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Martha Sloan Receives Distinguished Service Award
By John Gagnon | Published
Martha Sloan, professor and associate chair of the electrical and computer engineering department, has received Michigan Technological University's 2012 Distinguished Service Award.
She has been at Michigan Tech since 1969.
Sloan was cited for service and leadership in the University Senate, her department, the College of Engineering and, overall, the University.
Colleagues single her out for bringing international stature to Michigan Tech via work in the Institute of Electrical and Electronics Engineers (IEEE), where she served as president, the first woman to do so. "She represents Michigan Tech to the world," says Associate Professor Mark Johnson, of the School of Technology.
As well, Sloan was saluted for mentoring female faculty and students. She evidenced "undying support and encouragement of mentoring before it was vogue," according to Professor Dana Johnson, of the School of Business and Economics. She says that Sloan is selfless and dedicated to "furthering careers other than her own."
Mark Johnson adds, "I don't think she realizes what an impact she has on so many faculty because she sincerely wants everyone to excel and do well."
Sloan has many professional affiliations, and she is a member of Tech's Women in Engineering program; a founding member of the IEEE Women in Engineering Affinity Group, the first student chapter in the nation; a founding member of WISE (Women in Science and Engineering), which aims to increase the number of women faculty in the science, technology, engineering and math (STEM) disciplines at Michigan Tech; and chair of the ECE Promotion and Tenure Committee. Beyond her official duties, she hosts get-acquainted socials at her home.
Professor Pushpalatha Murthy, chemistry, sums up Sloan's character: "principled, bold and persistent." Her mentoring, she adds, has been a source of "unflagging" support for women faculty and "unflinching advocacy of women at all levels." Murthy says Sloan's work is marked by "compassion, understanding and zest for life."
Sloan's reach has extended beyond her discipline. People from six departments and two schools endorsed her nomination for this award. Computer science professor Linda Ott says Sloan was instrumental in establishing the computer science program at Michigan Tech.
Professor Emerita Janice Glime, of the biological sciences department, addressed Sloan's service on the University Senate, where she gave a voice for faculty and staff in University governance. Glime says Sloan builds consensus and is a calming presence in discussion and dialogue. "She has gained the trust and respect of faculty and has a reputation for being supportive, not just sympathetic." She provides a service to which all faculty and staff should aspire, Glime says: "thorough, compassionate, reasoned, nonconfrontational, timely, and innovative." Her Senate duties have involved her as a sounding board for issues of "diversity, inequity and academic integrity."
Faith Morrison, an associate professor of chemical engineering, describes Sloan as "a world-renowned faculty member" who provides mentoring, leadership and a voice to women faculty, researchers, and graduate students in STEM fields. Her service and leadership, Morrison adds, have been "essential and long-standing." Because of her, Morrison adds, the presence of female faculty in the College of Engineering has "grown and flourished."
She concludes, "For the entire 22 years of my tenure at Michigan Tech, Martha Sloan has never shied away from a colleague in need."
Michigan Technological University is a public research university, home to more than 7,000 students from 54 countries. Founded in 1885, the University offers more than 120 undergraduate and graduate degree programs in science and technology, engineering, forestry, business and economics, health professions, humanities, mathematics, and social sciences. Our campus in Michigan's Upper Peninsula overlooks the Keweenaw Waterway and is just a few miles from Lake Superior.

subset: commoncrawl


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October 2013 issue on newsstands now
For our October issue we wanted to challenge you to unlearn, or forget what you know about progression in the standard sense. In it we ask you rethink progression, tricks, contests, and spots. Nicolas Müller, Forest Bailey, Lucas Debari, Jake Blauvelt, Jess Kimura, and Louif Paradis all weigh in on the topic and where they see snowboarding going in the future. On the travel side, Forest Bailey, Keegan Valaika, and Alex Stathis head to Estonia, as do Eero Ettala, Heikki Sorsa, and Lauri Heiskari in this two part feature about how Google led each of them to this Eastern European spot. You'll also find a feature interview with Scott Stevens and a Pro Spotlight with Austin Smith, two riders who are challenging the status quo in their own way. And be sure to check out our 2014 outerwear guide that focuses on pants and jackets with the best fit and function.
Pick it up now, or if you like things coming to you click HERE and subscribe!
Stay tuned for the full Mammoth Park Sessions edit coming soon.


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Avalon Theatre
5612 Connecticut Avenue NW,
14 people favorited this theater
The Avalon Theatre is Washington's oldest surviving movie house and for decades has been one of its best. The theatres opened around Christmas 1922 as the Chevy Chase Theatre, designed in the Classical Revival style by the local architectural firm of Frank Upman and Percy C. Adams. The theatre opened with more than 1,200 seats on one floor, and had a Robert Morton pipe organ. In July 1926, local theater operator Harry Crandall partnered with Philadelphia's Stanley Company to purchase the theatre. In 1929, the theatre became part of Stanley Warner, was renamed Avalon Theatre, and was wired for sound movies. The first 'talkie' to be shown was George Bancroft in "The Wolf of Wall Street".
In 1968, the Pedas Brothers purchased the Avalon Theatre and operated it as part of their Circle Theatre chain. A former ballet school upstairs in the building was turned into a 200 seat second auditorium, the Avalon 2, and opened January 26, 1971. During a 1985 renovation, Diana Westring painted a 20 by 30 foot mural for the central dome of the main downstairs auditorium. This mural features the god Mercury casting a reel of film across the sky to a cherub. From the 1980's the main downstairs theatre had 665 seats.
The Avalon Theatre's operation changed in late-1987 as Circle Theatres was sold to Cineplex Odeon. Because in the same year Cineplex Odeon opened in northwestern Washington D.C. a luxury multiplex for mainstream movies, the 6-screen Wisconsin Avenue Cinemas (which closed 2006), the Avalon Theatre switched to showing arthouse films. In 1996, the theatre was sold to a private landlord. Theatre operation changed in 1998 as Cineplex Odeon merged with Loews.
Loews Cineplex closed the theatre in March 2001 during its bankruptcy reorganization. Projection and sound equipment, movie screen and seats were removed by Loews, over the objection of the owner. Local citizens led by retired librarian Bob Zich organized to save the Avalon Theatre for movies, fearing it might instead become a retail store. They petitioned, fundraised, and organized a nonprofit organization, the Avalon Theatre Project, which took over the lease.
GTM Architects donated its architectural services to restore the theatre's facade and lobby. Some of the facade had been covered over. The historic marquee was discovered hidden under a modernization. Based on historic photographs and documentations, new windows, doors, and ticket booths were installed to resemble their predecessors. The lobby reemerged with beautiful Neo-Classic style as pilasters and moldings were replaced, the terrazzo floor was repaired, and period light fixtures were installed. The main auditorium's much beloved ceiling mural was restored (and restored again in 2010). The Avalon Theatre reopened April 22, 2003, once again showing movies! In 2006, the nonprofit organization purchased the Avalon Theatre, securing its future.
Since the 2003 reopening, the historic main theatre, Avalon 1, has 428 luxury seats and a very large movie screen that is 41 feet wide and 19 feet tall. The intimate upstairs theatre, Avalon 2, has 165 luxury seats and a screen that is 20 feet wide and 9 feet tall. Both auditoriums have digital surround sound. In Avalon 1, a curtain for the screen was installed, but use has been discontinued since the mechanism broke in 2004.
The Avalon Theatre has been on the DC Inventory of Historic Sites since the mid-1990's, legally protecting the theatre's exterior from being altered, though changes can be made to its interior. With photos of the restored lobby and the auditorium and its ceiling mural, the Avalon Theatre is depicted in the 2004 book "Cinema Treasures, A New Look at Classic Movie Theaters".
In 2013, an elevator to the upstairs auditorium and handicapped accessible restrooms were built.
Recent comments (view all 65 comments)
the train wreck scene in 'Super 8' sounded amazing on the Avalon's soundsystem – now if that had been 7.1 lossless digital sound it would have torn a hole in the walls
I saw HUGO in marvelous 2D and could not see why it was even in 3D. Only 2 scenes in the whole movie that I saw would have needed to be seen in 3D if at all. 3D movies are so overrated. I am glad that my local twin does not have 3d capability. I remember 3D in the 50's and 70's when you didn't have to pay extra. What a ripoff.
Enjoyed the new "The Girl with the Dragon Tattoo" at the Avalon on Wednesday. The surround system is excellent! Was the Swedish version of the movie shown here?
as I recall I think the Swedish version only played at E Street, I could be wrong though. Fincher's version though really has a great 5.1 soundmix and the 5K photography transferred to 35mm looked equally impressive. Interesting to note that the presentation of Aki Kaurismaki's 'Le Havre' (one of favorite films of this year) is digital – which is odd since E Street's projected 35mm, I'd be very curious to compare the two since the film in 'film form' has striking bold 'technicolor' look to it.
holy batman! The presentation of 'The Dark Knight Rises' really demonstrated the loudness levels the speakers could handle here at the Avalon – even though the Dolby Digital 5.1 is not lossless audio when compared to sound from digital projection – the bass was powerful and relentless.
on April 28th, the Avalon Double Anniversary Celebration is occurring with the screening of 'Side by Side' followed by a post film Q&A with the Washington Post's Ann Hornaday (and others) to support the theaters transition to digital projection.
saw 'Renoir' on screen 1 last night via the new Christie DLP digital projector and it both looked and sounded fantastic. Great brightness, color and the lossless audio complimented and brought out the best of what digital projection can do with a film that is actually shot in 35mm. Technical note: screen one's projector is upgradable to playback 4K DCP's and supposedly set up to also feature 7.1 audio (although I wasn't able to hear 'Star Trek: Into Darkness' which did play on screen 1, but was bumped to screen 2 for this week). Screen 2 projector is also a Christie projector; a Solaria One to be exact.
from Avalon email yesterday- On June 24th, the Avalon will begin the project to install elevator access to Avalon 2 as the final project funded by the Avalon Legacy Campaign. In addition, the downstairs and upstairs lobby areas of theater 2 will be renovated, and new, fully accessible bathrooms will replace the existing restrooms.
was at Thursday's screening of the new Kevin Spacey documentary film with him in attendance and during the Q&A the curtains were used to conceal the screen – with light streaming up, the redness of the curtains was just beautiful – wish I had gotten a picture of that.
not real recent comment but I have say, 'Gone Girl's immersive 7.1 surround soundmix really showed off auditorium 1's sound system to fantastic effect.
My fingers are crossed that the acclaimed Russian film 'Leviathan' which is opening later in the month will be shown on screen 1, since Sony is releasing the DCP's of this in 4K.
Just login to your account and subscribe to this theater


text: The International Labour Organization (ILO) is a United Nations agency dealing with labour issues. The main aims of the ILO are to promote rights at work, encourage decent employment opportunities, enhance social protection and strengthen dialogue on work-related issues. The ILO was founded in 1919, in the wake of a destructive war, to pursue a vision based on the premise that universal, lasting peace can be established only if it is based on social justice. The ILO became the first specialized agency of the UN in 1946.


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Find hotels in Mineral using the list and search tools below. Search for cheap and discounted hotel and motel rates in or close to Mineral, VA for your personal leisure or group travel. We show the best Mineral Virginia hotel/motel rooms. Review the Mineral hotel list below to find the perfect lodging. We also have a map of the Mineral hotels. Booking 5+ Rooms? Find Mineral Group Hotel Deals
The Mineral center point is approximately 6 miles southwest of North Anna Power Station and 20 miles northwest of Scotchtown.
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I would say that I got hit today, but saying "I got nudged" is much more accurate and sounds a lot less alarming than "I got hit." I'm fine, and better yet, so is the bike, but I'm thinking it's time to invest in a helmet cam for good measure.
To elaborate on what happened: I was in a sharrowed right lane in a residential area, near the start of my commute. The speed limit is 30 mph, and I was maybe going 20 or so. A guy in the left lane, who from here on out shall be referred to as Mr. Asswagon, came over into my lane and tapped, or nudged me. Thankfully my bike is pretty nimble and I reacted by jerking away pretty quickly, reaching out and hitting his car with my fist whilst yelling "HEY!" as loud as I could. Looking in the window, both driver and passenger were pointing and laughing at me. Then they sped off, while simultaneously giving me the finger.
But why?
I'm inclined to think it had something to do with another rider. I was passed by a fully kitted out carbon fiber racer guy running all the stop signs and cutting off cars, and generally being a dick. Perhaps Mr. Asswagon decided to "get back" at the cycling community by taking out his anger on another cyclist. Since, you know, we're all the same.
Or, perhaps he thought he knew me, and thought I was someone else. I wear a pretty unique commuting uniform though, and also ride a fairly unique commuter. But it's possible.
Or, Mr. Asswagon decided he wanted to harass the girl cycling to work who was obeying all rules of the road. Sorry I wasn't keeping up with the 30 mph speed limit.
Whether you're on a bike or in a car, don't be dick.
Other than that, my commute was lovely.
2012 Mileage Count: 91


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World on a 24-Hour M&A Binge
The M&A groundhog poked his head out of his hole and appears to have missed its shadow: A spring thaw in the M&A could be coming early.
In less than 24 hours about $45 billion in deals were inked this week, renewing talk that the M&A market is ready to warm up.
Thanks to Dell Inc.'s $24.4 billion buyout and Liberty Global's $16 billion deal for Virgin Media Inc. deal volume has already reached $69.4 billion during the first six days of February. It's on pace for its best month since July 2008, according to data provider Dealogic. Of course, it should be pointed out that February follows a January that ranked among the worst for M&A in the past 12 months.
One of the biggest beneficiaries of this week's spike in deal making viewed the activity as a positive sign, but stopped short of saying a boom is on.
J.P. Morgan worked as the lead negotiator for Dell's independent board committee as it held talks with founder Michael Dell and Silver Lake. And it was teamed with Goldman Sachs Group on advising Virgin Media on its deal.
Chris Ventresca, co-head of J.P. Morgan's North American M&A, said volumes seen this week will help client confidence, particularly because there are several types of deals with different reasons for selling. That means the week's bullishness could spread to a broader base of clients.


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Express. Home of the Daily and Sunday Express.
Nancy reveal Newcastle Haidara deal
Nancy have confirmed they have agreed a deal with Newcastle for defender Massadio Haidara.
The 20-year-old full back has made 17 appearances in Ligue 1 this season and will now head to the north east for a medical.
"After 46 games and two-and-a-half years in the Nancy shirt, Massadio Haidara is leaving his former club for Newcastle United, currently 16th in the Premier League," a statement on the club's website read. "The two clubs have reached an agreement and will finalise the transfer on Tuesday."


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Express. Home of the Daily and Sunday Express.
Modric has his price - Bond
Tottenham could sell Luka Modric if the club's valuation of him is met, assistant manager Kevin Bond admitted on Monday.
Chelsea are weighing up whether to make a third bid for Spurs playmaker Modric, having already seen two offers rejected this summer.
Tottenham chairman Daniel Levy has insisted the 25-year-old is not for sale "at any price" but that was contradicted on Monday morning by Bond, who told talkSPORT: "We desperately don't want to lose him, but everyone has a price."
He added: "If somebody came along and the money turns your head and he did go - although the chairman is adamant he doesn't want to sell him - then we'd have to get on with it."
That price is likely to be well in excess of the reported £22million and £27million reportedly offered by Chelsea in recent weeks. Spurs boss Harry Redknapp branded the Blues' first bid as "ridiculous" and also gave short shrift to the second.
Modric still has five years remaining on the long-term contract he signed last summer. However, the Croatia star wants to leave, reportedly handing in a transfer request after accusing Levy of reneging on a gentleman's agreement to sell him this summer if a club like Chelsea made a bid.
Bond added: "Transfers are part and parcel of the game but you don't want to lose your best players and he certainly is one of our best players."
Bond said "Harry would have to deal elsewhere in market" if Modric was sold but Redknapp himself has admitted Tottenham would struggle to compete for top players because they could not match the salaries on offer at the likes of Manchester City.
"Imagine what their wages will be," he told several newspapers. "It's incredible. They are all on 100 grand a week-plus. Wages have gone crazy. It's gone beyond belief and made it really hard to compete for top players. If you want to be a top-four side, it's difficult because we can't pay those kind of wages.
"Our chairman Daniel Levy runs the club well, we get 36,000 fans, you're not going to put the club in hock. How do you compete with the Man Citys of this world?"


text:
Song List
Show Review
Artist Bio
"Why does every girl song have to be some big depressing mess?" It's a humorous question posed by Minneapolis MC Sims, and probably helped provide some of the inspiration for his tune "LMG"....
Baeble may have invaded Texas for SXSW, but Sims seized the flight-home playlists of those fortunate enough to catch his performance at the Phoenix....
SIMS' Doomtree sanctioned album Bad Time Zoo is a favorite 'round the office, and with the release of a new video for "One Dimensional Man", the Minnesota based MC is nudging his way in even closer to our hearts....
About this Video
© 2019 Baeble Media. All rights reserved.


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This year's New York Comic Con will kick off next week at the Javits Center on Wednesday, October 10, with the ICv2 Conference on Comics and Digital II, a gathering of top executives in the comics and pop culture industries. The conference will feature ICv2 CEO Milton Griepp's annual White Paper on comics and graphic novel sales along with a slate of panels that will examine the current state of comics publishing, the impact of technology on it and broad trends in the overall pop culture marketplace.
Organized by the pop culture trade news site ICv2.com and cosponsored by Publishers Weekly, this year's ICv2 Conference on Comics and Digital II is a one-day comics and pop culture symposium, held from 1 p.m. to 5 p.m. ICv2 organized symposiums generally attract 200 or so of the top executives in comics publishing and related industries, and in a phone conversation, Griepp said registration for the event was "good" and that he expected the "usual" level of attendance. The conference is a separate ticket ($199) from New York Comic Con, and there are discounts ($99) available for creators, retailers, librarians, and educators.
Griepp also said that his much anticipated annual White Paper on the comics marketplace, will outline the overall strength and good news coming from the comics shops market, which is reporting increased sales for periodicals and book format comics. However, he said, "while the strength in the comics shop market is well known, the surprise is the weakness in the bookstore market. The numbers are tough because of the Borders liquidation, and the trends in the bookstore market are daunting--its tough to replace 600 stores." But he added that are "some bright spots, particularly in kids' comics."
Panels include Kids: The Future of Everything, on the growth in kids' comics publishing featuring Carol Burrell, editorial director of Lerner Graphic Universe, Francois Mouly, Toon Books publisher, Jim Salicrup, editor-in-chief of Papercutz, and Ed Masessa of Scholastic Book Fairs. Griepp noted that Mouly will speak on the growth of comics aimed at "very young kids," and he also singled out the growth of foreign licensing of kids' comics at Lerner, and kids' comics publisher Papercutz, "which gets incredible numbers" on licensed comics properties like Geronimo Stilton and Lego/Ninjago comics. Griepp also pointed to Scholastic book fairs which puts on more than 120,000 book fairs a year; this should be the most exciting panel, its all about creating new comics readers at an early age. Publishing for young kids is a huge opportunity."
Other panels include Comics—The New Medium, a look at how digital technology is changing, "what we think is a comic book," Griepp said. Moderated by Publishers Weekly's graphic novel reviews editor, Heidi MacDonald, the panel features Watchmen artist Dave Gibbons, a principal in Madefire, a new interactive digital comics publishing venture; John Roberts, cofounder of industry leading digital comics vendor Comixology, and Hank Kanalz, senior v-p of digital at DC Entertainment. In addition, the panel Comics—Transforming the Business Model, will include Marvel president and publisher Dan Buckley, Viz Media executive v-p Alvin Lu, and Iverse CEO Michael Murphy, among others, talking about "two trends," Griepp said, "the growth of digital: Comixology sold more than $70 million in new dollars this year—that's pretty incredible—and transmedia, the use of comics in other media, is bigger than ever."
There's also a "Fireside" conversation between Chris Harwick, founder of Nerdist Industries, and Fred Seibert, founder of animation house Frederator Studios, producer of the popular Adventure Time cartoon show, also on the rise of Transmedia licensing and the convergence of related pop culture media. Griepp even pointed to another sign of change: the cocktail party that traditionally ends the conference will be cosponsored this year by Samsung and Nerdist Industries, "in years past we've always been sponsored by a printing company, now we've got Samsung, a digital sponsor. It's a sign of change."
"I've been in this business for 40 years and I've seen a lot," Griepp said, "but what's happening now is the most radical change I've ever seen. There are fundamental changes that go to the core of what a comic book is and how you make money on them. It's a really exciting time."


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Starting in August 2012, we are spending six months doing infrastructure improvements, including project documentation, websites (wiki, forum, blog), and the GMAT build system. This page holds some documentation related to this effort.
The infrastructure improvement project will encompass the following items:
- Web-based project infrastructure
- Wiki
- Forum
- Issue tracker
- Blog
- Static documentation
- Build system
- CMMI-required documentation
- Developer documentation
Current State
The current project infrastructure has the following major issues:
- Web-based project infrastructure:
- Information is scattered, non-cohesive, and hard to find.
- Some tools are hosted in unacceptable places (wiki/forum: personal server; JIRA: project-funded third-party server).
- The wiki software is out of date and hard to use, and cannot be easily upgraded.
- Project members are responsible for system administration for various systems.
- Some infrastructure items aren't being used appropriately (blog, mailing lists).
- Some information that could be public is located internally (nightly build files, some documentation, test system, test results, etc.)
- Build system:
- The build system is hard to use, non-cohesive, non-standard, and partially undocumented.
- Custom automated build and test processes are fragile and require frequent troubleshooting.
- Test processes don't use an official daily build package as input.
- CMMI documentation:
- Documentation required by GPR 7150.2 is incomplete.
- Existing documentation is disorganized and non-cohesive.
- Developer documentation:
Getting started as a GMAT contributor is hard due to lack of "developer's handbook"-type documentation.
The infrastructure improvements should meet the following guiding principles:
- Information should be organized, easy to find, and inviting to visitors.
- Information should be easy to maintain by project contributors.
- Information should be public unless required to be private.
- Tools should encourage publicly-visible communication.
- Tools should offer straightforward migration of data from old tools.
- Documentation and processes should meet requirements of GPR 7150.2.
- Where practical, tools should be free and open-source.
- Selected tools should be established and widely used in the industry.
- Automation tools should be easy to use by external users with a minimum of supporting documentation.
- Web-based project infrastructure:
- The Atlassian JIRA issue tracking system must be supported throughout the R2013a release cycle.
- The infrastructure must support import and export of existing JIRA data.
- The Apache Subversion issue tracking system provided by SourceForge must be supported throughout the R2013a release cycle.
- The Apache Subversion issue tracking system provided by GSFC Code 585 must be supported throughout the R2013a release cycle.
- The infrastructure tools must be maintained by a party external to the core GMAT project team.
- Build system:
- The build system shall use free, open-source tools.
- The build system shall support building the GMAT application for the following architectures:
- x86
- x86-64
- The build system shall support building the GMAT application in the following configurations:
- Console
- The build system shall support building the GMAT application on the following platforms:
- Windows 7
- Apple-supported versions of Mac OS X
- An active distribution of GNU/Linux
- The build system shall be structured to allow for use by automated processes directly after initial checkout from the code repositories.
- CMMI documentation:
- Developer documentation:
- Project Infrastructure
- Stand up a sandbox server. The server should be online, accessible, and configured with local installations of the Atlassian tools we're currently testing through Atlassian OnDemand. [9/21]
- Build System (all by 10/18)
- Research existing build system
- Choose a new tool
- Apply new tool to 32-bit GMAT on Windows 7 64-bit.
- Apply new tool to 64-bit GMAT on Windows 7 64-bit, a current version of Mac OS X, and a modern distribution of Linux 64-bit.
- Apply new tool to 32-bit GMAT on Mac OS X 10.6 (Snow Leopard) 64-bit.
- Apply new tool to 32-bit GMAT on a modern distribution of Linux 32-bit.
- Finalize user documentation:
- How to use build scripts to build GMAT
- How to interact with the build scripts as a GMAT developer
- How to work with the build scripts as a build system maintainer
We've gotten legal approval to choose our own host, as long as they meet certain Terms of Service requirements. No commercial hosting provider we've looked at has an acceptable TOS by default, but Joel has been contacting providers to gauge interest in creating a custom TOS. So far the following hosts have been contacted:
- 1&1
- Amazon Web Services
- Arvixe - no
- CoolHandle
- GoDaddy
- DotBlock - possible
- DreamHost - no
- GreenGeeks
- HostGator
- Hosting.com - possible
- InMotion Hosting
- Jumpline
- LiquidWeb - possible
- Linode
- Lunarpages
- MaximumASP - possible
- MyHosting.com
- NameCheap
- Network Solutions
- Rackspace - no
- VPSDepot
- WestHost


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HOUSTON — Bob McNair wanted a hockey team, but the NHL, which preferred deserts to derricks, said no. So he ponied up $700 million for an NFL expansion franchise in 1999 and got Lamar Hunt's permission to use the name of the Dallas AFL team that had moved to Kansas City in 1963.
It's been a decade since the Texans first donned their deep steel blue, battle red, and liberty white, but at the moment they're at the top of the league, their return ticket to the playoffs already secured.
"They expected to get in this position," said coach Gary Kubiak, whose 11-1 squad takes on the Patriots Monday night at Gillette Stadium in the season's biggest wrangle. "They're playing in big game after big game. That's why you do it."
Whether the Texans can clinch the top seed and home advantage throughout the playoffs is less important to them than the fact that they've qualified for the postseason twice in a row. That may be taken for granted in Foxborough, but it's a major milestone for a franchise that didn't have a winning season until 2009.
"You could just see things come together, especially after last season when everything went through our fingers," said receiver Andre Johnson, whose tenure with the club goes back to 2003. "We found out a lot about our team and the players we had around here. I think that's what made every player so excited about this upcoming season. We knew we had a good football team and we knew if we went out and played the way we were capable of playing we could be successful."
The trick is to find a way to get to January perennially, as the Patriots have done. You can't win it if you're not in it.
"I think everybody would like to do what they've done over a long period of time," observed Kubiak.
The key is maintaining stability and continuity. When Bob Kraft bought the Patriots in 1994 the franchise had had three owners, four coaches, and five quarterbacks in six years. Once the revolving door stopped with the arrival of Bill Belichick and Tom Brady, the winning started.
The Texans went seven years without a winning season before going 9-7 in 2009, and didn't make the playoffs until 2011, but they've laid a foundation through shrewd drafting and smart trades and free agent signings and have established an identity.
"We play till the whistle, we play hard, we play aggressively, we play fast," said general manager Rick Smith, who came here from Denver with Kubiak six years ago.
In the franchise's early days, the Texans were content to make opponents play for 60 minutes. But after the grim 2-14 campaign in 2005, their fans were running out of patience. The breaking point came after Houston, which had won the "Bush Bowl" by losing to the 49ers and earning the top overall pick, passed on both Southern Cal running back Reggie Bush and Texas quarterback Vince Young, the hometown hero who'd led the Longhorns to the national title over USC. When the Texans chose defensive end Mario Williams instead, the fans at the stadium selection party booed.
The citizenry, spoiled by three dozen years of the Oilers and seven straight playoff appearances had forgotten (or never knew) about the lengthy trial-and-error process of building a competitive franchise. The owner, who'd made his money in energy, favored patience and prudence. "It begins and ends with Bob McNair," said Smith, who was brought in when Charley Casserly decamped shortly after the 2006 draft. "The continuity piece is significant."
The philosophy was to take the long view, drafting elite players who could be career starters and augmenting them with proven veterans from other teams and undrafted free agents who fit the Texans' profile.
"We're comprised of tough, smart, disciplined players who are passionate about football and enjoy playing with each other and for each other," said Smith, who'd been the professional player evaluator with the Broncos. "Gary and the coaching staff have done a nice job of employing schemes and systems that are successful in this league. What we've had to do on the personnel side is to make sure that there's some synergy between what they're looking for and the players that we're looking for and selecting. I think we've got a good mix there."
The first major move they made, and arguably the riskiest, was jettisoning David Carr, the franchise's first draft pick, and bringing in Matt Schaub, who'd started only two games in three seasons with the Falcons.
"One of the most important things that we were looking for at the time was leadership," said Smith. "There was a limited amount of data in terms of actual film evaluation because he had not played a great deal, but as we did our research, you go back and you rely on your college evaluations and what you saw from the preseason and the limited opportunities that he had. The thing that kept coming back to us over and over again was how this guy connected with his teammates, how much of a leader he was."
The Texans finally went 8-8 in 2007 and were in the black for the first time two years later. But after the startling 2010 collapse, when Houston went into the bye week at 4-2 and finished 6-10, the front office realized that reconstruction was unavoidable.
"We sat down and we took a hard look," said Smith. "In some respects we had been on schedule, then we took a step backward and we took a critical look at why we did that. We saw that in a lot of ways we were still on schedule, but we had to fix a major problem and that was on the defensive side."
The Texans had harvested a terrific draft class in 2009 with linebackers Brian Cushing and Connor Barwin, cornerback Brice McCain, and safety Glover Quin, all of whom went on to start, and added cornerback Kareem Jackson and linebacker Darryl Sharpton the next year. What they needed was teaching and development. So they brought in Wade Phillips, who'd been dismissed as head coach by the Cowboys, but who'd revived defensive units in Denver, Buffalo, Atlanta, and San Diego.
"One of the first things we did, Wade, Gary and I sat down and we turned the tape on and Wade began to describe the kind of players that he was looking for," said Smith, who'd been a defensive assistant in Denver and earned two Super Bowl rings. "One of Wade's biggest attributes is that he identifies what a player can do effectively and he will put that player in a position to be successful based on what he can do."
In one season the Houston defense went from 30th in the league to second. Last year, the Texans drafted J.J. Watt, the titanic defensive end from Wisconsin who has a chance to be the league's Most Valuable Player this year and spent more draft picks on cornerbacks Brandon Harris and Roc Carmichael, linebacker Brooks Reed, and safety Shiloh Keo.
On offense a solid line anchored by Duane Brown, Wade Smith, and Chris Myers serves and protects an imposing troika of Schaub, Johnson, and Arian Foster, a durable thumper back out of Tennessee whom nobody else would take a chance on but who has posted three 1,000-yard seasons.
"I don't know that anybody thought that he would turn into the player that he's become," mused Smith, "but it's certainly nice when it happens that way."
So the victories have followed, a franchise-record 11 and six in a row since the October home loss to Green Bay. That would have been a wildcatter's fantasy a decade ago, when six Ws were more than a season's worth.
"Guys ask me about how things used to be around here," said Johnson, the only Texan who predates 2006. "I give them some of those stories and they laugh and shake their head. I just tell them, enjoy this part of it because the times that I went through, that's something that you don't want to experience."John Powers can be reached at firstname.lastname@example.com.


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3 Steps to Avoiding Late Payments
Late-paying customers can be the bane of business owners. Attorney Nina Kaufman suggests three effective ways for getting customers to pay a timely and efficient way:
1. Bill regularly and timely. Don't be late sending invoices. Stay top-of-mind.
2. Follow up on invoices sooner rather than later. It's OK to follow up within a week or two of sending an invoice, Kaufman says.
3. Have a written agreement that includes collection terms. If a customer doesn't pay, you want to make sure you have legal grounds to collect the money that you're owed.


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Frank Ocean is set to take a victory lap at this year's Grammys. He's up for six awards for his album Channel Orange, including best new artist, and he'll be performing as well. But just a few months ago, Frank Ocean's music wasn't the story — his sexuality was.
To review: After a listening party for Channel Orange last July, a BBC journalist pointed out that a few of the love songs referenced a "him" where you might have expected to hear "her."
All of a sudden it seemed the entire Internet was asking one question: Is Frank Ocean gay?
Two days later, on July 4, he wrote about the matter on Tumblr. His now famous letter was poignant, especially one crucial line: "4 Summers ago, I met somebody, I was 19 years old. He was too. We spent that summer, and the summer after, together."
It was a big announcement, but it wasn't definitive. Karen Tongson, a gender studies professor at the University of Southern California, says Ocean's statement represents a new normal: For him, and many others of his generation, coming out is different than it used to be.
"We're used to a very mainstream model of discussing sexuality — it's about being in or out of the closet, it's about being born this way or not — and not understanding that there is a tremendous amount of transformation that happens throughout the course of people's lives," Tongson says.
"[Ocean's approach is] not about losing labels altogether," she adds. "It's about the proliferation of different ways of naming your desire. What he's done, and the music that he makes, is really resonant with that."
If Frank Ocean's story was a big deal for the LGBTQ community, it was even bigger for hip-hop — a genre that, at times, seems to have homophobia in it's DNA.
It was there at the start — in the 1979 classic "Rapper's Delight," in which Superman is introduced as a sexual rival and then dismissed as a "fairy." Grandmaster Flash and the Furious Five's "The Message," one of rap's first prominent works of social commentary, used the word "fag." The Beastie Boys' 1986 debut Licensed to Ill would have been called Don't Be a Faggot if Columbia Records hadn't rejected that title.
In 2005, Kanye West told MTV, "Everyone in hip-hop discriminates against gay people." He clarified that the genre was not alone: "Not just hip-hop, but America just discriminates."
Frank Ocean's announcement was further complicated by the company he kept. Ocean is part of the rap collective Odd Future; after he wrote about his same-sex love, the leader of the group, Tyler, the Creator, tweeted his support. But that support was hard to square with Tyler's recent solo album, Goblin, because that album contains the word "faggot" more than 200 times. The Gay and Lesbian Alliance Against Defamation called the language on Goblin "frankly staggering."
Writer dream hampton wrote an open letter to Frank in response to his Tumblr post. She says hip-hop has always had layers of language, some of which conflict.
"In terms of Tyler's response, the first thing about it was that it was loving — and with hip-hop we're often trying to find the emotional tone buried beneath some very brutal language," hampton says. "That's been true of hip-hop for as long as I can remember. It's a part of the great ambivalence about it."
Some fans disagree with the "brutal" part. Michael Ruff and Deante Spillman — two teenage fans who support Frank Ocean and Tyler, the Creator — say that "faggot" and other charged words aren't always meant to insult and that sometimes they're just space-fillers.
"I don't think they sang it to be anti-gay. They just sing it because that's the words that fit they verse," Ruff says. "It just rhymes," says Spillman.
Tyler offered a different explanation in an interview published in NME: "I'm not homophobic. I just think 'faggot' hits and hurts people. It hits. And 'gay' just means you're stupid. I don't know, we don't think about it; we're just kids."
Despite prognostications about what Ocean could do for hip-hop, the fact still remains: Frank Ocean is a singer, not a rapper. And whatever barrier he's broken, there still has never been an out rapper who has experienced Ocean's level of success.
Gay rappers do exist — artists like New York's Le1f and Los Angeles' Deadlee have their own dedicated followings — but none has hit it big in the mainstream so far.
Some fans, like Janee Wall from Washington, D.C., say they wouldn't even buy a gay rapper's music "because you're supposed to be so hard, but you're so soft at the same time. I can't get with that."
Paul Terrance, another fan, agrees; for him, rap is about masculinity and toughness. "When you're a rapper, you gotta have street credibility," he says. "And when you see somebody being gay, you don't see them as being street or going hard, because they effeminate."
These fans say singers are given a license — with their personas, their sexuality — that rappers just aren't. And as striking as it might be, Frank Ocean's coming-out story hasn't changed that yet.
Now, a closer look at one of the artists Stephen just mentioned, Frank Ocean. He's up for six Grammy Awards, including Best New Artist. But just a few months ago, Frank Ocean's music wasn't the story; his sexuality was. NPR's Sam Sanders has this report. And please note, it contains strong language.
SAM SANDERS, BYLINE: On July 2nd, Frank Ocean was set to be the next big thing. He'd worked with Kanye West, Jay-Z, Beyonce. He made a mix tape that critics love. And his debut album was set to be released later that month. But after a listening party for the album, called "Channel Orange," a BBC journalist pointed out that a lot of the love songs in it said him when you would have expected to hear her.
FRANK OCEAN: (Singing) I can never make him love me, never make him love me...
SANDERS: People wanted to know, is Frank Ocean gay? Two days later, he wrote this on Tumblr: "4 summers ago, I met somebody, I was 19 years old. He was too. We spent that summer, and the summer after, together." This was a big deal. It could be the moment hip-hop needed for change. Hip-hop is a genre that seems to have homophobia in its DNA. It was there at the start - in the 1979 classic "Rapper's Delight."
SUGARHILL GANG: (Singing) ...called Superman. I said he's a fairy, I do suppose, flying through the air in pantyhose...
SANDERS: Grandmaster Flash did it too.
GRANDMASTER FLASH AND THE FURIOUS FIVE: (Singing) Now, your manhood is took, you're a Maytag, spend the next two years as an undercover fag, being used and abused...
SANDERS: The Beastie Boys wanted to name one of their albums "Don't Be A Faggot." Kanye West once told MTV everyone in hip-hop discriminates against gay people. He wasn't proud of that it, and he hoped that would change. Last year, it seemed Frank Ocean and his story would be part of that shift. Ocean is part of a rap collective called Odd Future. After he wrote about his same-sex love, the leader of the group, Tyler the Creator, tweeted his support. So did several other prominent rappers. But that support was hard to square with Tyler's solo album, because that album contains the word faggot - more than 200 times. Writer Dream Hampton says hip-hop has always had layers of language, some of which conflict.
DREAM HAMPTON: Well, in terms of Tyler's response, the first thing about it was that it was loving. And with hip-hop, we're often having to find the emotional tone buried beneath some really brutal language.
SANDERS: But for some fans, that brutal language - words like faggot and dyke - aren't brutal at all. Michael Ruff and Deante Spillman, two teenage fans who support Frank Ocean and Tyler the Creator, say many of these charged words aren't meant to insult.
MICHAEL RUFF: I don't think they sang it to be anti-gay. But I think they sang it because that's just the words that fit they verse.
SANDERS: It just rhymes.
DEANTE SPILLMAN: Yeah.
RUFF: Something that probably sound good. There's some that would sound good to their raps or something, that if somebody was like, oh, that was nice.
SANDERS: OK. Here's another big point about Frank Ocean's story. He's a singer, not a rapper. And whatever barrier he's broken, there still has been no out rapper to experience Ocean's level of success. Some fans say they wouldn't even buy a gay rapper's music, like Janee Wall, a Frank Ocean fan from Washington, D.C.
JANEE WALL: Because you're supposed to be so hard, but you're so soft at the same time. I can't get with that.
SANDERS: Paul Terrance, another fan, kind of agrees. For him, rap is about masculinity, toughness.
PAUL TERRANCE: When you're a rapper, you got to have, like, street credibility, I guess. When you portray somebody being gay, like, you don't see them as being, like, from the streets or, like, go hard because it's effeminate.
SANDERS: These fans told me that singers are given a license, with their personas, their sexuality, that rappers just aren't. And as striking as it might be, Frank Ocean's coming out story hasn't changed that yet. In fact, he has yet to actually come out. In his letter, Frank Ocean never said the word gay or bisexual. Karen Tongson, a gender studies professor at USC, points out he just spoke freely about loving a man.
KAREN TONGSON: It's less about codifying one's identity and making a definitive assertion about this is where I stand on this spectrum or this is where I am or this is who I am. That's something really characteristic of some very recent public coming outs, whether or not it's Queen Latifah at Long Beach Pride, even Jodie Foster's speech at the Golden Globes.
SANDERS: There's ambiguity around what Frank Ocean said, Tongson notes. But he did do one thing for sure - open up a conversation. It's one that Michael Ruff says could change things.
RUFF: I don't think rap is homophobic. I just think that rap is ignorant of the gay community. And I know, like, how they actually would be, rap has never actually gave it a chance.
SANDERS: You think it will change soon? Do you hope it'll change?
RUFF: I doubt it - not soon - but possibly.
SANDERS: Ruff says there is a chance for hip-hop and rap to finally make a place for more than one artist like Frank Ocean. Sam Sanders, NPR News.
OCEAN: (Singing) Lost in the heat of it all. Girl, you know you're lost...
SIMON: And this is WEEKEND EDITION from NPR News. I'm Scott Simon. Transcript provided by NPR, Copyright NPR.


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Erfwiki:Style Guide
We have to remember that any wiki (including Erfwiki) is a collaboration project. We must respect our fellow contributors and their points of view (even if we believe that they are wrong).
It would benefit Erfwiki if all contributors would agree on and commit to common style guidelines. This is by no means a final version - only a suggestion. If you believe that something should be changed, please start a discussion on the talk page.
General Guidelines
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Friday, July 31, 2009
Tetro (2009)
Coppola's Tetro is a film that seeps into and out of the viewer like moisture. Iridescent and pellucid, fragmentary and oblique, all at once, it feels like a living organism that is ferociously but quietly seething, like an animal recently injured. Coppola veils this dyspeptic, tempestuous undercurrent with a luscious layer of visual serenity. It is like squeezing and spreading sweet frosting over a rough, nutty and tart apple coffeecake. Most of the film takes place in the ambiguously defined "present," shot in an exquisitely sharp 2:35:1 with High Definition digital cameras employed by cinematographer Mihai Malaimare, Jr. to utter perfection. Few films shot in this format have so abundantly showcased the rationale for adopting the technology as Tetro, which creates nearly glittery palettes of richly-textured and -detailed tranquility. Coppola's Youth Without Youth was ponderous but inviting; cinematographically refined and polished, that picture was unfortunately too prepossessed with itself to completely, haphazardly present itself to the viewer the way two people first meet one another. Tetro is formal but with an unruly, brusque side, befitting its protagonist, the titular Tetro (a brooding, sullenly countenanced and erratically arbitrary yet entirely natural Vincent Gallo in one of the great performances of the decade); Coppola has resumed his dream to create bracing, personal art like a young, impulsive filmmaker with both everything and nothing to prove.
Coppola's Tetro is such an incredibly wounded film it could be just as ponderous and remote as Coppola's last film before it, but the director and screenwriter has allowed himself the room to navigate his personable tale of familial heartache and nearly-ensanguined tragedy. Periodically Coppola will intrude upon his own gloriously realized visage with pounding, startling excursions into the past, captured in comparatively grainy (shot on film), hand-held 1:85:1 color photography, looking like bumptious family video-camera shooting. These bubble up to the once-harmonious surface the way troubling, painful memories always do: the figures viewed as harmful, such as an imperious, egomaniacal and corrupt father figure (Klaus Maria Brandauer) are distorted, their faces always belying their spoken words. Vivid and eerily haunting, these episodic color sequences never disrupt Tetro's heedless momentum, and that has to do with Coppola's steady, almost omnipresent command—his Tetro feels like a film which, from the first frame onwards, is overlooked in its progression by its creator but never thwarted nor tripped up by ruinous excessive dabbling. That these episodes are also highly important in uncovering the shrouded truths of Tetro only increase their durability and import without ever diminishing the linear narrative's potency.
Everything about Tetro feels positively naïve in a most exuberantly beautiful way. Coppola has metamorphosed, it seems, and he follows through with the ostensible promise of his last film, which featured the word "Youth" not once but twice. Coppola's vernal sensibility is dazzlingly, deliciously refreshing. As too many truly young filmmakers exercise their craft under the umbrella of rampant, sometimes trendily poseur cynicism, Coppola at seventy years old is rediscovering youthfulness in its myriad sources of energy and genuineness. Tetro establishes that Coppola is not simply a votary—he has been quite truthful in his interviews: he has effectively gone back in time, and the results are exhilarating. Likewise, Coppola's insistence that he would think of Elia Kazan while shooting Tetro rings true as the film lingers within the mind. The performances seem to fit the black-and-white photography with a preternatural precision. Images of A Streetcar Named Desire, another classically-framed black-and-white drama with a nebulously humid and tropical environment (here Buenos Aires doubling for New Orleans), with characters revealing their true selves to the audience, one another and to themselves, flash as Tetro continues onward. Coppola nurtures these performances the way a gardener chaperons his beloved greenery. Coppola, it may be said, plays the sage father to the young performers, particularly the unknown Alden Ehrenreich as Bennie, whose limited on-screen dynamism may be chalked up to an inexperienced actor, or may be one of Coppola's ways to present the questioning character as a figure of comparative blankness. Since Bennie is the audience's surrogate—knowing as little about the enigmatic Tetro as the viewer—Coppola's drama begins with many a viewer perhaps holding onto Bennie the way a tired swimmer may grab a buoy in the ocean.
Quite gradually, however, Coppola and Gallo peel away the outer shell of Tetro, and this complex portrait is presented with an unapologetic, phlegmatic propinquity, displaying a fully formed being as a living, breathing perplexity. As the tale continues, it may be Tetro whose initially bizarre and perhaps outrageous behavior threatens to alienate some viewers, who is the more principled of the two brothers. Bennie's curiosity leads to breaking Tetro's trust—not an uncommon problem between family members, much less one in which the relationships are this strained. Tetro's live-in girlfriend, an angelically beautiful Argentinian named Miranda (a poignant Maribel Verdú), understands the titular figure in a way no other person on the world can. The back-story to their bond is afforded much needed time by Coppola and his legendary editing partner, Walter Murch, and so when that bond is tested by the imposition of Bennie, the breaking of Miranda's remarkable endurance in the face of Tetro's often overwhelming inability to display himself in all honesty to even her, much less to anyone else.
Coppola's indefatigable presence as an authentically Italian-American voice helps to shed light on the meanings of Tetro. Naturally, the picture is not "legitimately" autobiographical, but the truths the tale uncovers are so specific, they must at the very least touch a palpable chord with all who have felt the exhausting, desolating pain of a family compelled to lie to itself, or the ugliness of being hurt by those one loves. Like the adopted Tom Hagen in The Godfather: Part II, Bennie's near-idolization of Tetro only helps to make the bitter, salt-in-the-wounds lashing he receives from him sting all the more. ("Why do you hurt me, Michael?" Tom once asked.) Like a kaleidoscopic trip through Fellini's cinema, Tetro is at once burningly personal to its creator and doubtless deceptive in its myriad details. This mirrors the cryptic, only partially revelatory comments of the man behind the film. "Nothing in it happened, but it's all true," Coppola has said of his latest opus. As the picture mirrors known aspects of Coppola's life—his father, like Tetro's, was a musical composer, and he has said that he has had a somewhat tumultuous relationship with his brother—Tetro is his most nakedly, vulnerably personal film.
It is parlous to delve too deeply into Tetro's filmic treasures. This is finally the consummation of Coppola's marriage between art and commercial demands, but now Coppola's artistically-minded focus—always operatic, here played out like a composition of Bellini or Verdi meshed with vaudevillian three-ring circuses that emit a rambunctious, anything-can-happen vibe and jubilantly hedonistic sexual discoveries (the latter both extending the kinship with Fellini)—is brighter, his instincts more pleasurably unrestrained. Many critics have failed Tetro because they have not caught on to Coppola's piquantly rediscovered virtuosity. The Godfather staged the death of a man's soul against the Catholic backdrop of baptism. In Tetro, the truths of family ("Every Family Has A Secret," the film's tag-line promises) are so awful they make one recoil, and gaze, like a pitiful deer into ineffably, brilliantly blinding headlights. Yet Coppola does not relinquish his newfound youthful confidence—Tetro finally concludes on a note of resigned reconciliation. Thirty years ago, Coppola released Apocalypse Now, the film conventionally referred to as his final operatic masterpiece. In 2009, he has gifted filmgoers with another composition, and one of the best films of the year.
94 comments:
My head and neck hurt from nodding so much with each line of this brilliant and wildly enthusiastic review.
Great piece Alexander and I'm glad you conveyed the feel of the movie without betraying the real secrets behind the story. Let everyone see it because it is a great movie.
- July 31, 2009 at 12:32 PM
Well, Alexander, I gave the film 4/5, but that's not quite high enough for me to call it one of the best pictures of the year. Inevitably, when risks are taken, and the film yields stylistic and textural complexities, there are bound to be missteps, which for me (but not for you) included the color sequences. In addition to your comprehensive examination of the film, I will add of course the extensive use of opera both in the actual story and in the narrative sweep. Coppola, of course, has always been a huge opera fan, and in TETRO, it's Offenbach's THE TALES OF HOFFMAAN with the famous severed head that takes a central role. The story has an operatic context, and Coppola conforms to the conventions so to speak.
Where we differ is with Gallo's performance. I felt he was distancing and lethargic, and you felt he gave one of the best performances of the decade. So on that count we go nowhere.
My favorite segment of this superlative review is unquestionably this:
"Coppola's Tetro is a film that seeps into and out of the viewer like moisture. Iridescent and pellucid, fragmentary and oblique, all at once, it feels like a living organism that is ferociously but quietly seething, like an animal recently injured. Coppola veils this dyspeptic, tempestuous undercurrent with a luscious layer of visual serenity. It is like squeezing and spreading sweet frosting over a rough, nutty and tart apple coffeecake."
In any case, I am happy the film worked as well as it did for you, and inspired you to score big once again!
- July 31, 2009 at 5:11 PM
- Coffee Messiah said...
Thanks for the excellent review.
Checked the trailer and may have missed this in Chicago already (it may never play here in indy-anna, but will seek it out.
Cinematography beautiful and music very nice too.
- August 2, 2009 at 11:55 AM
Just came home from this Alexander and read your piece. First off truly great work my friend. Amazingly erudite as always.
Second off I thought it was a great movie. One of Coppola's very best. I don't get a lot of these critics. Yeah it's not perfect but I'd rather have an imperfect movie that goes for broke then some average movie from the stupid studios these days.
Tonight I toast Coppola and Coleman!
- August 2, 2009 at 9:04 PM
- Books, said...
Hi! Alexander,
All I can say is what a nice review...I hope to soon let Netflix in my life...in order to watch all the current films (after they are no longer in the theatre) that other film goers, commenter, are watching and commenting on here on your blog.
Take care!
DeeDee ;-D
- August 3, 2009 at 8:32 AM
All I can say is amen. One of the best film of the year is right.
- August 3, 2009 at 1:13 PM
pellucid fragmentary and oblique.you read my mind exactly
- August 3, 2009 at 2:23 PM
- Alexander Coleman said...
Sean: Thank you for the highly kind comments. I'm happy to read that we appear to have seen approximately the same film.
Sam: Thank you for the thorough comment, stating your own position--which honestly isn't terribly far from my own, but admittedly you are a little cooler towards the picture than I. One of the elements of the film I most admired was Gallo's and Coppola's sincerity. Gallo knows his character is one giant cliche; Coppola knows it, too. Tetro has made himself into a cliche, a trope, the "struggling artist," sensitive and tempestuous all at once. Unfortunately, as with cliches in general, there is a basis of truth behind it. Yet Coppola doesn't allow Tetro off the hook, nor does he apologize for him. In any event, we certainly had quite differing appreciations of Gallo's performance.
Great pointing to The Tales of Hoffman, Sam. The Michael Powell references were always interesting, and the nearly blinding color of that film juxtaposed with most of this picture's black-and-white schema was memorable, though I'm sure divisive among filmgoers.
Coffee Messiah: Thank you. I'm sad to hear that it appears you may not be seeing this in a theatre.
Tim: Thank you very much. Honored to be toasted alongside Coppola!
DeeDee: Knowing your love of film noir, you may certainly appreciate the black-and-white cinematography of Tetro. :-)
Anonymous: Thank you very much.
Ben: Ha.
- August 4, 2009 at 11:31 AM
- Craig Kennedy said...
You've made me want to rewatch the film Alexander. Not a stretch since I loved it already, but nevertheless your thinking about it has gotten me peeling back layers I hadn't thought about for a while.
YWY was an invigorating though not entirely satisfying film, but I think it helped Coppola finally throw off the shackles of conventional wisdom and just say "Screw it. I have nothing left to prove to anyone but myself. I'm going to make the movies I want to make." And with Tetro he does that almost perfectly.
I suspect even the glacial pace that held me back a bit on first viewing will play better a second time around.
I totally agree with you about Gallo (to the disagreement of the esteemed Mr. Juliano). As an enigma, he's got the most challenging part and he totally pulls it off. Much of the advance hype was over Ehrenreich, but as you noted he was something of a blank slate. He was filled out in the end, but Gallo's performance continues to haunt. Ehrenreich, not so much.
A lovely, lyrical and mysterious piece of work and your review has done it justice.
Now hurry up and find Limits of Control!!
- August 4, 2009 at 2:23 PM
- Books,Coffee,etc.... said...
"DeeDee: Knowing your love of film noir, you may certainly appreciate the black-and-white cinematography of Tetro."
Alexander, I'am quite sure you couldn't care less...whether I like film noir or don't like film noir, but if the truth be told I
really don't like film noir per se, yet along love it.
Being an artist, my interest is only in posters especially, from the Classic film noir era. Hence, the reason that I own so many books on poster art.
But, to be totally honest, with you,I really do like to read what others bloggers have to say about films and why they did or didn't liked certain films.
Take care!
DeeDee ;-D
- August 4, 2009 at 6:27 PM
- Alexander Coleman said...
DeeDee: Thank you very much for that clarification! I greatly appreciate that.
Craig: Well, thank you most sincerely. It's always thrilling to have you around! I'm always a bit humbled when people relay such a reaction to something I've written, particularly when it is on a film the reader already enjoyed or loved.
I agree with you most completely about Youth Without Youth. There was an undeniable formal allure to it, but also a distancing, somewhat alienating integument to it as well. It felt too consciously "artsy," and it seemed as though Coppola did feel like he had to prove himself all over again. Tetro is much more confident with itself, and Coppola seems more innately confident in his narrative, and even his actors.
Speaking of which--yes, Ehrenreich ultimately left slightly too little an impression. Some of his performance seemed to be eaten up by simply being in Gallo and even Verdu's orbit. (Also, I must confess that I found it slightly distracting early on how eerily similar Ehrenreich's appearance is to Leonardo DiCaprio. The scene in which he enters Tetro's home in his uniform made me think I was seeing an outtake from Catch Me If You Can.)
I'm quite happy we agree about Gallo, too. He's the anchor and heart of the film. He owns the role in a way that is actively riveting to watch. If this film is to a humble extent Coppola's homage to Kazan, then Gallo is certainly his Brando for the purposes of this picture.
Thank you very much for the kind words, Craig. I'm touched by your comment. I'll be sure to take a look at your review of this in the very near future, my friend.
And yes, I can't wait to see The Limits of Control. Have you seen Nixon yet? :-)
- August 5, 2009 at 2:25 AM
It's always good to read a review of a much maligned and underrated film by an extraordinary writer such as yourself. Too few people view cinema with as much sensitive intelligence as yourself. Great work.
- August 5, 2009 at 1:08 PM
- Craig Kennedy said...
Nixon: yyyyno. (hangs head)
- August 5, 2009 at 4:29 PM
I fell asleep on it. But your review is pretty sweet so maybe I should give it another shot in the future.
- August 5, 2009 at 6:39 PM
- Alexander Coleman said...
Anonymous: Thank you so much for the remarkably kind words. I'm touched. The important thing, though, is the points about the film. I'm glad you appreciated it. Not all have.
Craig: Ah, now, don't feel bad about it! Remember, seek out the Director's Cut (which makes it 3-1/2 hours) and give yourself some time. No rush, though. I know you're not an Oliver Stone fan (ironically, neither am I, though I do admire this film in a special way), but I hope you like this one. And I'm terribly anxious to see The Limits of Control!
clown boy: Ah, that is unfortunate. Thank you for the kind words. I hope you give the film another shot. There is something hypnotically soothing and modulating about it, so I could see how it may relax one to the point of falling asleep. Or maybe you just hated it and lost interest.
- August 5, 2009 at 7:08 PM
- Joel E said...
I agree, Alexander. Good review.
- August 5, 2009 at 10:32 PM
- Alexander Coleman said...
Thank you, Joel. Enlightening to read your comments over at LiC on this one. I'm pleased that we agree.
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Quote the Raven nevermore.
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Beautiful essay. You're enormously gifted, Alexander.
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Keep a clean nose
Watch the plain clothes
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Oh how does it feel?
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Where's that big beautiful blond boy Coleman at?
Probably reading Thucydides and Gibbon whilst standing on his head. :)
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The main contractor, Balfour Beatty, is now working on site, with the development set to be finished in the middle of 2013.
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My favorite segment of this superlative review is unquestionably this:
"Coppola's Tetro is a film that seeps into and out of the viewer like moisture. Iridescent and pellucid, fragmentary and oblique, all at once, it feels like a living organism that is ferociously but quietly seething, like an animal recently injured. Coppola veils this dyspeptic, tempestuous undercurrent with a luscious layer of visual serenity. It is like squeezing and spreading sweet frosting over a rough, nutty and tart apple coffeecake."
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The climate of Japan is predominantly temperate, but varies greatly from north to south. Japan's geographical features divide it into six principal climatic zones: Hokkaidō, Sea of Japan, Central Highland, Seto Inland Sea, Pacific Ocean, and Ryūkyū Islands. The northernmost zone, Hokkaido, has a temperate climate with long, cold winters and cool summers. Precipitation is not heavy, but the islands usually develop deep snowbanks in the winter. In the Sea of Japan zone on Honshū's west coast, northwest winter winds bring heavy snowfall. In the summer, the region is cooler than the Pacific area, though it sometimes experiences extremely hot temperatures because of the foehn wind.
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The Central Highland has a typical inland climate, with large temperature differences between summer and winter, and between day and night; precipitation is light. The mountains of the Chūgoku and Shikoku regions shelter the Seto Inland Sea from seasonal winds, bringing mild weather year-round. The Pacific coast experiences cold winters with little snowfall and hot, humid summers because of the southeast seasonal wind. The Ryukyu Islands have a subtropical climate, with warm winters and hot summers. Precipitation is very heavy, especially during the rainy season.
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Marvel and Paramount modeled their marketing campaign for Iron Man on that of Transformers.[68] Sega released a video game based on the film, which included other iterations of the character.[69] A 30-second spot for the film aired during a Super Bowl XLII break.[70] 6,400 7-Eleven stores in the United States helped promote the film, and LG Group also made a deal with Paramount.[68] Hasbro created figures of armors from the film, as well as Titanium Man (who appears in the video game) and the armor from the World War Hulk comics.
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The Macaroni Penguin was described from the Falkland Islands in 1837 by German naturalist Johann Friedrich von Brandt.[3] It is one of six or so species in the genus Eudyptes, collectively known as crested penguins. The genus name is derived from the Ancient Greek words eu "good", and dyptes "diver". The specific epithet chrysolophus is derived from the Greek words chryse "golden", and lophos "crest".
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The political structure of the island was changed in 1603, when the Stuart James VI of Scotland, a kingdom which was a longtime rival, inherited the throne of England as James I—creating a personal union .[61][62] He styled himself King of Great Britain, although this had no basis in English law.[63]
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Based on conflicting political, religious and social positions, the English Civil War was fought between the supporters of Parliament and those of King Charles I, known as Roundheads and Cavaliers respectively.
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text:
Imagine we could vanquish all viruses. We'd never get swine flu or viral meningitis. We'd be done with AIDS. And these beautiful endings wouldn't come from some brash new medicine. Instead, we'd use the ultimate prevention strategy — we'd change our very genes. Long story short: Viruses can replicate inside our cells because they use the same genetic language our cells use. Host and guest can easily converse, and thus interact. But what if you did some Tower of Babel jujitsu? In biological terms, you'd alter the host cell's "codons," which are the translators in the messenger RNA chain of DNA.
George Church, a genetics professor at Harvard Medical School, explains what happens next: "The viral genetic message that formerly made perfect molecular sense to the host cell now amounts to nonsense . . . The upshot: multivirus resistance — immunity to all viruses." Church envisions such a future — which is closer than you think — in the book he coauthored with science writer Ed Regis, "Regenesis: How Synthetic Biology Will Reinvent Nature and Ourselves" (Basic, 2012). This is one of many new titles out in the wake of the Human Genome Project, the wild growth of DNA data, and the dawn of gene therapy.
It's a crazily fascinating and unnerving read. There's a touch of P.T. Barnum, too. Church got much hype, for instance, because he encoded "Regenesis" (the first such book ever!) into DNA. And I could almost hear a carnival barker call off his near and current realities: Step right up and see the resurrected woolly mammoth! Sip from the drinking cup made from bacteria! Watch the jellyfish that ages in reverse!
But then the sci-fi cants toward the human, the marvelous. Take the story of Nic Volker, a 4-year-old from Wisconsin with chronic severe intestinal pain. Multiple surgeries didn't help, and speculation finally turned to a genetic glitch. Quick refresher: DNA is divided into four bases, labeled G, A, T, and C. In the double helix, a G can only bind to a C, a T can only bind to an A. Nic's genome was mapped, and there, on the XIAP gene, they found one G-to-A mutation. So doctors took cord blood from a matched donor, grew stem cells from the blood, then did a bone marrow transplant. (The cells for our immune system start in our bone marrow.) In plain English, Nic's team ditched his broken immune system for a healthy one grown from scratch. He now thrives. Stunning.
A similar miracle informs "The Forever Fix: Gene Therapy and the Boy Who Saved It" (St. Martin's, 2013) by genetic counselor and journalist Ricki Lewis. This time it's an 8-year-old named Corey Haas with a rare kind of hereditary blindness. He had a defect on his RPE65 gene. This gene should help the retina's light-sensing cells create rhodopsin, a pigment required to absorb light. His didn't. Doctors injected a "good DNA" copy of RPE65 into Corey's eye. Amazing grace: He was blind, but now he sees.
"The Forever Fix" doesn't oversell; others who've received gene therapy have not gotten better. Some have died. It's important to remember this is a new science, full of both promise and setbacks. But whatever the case, we're firmly in the era of accessibility. Decoding of the first human genome took 13 years to finish at an estimated cost of $400 million. And now? I just clicked on the company site for 23andMe (so-named because humans have 23 chromosomes). You can add a basic genetic test to your cart for $99.
Which brings us to "The "$1,000 Genome: The Revolution in DNA Sequencing and the New Era of Personalized Medicine" (Free Press, 2010). Author Kevin Davies paints a coming world in which newborns will be sequenced along with their Apgar test. Meanwhile, celebrities get tested at trendy Hollywood "spit parties" (DNA is read from saliva) by 23andMe, which is run by Anne Wojcicki, wife of Google founder Sergey Brin. Less glitzy businesses are also covered, such as Iceland-based deCodeme, hailed for isolating the genes for type 2 diabetes, breast cancer, glaucoma, and lung cancer.
So we've got sequencing. But we fall wildly short when it comes to analysis. Indeed, for most of us, testing reveals probabilities for diseases, not certainties. And even if there are certainties, there aren't enough cures. Why get bad news you can't fix? That's one of the anguishing questions in "Am I My Genes? Confronting Fate & Family Secrets in the Age of Genetic Testing" (Oxford University, 2012) by Robert L. Klitzman, M.D. From Albert to Yvonne, 64 people tell their harrowing stories about getting (or not getting) genetically tested for such tragedies as Huntington's disease.
An even more intimate portrait arrives in "Here Is a Human Being: At the Dawn of Personal Genomics" (HarperCollins, 2010). Author Misha Angrist, who teaches at the Duke University Institute for Genome Sciences and Policy, makes for good (and winningly profane) company. He's one of the original 10 volunteers to have his sequenced genome made public in Harvard's Personal Genome Project (George Church was also one). Getting his results — a fire hose of 80 billion genes, only a fraction understandable — was overwhelming. Angrist struggles with how to tell his daughters that his gene marker for breast cancer may affect them. And he's peeved that his obesity risk clocks in at 36 percent (2 percent above the general population). As he jokes: "Does this genome make me look fat?"
This next book tells how gene mapping, however exciting, is hardly the full story. Nessa Carey, a British scientist and mercifully clear writer, explains why in "The Epigenetics Revolution: How Modern Biology Is Rewriting Our Understanding of Genetics, Disease, and Inheritance" (Columbia University, 2012). What's epigenetics, you say? It's the study of inherited changes in a gene's function that don't involve changes in the DNA sequence. Another mini-tutorial for you: We now know that a gene doesn't change in essentials, rather it changes when "instructions" are switched on or off. As such, says Carey, we shouldn't think of our genome as a map, but as a script and he likens it to the film versions of "Romeo and Juliet" by directors George Cukor and Baz Luhrmann. Same words, vastly different outcomes.
The great takeaway here is that DNA doesn't act in isolation. As Carey says, it's twined "like a long licorice whip around marshmallows" between proteins called "histones." And DNA is also flecked with "methyl" groups (bits of carbon and hydrogen) stuck on like "a grape on a tennis ball." The histones and the methylation process both nudge the on-off switch in our lifetimes.
This may explain if and when schizophrenia or autism or cancer kick in. And we now know that environmental trauma hurts our genes, too. Carey recounts 1944's Dutch "Hunger winter,'' for instance, when the Nazis blockaded the Netherlands. Caloric intake dropped to 30 percent of daily requirements, which not only harmed babies in utero — but their children and grandchildren (who've had higher levels of illness and mortality).
Good as these books are, they can't keep up with the headlong pace of genetic news. Just last month, for instance, a study came out showing that gene therapy — patients' T cells were removed, reprogrammed, and reinserted — slowed or even reversed leukemia. One person was totally rid of the cancer in just eight days. Reading all this, I'm convinced the 21st century will be known as the century of genetic breakthroughs. But don't take it from me. Test it.Katharine Whittemore is a freelance writer based in Northampton. She can be reached at email@example.com.


text:
An agent in the FBI's Elite Serial Crime Unit develops profiling techniques as he pursues notorious serial killers and rapists.
|First Air Date
|Last Air Date
|Drama, Crime
|Production Companies
|Jen X Productions, Inc., Denver and Delilah Productions, Panic Pictures / No. 13
|Number of Seasons
|1 Seasons
|Number of Episodes
|10 Episodes
|Plot Keywords
|psychopath, 1970s, fbi, psychology, thriller, serial killer, murderer, rapist, police investigation
Jonathan GroffHolden Ford
Hannah GrossDebbie Mitford
Holt McCallanyBill Tench
Anna TorvWendy Carr
Cotter SmithUnit Chief Shepard
Sonny ValicentiADT Serviceman


text:
Dope: Faith SFX Ft. Black The Ripper - Swim Good (Nas, Dr. Dre & Frank Ocean Medley)
Faith SFX ft Black The Ripper - Swim Good (Rework)
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