert Pattinson and Tom Holland, The Lost City of Z represents a form of epic storytelling that has all but vanished from the landscape of modern cinema, and a rare level of artistry.
Directed by Kleber Mendonça Filho
Brazil/France, 2016, 142m
Portuguese with English subtitles
U.S. Premiere
A highlight of this year's Cannes Film Festival, Kleber Mendonça Filho's follow-up to his acclaimed Neighboring Sounds revolves around the leisurely days of a 65-year-old widow, transcendently played by the great Brazilian actress Sônia Braga. Clara is a retired music critic and the only remaining resident of the titular apartment building in Recife. Trouble starts when an ambitious real estate promoter who has bought up all of Aquarius's other units comes knocking on Clara's door. She has no intention of leaving, and a protracted struggle ensues. Braga's transfixing, multilayered performance and the film's deliberate pacing and stylistic flourishes yield a sophisticated, political, and humane work.
Certain Women. Photo courtesy of IFC Films.
Certain Women
Directed by Kelly Reichardt
USA, 2016, 107m
The seventh feature by Kelly Reichardt (Meek's Cutoff), a lean triptych of subtly intersecting lives in Montana, is a work of no-nonsense eloquence. Adapting short stories by Maile Meloy, Certain Women follows a lawyer (Laura Dern) navigating an increasingly volatile relationship with a disgruntled client; a couple (Michelle Williams and James Le Gros) in a marriage laden with micro-aggression and doubt, trying to persuade an old man (Rene Auberjonois) to sell his unused sandstone; and a young ranch hand (Lily Gladstone) fixated on a new-in-town night school teacher (Kristen Stewart). Shooting on 16mm, Reichardt creates understated, uncannily intimate dramas nestled within a clear-eyed depiction of the modern American West. An IFC Films release.
Directed by Paul Verhoeven
France/Germany/Belgium, 2016, 131m
French with English subtitles
U.S. Premiere
Paul Verhoeven's first feature in a decade—and his first in French—ranks among his most incendiary, improbable concoctions: a wry, almost-screwball comedy of manners about a woman who responds to a rape by refusing the mantle of victimhood. As the film opens, Parisian heroine Michèle (a brilliant Isabelle Huppert) is brutally violated in her kitchen by a hooded intruder. Rather than report the crime, Michèle, the CEO of a video game company and daughter of a notorious mass murderer, calmly sweeps up the mess and proceeds to engage her assailant in a dangerous game of domination and submission in which her motivations remain a constant source of mystery, humor, and tension. A Sony Pictures Classics release.
Fire at Sea. Photo courtesy of Kino Lorber.
Fire at Sea / Fuocoammare
Directed by Gianfranco Rosi
Italy/France, 2016, 108m
English and Italian with English subtitles
Winner of the Golden Bear at this year's Berlin Film Festival, Gianfranco Rosi's documentary observes Europe's migrant crisis from the vantage point of a Mediterranean island where hundreds of thousands of refugees, fleeing war and poverty, have landed in recent decades. Rosi shows the harrowing work of rescue operations but devotes most of the film to the daily rhythms of Lampedusa, seen through the eyes of a doctor who treats casualties and performs autopsies, and a feisty but anxious pre-teen from a family of fishermen for whom it is simply a peripheral fact of life. With its emphasis on the quotidian, the film reclaims an ongoing tragedy from the abstract sensationalism of media headlines. A Kino Lorber release.
Graduation / Bacalaureat
Directed by Cristian Mungiu
Romania, 2016, 127m
Romanian with English subtitles
Cristian Mungiu's expertly constructed drama concerns a doctor desperate for his daughter to escape corruption-plagued Romania by accepting a scholarship offer from a British university (after-the-fact layer of irony courtesy of Brexit), contingent on her high school final exams. But after she's assaulted, perhaps for past sins of her father, the doctor must decide whether he will take advantage of his position to ensure that she receives high marks, despite her trauma. Parents anxious about their children's education will appreciate the moral dilemma the film poses. Like Mungiu's superb 4 Months, 3 Weeks and 2 Days (NYFF '07), Graduation resonates beyond national boundaries. A Sundance Selects release.
Hermia and Helena
Directed by Matías Piñeiro
Argentina/USA, 2016, 87m
English and Spanish with English subtitles
U.S. Premiere
Shooting outside his native Argentina for the first time, New York–based Matías Piñeiro fashions a bittersweet comedy of coupling and uncoupling that doubles as a love letter to his adopted city. Working on a Spanish translation of A Midsummer Night's Dream on an artist residency, Camila (Agustina Muñoz) finds herself within a constellation of shifting relationships (an old flame, a new one, a long-lost relative). Mingling actors from the director's Buenos Aires repertory with stalwarts of New York's independent film scene (Keith Poulson, Dustin Guy Defa, Dan Sallitt), Hermia and Helena offers the precise gestures, mercurial moods, and youthful energies of all Piñeiro's cinema, with an emotional depth and directness that make this his most mature work yet.
I, Daniel Blake. Photo courtesy of Sundance Selects .
I, Daniel Blake
Directed by Ken Loach
UK, 2016, 100m
U.S. Premiere
Unable to work after suffering a heart attack, Daniel (Dave Johns) must apply to the government for benefits. But with the seemingly endless documentation he has to provide, his lack of familiarity with computers, and the condescending attitudes of the functionaries to whom he must repeat the same information in one soul-killing encounter after another, he is all but defeated from the beginning, as is his new comrade in misery, Katie (Hayley Squires). English director Ken Loach's thoroughly shattering film, which won the Palme d'Or at this year's Cannes Film Festival, will strike a chord with anyone who has ever tried to negotiate their way through the labyrinth of bureaucracy. A Sundance Selects release.
Directed by Pedro Almodóvar
Spain, 2016, 99m
Spanish with English subtitles
Pedro Almodóvar explores his favorite themes of love, sexuality, guilt, and destiny through the poignant story of Julieta, played to perfection by Emma Suárez (younger) and Adriana Ugarte (middle-aged), over the course of a 30-year timespan. Just as she is about to leave Madrid forever, the seemingly content Julieta has a chance encounter that stirs up sorrowful memories of the daughter who brutally abandoned her when she turned eighteen. Drawing on numerous film historical references, from Hitchcock to the director's own earlier Movida era work, Almodóvar's twentieth feature, adapted from three short stories by Alice Munro ("Chance," "Soon," and "Silence"), is a haunting drama that oscillates between disenchanted darkness and visual opulence. A Sony Pictures Classics release.
Manchester by the Sea. Photo by Claire Folger, courtesy of Amazon Studios and Roadside Attractions.
Manchester by the Sea
Directed by Kenneth Lonergan
USA, 2016, 137m
Casey Affleck is formidable as the volatile, deeply troubled Lee Chandler, a Boston-based handyman called back to his hometown on the Massachusetts North Shore after the sudden death of his brother, Joe (Kyle Chandler), who has left behind a teenage son (Lucas Hedges). This loss and the return to his old stomping grounds summon Lee's memories of an earlier, even more devastating tragedy. In his third film as a director, following You Can Count on Me (2000) and Margaret (2011), Kenneth Lonergan, with the help of a remarkable cast, unflinchingly explores grief, hope, and love, giving us a film that is funny, sharply observed, intimately detailed yet grand in emotional scale. An Amazon Studios Release.
Directed by Barry Jenkins
USA, 2016, 110m
Barry Jenkins more than fulfills the promise of his 2008 romantic two-hander Medicine for Melancholy in this three-part narrative spanning the childhood, adolescence, and adulthood of a gay African-American man who survives Miami's drug-plagued inner city, finding love in unexpected places and the possibility of change within himself. Moonlight offers a powerful sense of place and a wealth of unpredictable characters, featuring a fantastic ensemble cast including André Holland, Trevante Rhodes, Naomie Harris, and Mahershala Ali—delivering performances filled with inner conflict and aching desires that cut straight to the heart. An A24 release.
My Entire High School Sinking into the Sea. Photo by Dash Shaw.
My Entire High School Sinking into the Sea
Directed by Dash Shaw
USA, 2016, 75m
U.S. Premiere
No matter your age, part of you never outgrows high school, for better or worse. Dash Shaw, known for such celebrated graphic novels as Bottomless Belly Button and New School, brings his subjective, dreamlike sense of narrative; his empathy for outsiders and their desire to connect; and his rich, expressive drawing style to his first animated feature. Packed with action but seen from the inside out, My Entire High School Sinking into the Sea is about friends overcoming their differences and having each other's backs in times of crisis, and its marvelously complex characters are voiced by Jason Schwartzman, Lena Dunham, Reggie Watts, Maya Rudolph, and John Cameron Mitchell.
Directed by Pablo Larraín
Chile/Argentina/France/Spain, 2016, 107m
Spanish and French with English subtitles
Pablo Larraín's exciting, surprising, and colorful new film is not a biopic but, as the director himself puts it, a "Nerudean" portrait of the great Chilean poet Pablo Neruda's years of flight and exile after his 1948 denunciation of his government's leadership. Larraín's heady blend of fact and fancy (the latter embodied in an invented character, straight out of detective fiction, played by Gael García Bernal) is many things at once: a loving, kaleidoscopic recreation of a particular historical moment; a comical cat-and-mouse game; and a pocket epic. Featuring Luis Gnecco, a dead ringer for the poet and a formidable actor, alongside a terrific cast. A release of The Orchard.
Directed by Jim Jarmusch
USA, 2016, 118m
U.S. Premiere
Paterson (Adam Driver) is a bus driver who writes poetry drawn from the world around him. Paterson is also the name of the New Jersey city where he works and lives with his effervescent and energetic girlfriend (Golshifteh Farahani). And Paterson is the title of the great epic poem by William Carlos Williams, whose spirit animates Jim Jarmusch's exquisite new film. This is a rare movie experience, set to the rhythm of an individual consciousness absorbing the beauties and mysteries and paradoxes and joys and surprises of everyday life, at home and at work, and making them into art. An Amazon Studios release.
Personal Shopper. Photo courtesy of Sundance Selects.
Personal Shopper
Directed by Olivier Assayas
France, 2016, 105m
French and English with English subtitles
U.S. Premiere
Kristen Stewart is the medium, in more ways than one, for this sophisticated genre exploration from director Olivier Assayas (Clouds of Sils Maria). As a fashion assistant whose twin brother has died, leaving her bereft and longing for messages from the other side, Stewart is fragile and enigmatic—and nearly always on-screen. From an opening sequence in a haunted house with an intricately constructed soundtrack to a high-tension, cat-and-mouse game on a trip from Paris to London and back set entirely to text messaging, Personal Shopper brings the psychological and supernatural thriller into the digital age. An IFC Films release.
The Rehearsal
Directed by Alison Maclean
New Zealand, 2016, 75m
U.S. Premiere
Alison Maclean (Jesus' Son) returns to her New Zealand filmmaking roots with a multilayered coming-of-age story about a young actor (James Rolleston) searching for the truth of a character he's playing onstage and the resulting moral dilemma in his personal life. Set largely in a drama school, featuring Kerry Fox as a diva-like teacher who tries to shape her student's raw talent, The Rehearsal, adapted from the novel by Eleanor Catton, demystifies actors and acting in order to reveal the moments where craft becomes art. The same happens with Maclean's understated but penetrating filmmaking. Her concentration on the quotidian yields a finale that borders on the sublime.
Sieranevada. Photo courtesy of Elle Driver.
Directed by Cristi Puiu
Romania, 2016, 173m
Romanian with English subtitles
U.S. Premiere
A decade after jumpstarting the Romanian New Wave with The Death of Mr. Lazarescu, Cristi Puiu returns with a virtuosic chamber drama set largely within a labyrinthine Bucharest apartment where a cantankerous extended family has gathered forty days after its patriarch's death (and three days after the Charlie Hebdo attacks in Paris). Rituals and meals are anticipated and delayed, doors open and close, and the camera hovers at thresholds and in corridors. As claustrophobia mounts, heated, humorous exchanges—about the old Communist days and the present age of terror—coalesce into a brilliantly staged and observed portrait of personal and social disquiet.
Son of Joseph / Le fils de Joseph
Directed by Eugène Green
France/Belgium, 2016, 113m
French with English Subtitles
U.S. Premiere
The American-born expatriate filmmaker Eugène Green exists in his own special artistic orbit. All Green's films share a formal rigor and an increasingly refined modulation between the playfully comic, the urgently human, and the transcendent, and they are each as exquisitely balanced as the baroque music and architecture that he cherishes. His latest movie, Son of Joseph, is perhaps his most buoyant. A nativity story reboot that gently skewers French cultural pretensions, it features newcomer Victor Ezenfis as a discontented Parisian teenager in search of a father, Mathieu Amalric and Fabrizio Rongione as his, respectively, callous and gentle alternative paternal options, and Natacha Régnier as his single mother. A Kino Lorber Films release.
Staying Vertical / Rester vertical
Directed by Alain Guiraudie
France, 2016, 100m
French with English subtitles
North American Premiere
Léo (Damien Bonnard), a blocked filmmaker seeking inspiration in the French countryside for an overdue script, begins an affair with a shepherdess (India Hair), with whom he almost immediately has a child. Combining the formal control of his 2013 breakthrough Stranger by the Lake with the shapeshifting fabulism of his earlier work, Alain Guiraudie's new film is a sidelong look at the human cycle of birth, procreation, and death, as well as his boldest riff yet on his signature subjects of freedom and desire. The title has the ring of both a rallying cry and a dirty joke—fitting for a film that is, above all else, a rumination on what it means to be a human being, a vertical animal. A Strand Releasing release.
Things to Come. Photo courtesy of Sundance Selects.
Things to Come / L'Avenir
Directed by Mia Hansen-Løve
France/Germany, 2016, 100m
French with English subtitles
In the new film from Mia Hansen-Løve (Eden), Isabelle Huppert is Nathalie, a Parisian professor of philosophy who comes to realize that the tectonic plates of her existence are slowly but inexorably shifting: her husband (André Marcon) leaves her, her mother (Edith Scob) comes apart, her favorite former student decides to live off the grid, and her first grandchild is born. Hansen-Løve carefully builds Things to Come around her extraordinary star: her verve and energy, her beauty, her perpetual motion. Huppert's remarkable performance is counterpointed by the quietly accumulating force of the action, and the result is an exquisite expression of time's passing. A Sundance Selects release.
Toni Erdmann
Directed by Maren Ade
Germany, 2016, 162m
German with English subtitles
An audacious twist on the screwball comedy—here, the twosome is an aging-hippie prankster father and his corporate-ladder-climbing daughter—Toni Erdmann delivers art and entertainment in equal measure and charmed just about everyone who saw it at the Cannes Film Festival this year. Maren Ade's dazzling script has just enough of a classical comedic structure to support 162 minutes of surprises big and small. Meanwhile, her direction is designed to liberate the actors as much as possible while the camera rolls, resulting in sublime performances by Sandra Hüller and Peter Simonischek, who leave the audience suspended between laughter and tears. A Sony Pictures Classics release.
The Unknown Girl. Photo courtesy of Sundance Selects.
The Unknown Girl
Directed by Jean-Pierre and Luc Dardenne
Belgium, 2016, 106m
U.S. Premiere
It's a few minutes after closing time in a medical clinic in Seraing, Belgium. The buzzer rings. Doctor Jenny (Adèle Haenel) tells her assistant (Olivier Bonnaud) to ignore it. She is later informed that the girl she turned away was soon found dead on the riverside. From that moment, Jenny becomes a different kind of doctor, diagnosing not just her dispossessed patients' illnesses but also the greater malady afflicting her community. And this is a different kind of movie for Luc and Jean-Pierre Dardenne, in which the urgency pulses beneath the seemingly placid surface, and it is all keyed to Haenel's extraordinary performance. A Sundance Selects release.
Yourself and Yours
Directed by Hong Sangsoo
South Korea, 2016, 86m
Korean with English subtitles
Prolific NYFF favorite Hong Sangsoo boldly and wittily continues his ongoing exploration of the painful caprices of modern romance. Painter Youngsoo (Kim Joo-hyuk) hears secondhand that his girlfriend, Minjung (Lee Yoo-young), has recently had (many) drinks with an unknown man. This leads to a quarrel that seems to end their relationship. The next day, Youngsoo sets out in search of her, at the same time that Minjung—or a woman who looks exactly like her and may or may not be her twin—has a series of encounters with strange men, some of whom claim to have met her before . . . Yourself and Yours is a break-up/make-up comedy unlike any other, suffused with sophisticated modernist mystery.
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Updated July 7, 2021 at 10:01 AM ET
JISR AL-ZARQA, Israel — Entering this coastal village, smooth asphalt gives way to a part-dirt road. Drivers struggle to steer along the bumps and around the pedestrians in cramped streets. Many buildings are unfinished and crumbling.
Jisr al-Zarqa, a fishing village on the Mediterranean Sea, is home to Palestinian citizens of Israel and one of the poorest parts of the country. In a stark contrast, it's hemmed in by Jewish Israeli areas with expensive real estate and popular tourist sites.
But these days, some residents say they hope for a change in the village. Israel's new government includes an Arab political party for the first time — and it promises to invest in Palestinian communities in Israel. That could help a place like Jisr al-Zarqa, where the Mediterranean shines bright but residents say services and opportunity are few.
People feel discriminated against
"We have nothing in this village, nothing," says Dr. Ayyat Rageh, who works at an elite hospital in Tel Aviv but is back in Jisr al-Zarqa for a reunion with childhood friends, who are also doctors. The friends chime in saying the village needs land, buildings, streets, money and jobs.
Residents also complain they lack other basic amenities like a post office, a bank, sidewalks and parking for the village's 15,000 people.
The village was even used as a set for the deeply impoverished Gaza Strip in the Israeli Netflix series, Fauda.
Crime is a concern as well, but the village only received a police station in 2017, with just two police officers, according to the head of Jisr al-Zarqa local council, Murad Ammash.
Palestinian citizens of Israel, also called Arab Israelis, are estimated to make up just over one-fifth of the Israeli population. More than 80% of them believe that most Arab citizens of the country want to integrate within Israeli society, according to a 2020 study by the think tank the Israel Democracy Institute.
Unlike Palestinians living in the Israeli-occupied West Bank and Gaza Strip, Palestinian citizens of Israel are supposed to have the same rights as Jewish Israelis. They can vote, hold office and start businesses, for example.
Yet, many Palestinian Israelis say they are treated as second-class citizens at best.
"People feel neglected and discriminated by the government and they don't think the government can help them in any way," says the local elected leader Ammash.
The village is increasingly hemmed in by Jewish Israeli towns. Human Rights Watch has reported that the Israeli government uses discriminatory land policies that allow Jewish citizens to expand their areas while the policies restrict Arab citizens to smaller, densely populated communities in Israel, like Jisr al-Zarqa.
Unfinished multistory buildings are a sign families have to build up because there's no more land for the growing population.
The predominantly Jewish town next door, Caesarea, put up a raised mound of land topped with trees between it and the Palestinian village. "What you see before you is a racist separation wall," Ammash says, "so they won't see the ugly Jisr."
On the other side, Caesarea has bustling beaches, a golf club and restored remains of an ancient Roman port city that draw tourists. Visitors stroll over stone steps to restaurants, bars and luxury gift shops. Tourism is big business in this part of Israel.
Arabs enter government
Israel held legislative elections in March that resulted in new national leadership after 12 years under Prime Minister Benjamin Netanyahu. In June, lawmakers approved a coalition "government of change" led by Naftali Bennett and including politicians from the right, center and left, as well as Arab parties.
Ammash says the election turnout was low in Jisr al-Zarqa. He says nearly 3,000 people cast votes, about half of them for Mansour Abbas, head of the United Arab List.
Lawmaker Abbas joined the governing coalition and negotiated billions of dollars for development projects for Palestinian citizens in Israel.
Rageh, the Palestinian doctor who works in Tel Aviv, says he voted for Abbas. He sees it as a test: Will it finally make a difference to have an Arab in government? Will it bring much-needed public funding to impoverished Arab towns and neighborhoods in Israel?
"I see a ton of potential"
With government funding, Jisr al-Zarqa could partake in the local tourism economy, according to Heather Heldman, who was an adviser for the U.S. State Department and is now a partner in the Luminae Group for risk assessment in the Middle East.
The village has many things to offer, such as beautiful beaches and fresh seafood.
There is one guest house already receiving tourists. Its owners raised money in a Kickstarter campaign and their clientele has largely been young Israeli backpackers and international guests.
"You have a community that has faced a lot of adversity but found a way to make itself a diamond in the rough by capitalizing on the gifts that it has. I see a ton of potential also — a real potential PR win for the Israeli government — that it needs right now and it ought to be capitalizing on," she says.
At a picnic spot for locals, one of the very few green spaces in the village, Arabic music plays as families and friends eat barbecue and socialize. Ru'a Jorban is there with her partner. He makes ice cream and she's studying chemical engineering at a university outside the village. Both were born and raised in Jisr al-Zarqa.
They both voted in the elections but declined to say whom they voted for.
Jorban hopes the promised development money will reach the village.
"I wish we could use our education to come back and work here and contribute to the economy and help make our city a better place," she says.
But she knows that when she graduates, she says, she'll have to look for opportunities elsewhere.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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It is becoming widely understood that the shot callers in the Democratic Party have no intention to stick their necks out to preserve abortion access. For the most cynical of the Democratic politicians, the overturning of Roe v. Wade represents an opportunity to improve their job security by the changing the subject back to electoral politics once again. Yet a coherent grassroots strategy for resisting the criminalization of abortion has yet to emerge. Let's talk about what such a strategy might entail.
This is especially pressing as today's Supreme Court is not finished reshaping the legal landscape. They may continue to hand down decisions like the overturning of Roe v. Wade for years or even decades to come.
Intentionally or unintentionally, the leak of the Supreme Court ruling may have functioned to defuse resistance rather than to catalyze it. It gave the general public a chance to get used to the bad news before it was confirmed, ensuring that people who might otherwise have been shocked into action behaved in more predictable ways. Liberal organizations took advantage of the advance warning to organize rallies channeling people's rage and heartbreak into largely symbolic actions, but there was no comparable effort to coordinate an offensive participatory strategy based in direct action.
What follows is a tentative effort to talk strategy as we embark on the next chapter of a centuries-long struggle. What can direct action offer the fight for reproductive freedom?
First, there are some things that you can accomplish by acting on your own without waiting for anyone else. If you want the wall down the street to express support for people who need abortion access, grab some spray-paint and go out tonight. Likewise, you can stockpile abortion pills and get them to those who need them along with information about how to use them.
Second, there are many ways to extend support to those who will be most impacted by the criminalization of abortion. One of the most fundamental effects of the banning of abortion in half of the United States will be that millions of people who did not previously consider themselves radicals will experience the courts, the laws, and the police as their enemies in an immediate, visceral way. While this may legitimize illegal activity for some who previously had a superstitious faith in the rule of law, it will also have consequences similar to the impact of the laws criminalizing marijuana: in anti-choice states, the wealthy and privileged will be able to access abortion easily enough, while poor people from targeted demographics will suffer egregiously. Drawing on the examples of No More Deaths and similar solidarity projects, we should not underestimate the tremendous amount of effort this kind of organizing will require, nor how difficult it will be to get support to those who need it most. This work is crucial, but is essentially defensive in character.
Finally, movements can use direct action to exert leverage within society, including on those who aim to criminalize abortion. This is what we mean by an offensive strategy: in addition to responding to the negative consequences of the Supreme Court verdict, taking steps to push back against it.
In order to use direct action to exert leverage in this way, you have to:
- Identify a person or group that is going to make a decision that is going to lead to a negative outcome.
- Carry out an action that gives them a reason to make a different decision.
The person or group you focus on could be the ones responsible for the injustice you seek to address, or they might have no direct connection to the injustice but be positioned in such a way that they could do something to stop it. The action you take need not be adversarial—it could be as simple as serving delicious food at a demonstration to ensure that people show up who might not otherwise attend.
To offer another example: if opponents of abortion access sincerely wished to diminish the total number of abortions in the United States, they would focus on providing resources and community support to everyone who might become pregnant, so that no one would feel that they are too poor or too isolated to be able to raise a child. That would be the only surefire way to diminish the number of both legal and illegal abortions. The fact that, instead, the anti-choice movement has focused almost exclusively on legislation shows that in fact, their actual goal is to impose patriarchal control over people's bodies by means of state violence.
It's important to spell this out: if your goal is to exert leverage, you have to identify a group you can actually exert leverage on—a group that is likely to change course as a consequence of your intervention. If there are no circumstances under which those you are seeking to influence would make a different decision, or if they have already made their decision, it might make sense to focus your efforts elsewhere. You have to make sure that the target of your efforts has a choice—then make them an offer they can't refuse.
Right now, the basic strategic problem is that no one has fleshed out a proposal to make suppressing abortion access the least desirable choice for the Republicans or their centrist accomplices. The Republicans are getting what they want: the more that their efforts to criminalize abortion outrage and harm people, the better, as wielding power over others' lives is precisely what energizes their base. But Democratic politicians also have no great incentive to take risks to defend abortion access. Though Bernie Sanders, Alexandria Ocasio-Cortez, and others have proposed a strategy to codify abortion rights into law, most Democrats are determined to sit on their hands, hoping that this issue will help them in the midterm elections—regardless of the risks that those who are being criminalized face today.
This is consistent with Democrats' efforts to re-legitimize the police and other institutions of the state in the wake of the 2020 uprising—and to do so even as Republicans are poised to gain control of those institutions and keep control of them by coup if necessary. These are the workings of the political ratchet, in which Republicans continuously push state institutions towards more oppressive agendas while Democrats continuously give ground, keeping those who are suffering invested in the state itself in hopes that it might one day be reformed. If the same pattern plays out in regards to abortion access, there really is no hope other than direct action.
The good news is that if someone can demonstrate a strategy to effectively exert leverage on those who are responsible for suppressing abortion access, countless people will want to participate in it. People may come out to march in circles and listen to speakers a couple times a year, but if they see that there is something meaningful that they can do to effect change directly, they will show up with vigor and enthusiasm. We saw this most recently in summer 2020.
Graffiti in Portland, Oregon.
What strategies have demonstrators experimented with thus far that might offer meaningful leverage on those who are complicit in suppressing abortion access?
It is a classic historical pattern that, after the cooptation and repression of a movement like the George Floyd uprising of 2020, some participants revert to staid, legalistic marches while others attempt to continue escalating on their own, shifting to invite-only night actions for the sake of security. This perfectly describes the dichotomy between this past weekend's sign-holding rallies and the vandalism that various anonymous groups have carried out under the umbrella of the Jane's Revenge model. The public rallies are eminently accessible, but offer little meaningful engagement; the invite-only night actions may inspire people to take action on their own, but do not offer a participatory space in which to build collective momentum. Something is needed to fill in the space between these two poles.
Likewise, whatever their other virtues, both of these models fall short when we evaluate them as means of exerting leverage. The target of the public rallies is vague: in addressing society at large by means of a largely symbolic event, they might even reassure those who are criminalizing abortion that there will be no real consequences for doing so. Their chief value is probably in bolstering the morale of the participants. By contrast, the targets of the Jane's Revenge actions are very specific—but in targeting anti-abortion centers, they are taking on the most intransigent opponents of abortion, people who have dedicated their lives to fighting against abortion access, many of whom consider themselves to be carrying out the will of God. In attempting to exert leverage on such people, one could end up locked in a private grudge match, missing the opportunity to open up expansive spaces of struggle that can draw in more participants while escalating.
Somewhere between the public rallies and the invite-only night actions, we find the most promising events of this past weekend—breakaway marches that blocked highways in Los Angeles and other cities, on the one hand, and demonstrations outside the homes of the Supreme Court justices, on the other. These have the virtue of being both participatory and confrontational. Again, however, when it comes to exerting leverage, the target of the street marches and freeway blockades is a little bit abstract, whereas the Supreme Court justices are unlikely to change their minds, even if they have to get a bigger security detail.
If it is possible to exert leverage on anyone who is complicit in criminalizing abortion, it is probably not far-right religious cult members, but their centrist accomplices. Presented with the choice between risking their careers and sacrificing the abortion access of millions of the desperately poor, centrist politicians will usually choose the latter—but it might be possible to revise those options in such a way that they would be compelled to think twice.
At the high point of the George Floyd uprising, when millions of people had ceased to accept the legitimacy of the police and were acting accordingly, we saw terrified liberals like the mayor of Minneapolis suddenly take the demands of the movement very seriously, promising to take steps towards police abolition (which the movement had already made a reality to some extent). Later, when the politicians had reestablished control, they betrayed those promises—showing that our effectiveness hinges on keeping our social movements lively and strong, not on winning concessions. If demonstrators could find an effective and infectious way to express a total rejection of the court system, that might bring about a similar situation.
In the past, pressure campaigns have targeted the American Legislative Exchange Council and similar organizations to some effect. In liberal urban centers in the states that are criminalizing abortion, there is another potential point of intervention: some district attorneys are already declaring that they won't prosecute abortion cases. This could represent a precedent that other prosecutors could be pressed to adopt, widening fault lines within the legal system in those states.
The movement against racist police murders that eventually led to the George Floyd uprising got off the ground in the first place because, starting with the protests against the murder of Oscar Grant in 2009, the participants were able to connect the following crucial elements:
- An abolitionist analysis that explained why the murders were occurring more persuasively than any liberal or conservative narrative.
- A set of reproducible tactics that were immediately associated with the analysis, so people could easily take action if they agreed with the analysis.
- Concrete points of intervention—including specific times, places, participants, and targets.
Other movements—the environmental movement, for example—have not been establish this connection between analysis, action, and context, and have subsequently remained stunted (with exceptions, thankfully). If we want to mobilize an effective resistance to the criminalization of abortion, we have to learn from the George Floyd uprising.
Yes, there are fundamental differences between the movement for reproductive freedom and the movement for Black lives—but those who will be most impacted by the criminalization of abortion overlap considerably with those who are most impacted by racist policing. Although the politics of the movement for reproductive freedom are currently more liberal and reformist, correlating with the higher profile that middle-class organizers have in its ranks, that could change as the situation intensifies. We should remember that in the years between the 2001 uprising in Cincinnati and the rebellion mourning Oscar Grant, movements against police violence often seemed easily co-opted, as well.
Coda: How We Got Here, Where We're Going
As anarchists, we don't look to the Supreme Court to defend our freedoms from other courts and state institutions. We don't believe that any court or state institution possesses inherent legitimacy. That being said, in a struggle for our freedom and well-being that pits us against courts, cops, and other state institutions, compelling one such institution to limit the power of another can be strategic, provided it does not contribute to legitimizing any of the institutions involved. It must be clear to everyone that the power that drives social change derives from grassroots organizing, not from state institutions—that it is the needs and desires and autonomy of the human beings involved that are legitimate, not the structures that purport to represent them.
The fact that some US courts recognize abortion rights at all is itself the result of decades of grassroots struggle. Today, a majority of residents of the United States support some kind of abortion access, but this was not always the case.
Support for abortion access has slowly risen since the 1970s, even as the number of abortions people seek has declined since 1980. In 1978, only a third of those polled in the United States supported abortion access unconditionally; by 2018, that had risen to slightly over half. As Moxie Marlinspike argues in "We Should All Have Something to Hide," it is difficult for most people to grasp the value of something that is illegal and therefore unfamiliar; the first step towards social change is for a powerful movement to persistently demonstrate its value in defiance of the law.
The Roe v. Wade decision did not take place because a majority of the US population supported abortion access in 1973. Rather, in view of organizing efforts such as the Jane collective, which provided an estimated 11,000 illegal abortions, we can conclude that the ruling was a response to the intensity with which a particular segment of the population was fighting for abortion access, and to their success in calling the state's monopoly on power into question by continuing to make abortion available despite the efforts of police and judges.
Small groups that win concessions as a consequence of their intensity and successful defiance can enable the rest of society to discover the advantages of something that is currently illegal. Such groups are responsible for the better part of social progress; they initiated the process that ultimately led to the legalization of marijuana in parts of the United States, for example. Of all of the struggles that reached a high point in 2020, some of the most unambiguous victories were the statue topplings: governments that never would have taken action to remove racist statues were also not prepared to reinstall them once autonomous crowds illegally toppled them.
Arguably, two of the most common justifications for the power of the Supreme Court and other state institutions are, first, that they represent the will of the majority, and, second, that they maintain historical legal precedents. As anarchists, we don't believe that either of these justifications is as important as people's own judgments about what contributes to their personal well-being. But it is noteworthy that, in striking down Roe v. Wade, the majority of the Supreme Court is neither enforcing the will of the majority nor maintaining historical legal precedents—certainly not precedents that have prevailed for the vast majority of our lives. Rather, the Supreme Court is implementing a decades-old program propelled by the intensity and defiance of far-right anti-choice activists—who used assassinations and bombings, among other tactics, to build a pressure campaign comprised of many interlocking fronts.
The far right are also advocates of social change—but towards a more repressive, authoritarian, sexist, racist, and homophobic society. Where anarchist direct action generally targets the most powerful and privileged, the far right pursue policies that generally target the desperate and downtrodden. Where anarchists seek to decentralize power and access to resources, the far right seeks to use the state to preserve disparities. It remains to be seen how well doubling down on state violence as the chief means of enacting their program will work out for them in an era when faith in the state itself is eroding across the entire political spectrum.
This struggle is not really about the Constitution or the number of judges on Supreme Court. No cabal of nine people deserves to wield sovereignty over the most intimate aspects of our lives, and adding two Democrats to the court wouldn't change that. Likewise, we shouldn't tie the hands of future rebels by focusing too much on the fact that the Supreme Court is not implementing the will of the majority in this case—the issue, rather, is that they are not entitled to rule us in the first place.
The Supreme Court decision is not a matter of interpreting law; it is an act of war. Most of the players on all sides understand this as a power struggle over the bodily autonomy of those who can give birth, and are using whatever tools and reasoning are available to advance their respective agendas. Politicians are generally more cynical in the ways they relate to the state than those who explicitly reject the state itself.
All the more reason for us to come up with strategies that we can enact together, without depending on any politician or party.
Demonstrators participating in International Women's Day in Mexico City on March 8, 2022.
Further Reading
- Hands Off—Resources supporting reproductive freedom
- Kavanaugh Shouldn't Be on the Supreme Court—Neither should anyone else


text: KBlocks is the classic falling blocks game. The idea is to stack the falling blocks to create horizontal lines without any gaps. When a line is completed it is removed, and more space is available in the play area. When there is not enough space for blocks to fall, the game is over.


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UPDATE (3-6-10): Thanks to our friend Perez Hilton, who tweeted about our new video earlier today!
UPDATE 2 (3-6-10): "Lisztomania" is already picking up some impressive YouTube honors, including the #10 Top Favorited Music Video Today!
Hi There. I'm one of Phoenix's managers and just wanted to say how much we all loved the performance of Lisztomania. I wept within the first 30 seconds! It's absolutely stunning, the arrangement is fantastic and the singing is just incredible.
The band and I were absolutely blown away - WOW!!!!
It's an absolutely astonishing version and definitely my favourite "remix" of any of their songs. Please give the chorus our best wishes and sincere thanks.
Simon White
(Coalition Management)
The band has since gone on to post the kids' version on their webpage! So BIG congrats to the kiddos!!


text:
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text:
Tight coed Carolina Sweets primps in front of the mirror, feeling up her tits and kissing her reflection as she pretends she's speaking to a guy. Her stepbrother Rion King spies her mid-kiss and decides that this is his chance to make a move on his hot stepsister. He suggests that the way to a man's heart is through a blowjob, and that she should practice sucking dick. She tries it out on a dildo with Rion giving advice. Next Rion coaxes Carolina to flash her tits and pussy. His next trick is to get her to try her skills on him so that he can give her a real critique. She does such a good job that Rion explodes in her mouth so that Carolina can swallow every last drop. She may think that's the end of her lessons, but Rion has other things in mind. When he comes into her room with a dildo and offers to show her how to ride a dick, she eventually agrees.Even though Carolina starts out going to town on her freshly shaved pussy with the dildo, Rion wants something a little more personal. Pulling her forward on the bed, he pushes deep into her greedy little twat and starts pounding away. She takes a doggy style pussy pounding next before climbing on top of Rion's dick for a real stiffie ride that leaves her totally sated. Getting on her knees so that she can rub her stepbrother off, Carolina smiles with bliss as she takes a second mouthful of hot jizz.
I Can Show You How – S5:E2
Date: December 8, 2021
Carolina Sweets


text:
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Frigidaire Dehumidifier Reviews
by Dehumidifier
Shown below is the summary of the Frigidaire 70 pint Dehumidifier FAD704DWD features:
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by Dehumidifier
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by Dehumidifier
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