text:
Western Star Harry Carey Jr., 1921-2012.
We'll listen back to a 1989 interview with actor Harry Carey Jr., who died Dec. 27. Carey co-starred with John Wayne in the classic Westerns She Wore a Yellow Ribbon, The Searchers and 3 Godfathers. He talked to Fresh Air about filming epic cavalry-versus-Indian scenes — and his most challenging stunts.
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Other segments from the episode on January 2, 2013
January 2, 2013
Guest: Quentin Tarantino - Harry Carey Jr
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. My guest is Quentin Tarantino, whose new film "Django Unchained" opened Christmas Day. Tarantino is famous for writing and directing films that borrow from genres that he loves - crime, martial arts, Westerns, war films - and turning them into what has almost become a genre you can call Tarantino.
He wrote and directed "Reservoir Dogs," "Pulp Fiction," "Jackie Brown" and "Inglourious Basterds." "Django Unchained" pays tribute to spaghetti Westerns. It's set in the South, just a couple of years before the Civil War. Christoph Waltz, who played the Nazi known as The Jew Hunter in "Inglourious Basterds," plays King Schultz, a dentist turned bounty hunter, who frees a slave who can help him identify two white men he's tracking down. That slave, Django, is played by Jamie Foxx.
Schultz and Django eventually go in search of Django's wife, who was sold to another plantation after she and Django had tried to escape. They soon figure out that she's now a slave on the plantation owned by Calvin Candie, played by Leonardo DiCaprio. To get access to the plantation, Django and Schultz pretend they want to purchase Candie's top Mandingo fighters. Mandingos are slaves who battle each other to the death, for the entertainment of white people. This is the scene where Schultz and Django first meet Candie. Candie speaks first.
LEONARDO DICAPRIO: (As Calvin Candie) What's your name, boy?
CHRISTOPH WALTZ: (As Dr. King Schultz) His name is Django Freeman.
DECAPRIO: (As Candie) Where'd you dig him up?
WALTZ: (As Schultz) A fortuitous turn of events brought Django and myself together.
DECAPRIO: (As Candie) I've heard tell about you. I heard you been telling everybody them Mandingos ain't no damn good, ain't nothing nobody is selling is worth buying. I'm curious. What makes you such a Mandingo expert?
JAMIE FOXX: (As Django) I'm curious what makes you so curious.
JAMES REMAR: (As Butch) What did you say, boy?
DECAPRIO: (As Candie) Calm down, Butch. No offense given, none taken.
WALTZ: (As Schultz) Monsieur Candie, I'd appreciate if you could direct your line of inquiry toward me.
DECAPRIO: (As Candie) You do not have anything to drink. Can I get you a tasty refreshment?
WALTZ: (As Schultz) Yes, I'll have a beer.
DECAPRIO: (As Candie) Wunderbar. Roscoe, a beer for the man with a beard, and I will have a Polynesian Pearl Diver; do not spare the rum.
GROSS: Quentin Tarantino, welcome back to FRESH AIR. So...
QUENTIN TARANTINO: Good to be here.
GROSS: It's great to have you. So the film is called "Django Unchained," and Jamie Foxx plays Django. And the name Django comes from a series of spaghetti Westerns in which the main character, I suppose, is called Django.
TARANTINO: Well, kind of an interesting history about those movies is after the "Dollars" trilogies came out and kind of created this entire new genre in Italy...
GROSS: This is for "A Fistful of Dollars," "For a Few Dollars More," the Clint Eastwood, Sergio Leone...
TARANTINO: And "The Good, the Bad and the Ugly."
GROSS: "Good, Bad and the Ugly," the Sergio Leone, Clint Eastwood movies.
TARANTINO: Exactly. After that, made a cottage industry out of Rome and Almeria, Spain. Sergio Corbucci did his film "Django," starring Franco Nero, in 1966. And it became a smash all throughout Europe and in particular, Asia and Latin America; and not - it didn't play that well - it didn't play that much in America; and was actually banned until the '90s in England, because it's so violent.
In fact, it's actually kind of an interesting story. You couldn't see "Django" ever in England. The closest you could ever come to see "Django" in England was in the movie "The Harder They Come," with Jimmy Cliff. When Jimmy Cliff's on the run, he actually goes to a theater and watches "Django."
GROSS: Really? I saw that film so long ago, I never would have remembered that. Wow.
TARANTINO: Yeah, the couple of scenes that you see of "Django" in "The Harder They Come," is the closest that "Django" ever got to playing in England. But the thing is, the movie, you know, it kicked up the violence and the surrealism and the brutality of the spaghetti Westerns, to a new level. And it became so popular that there really only was one kind of genuine official sequel - that had Terence Hill playing the character. And Franco Rossetti, one of the screenwriters, wrote that script. And you could tell it's obviously supposed to be the same guy except maybe a little earlier. But all the other "Django" - which is, there's about 40 of them, it's not the same character. They just called him Django just because the name became so popular.
And sometimes, there's not even a character named Django in the movie. They just threw "Django" in the title because the word Django meant so much. So I'm proud to say that we are part - we are in the long line of - healthy tradition of unrelated "Django" ripoffs.
GROSS: (LAUGHTER) Well, you know, in my attempt to understand more about "Django," I watched the beginning of two "Django" knockoffs because Shout Factory Records has just reissued four "Django" films, none of them the original - Corbucci one. So I watched the first few minutes of "Django Kills Silently" and "Django's Cut-Price Corpses." And I'll tell you, the first few minutes of each of those are really bad. One of them is kind of like Hercules meets the Three Stooges.
GROSS: And, like, you can see, like, none of the punches are connecting, and the sound effects are really awful, and the dialogue's really - there's like fight after fight after fight before you know who any of the characters are.
TARANTINO: Well, you know, one thing that was actually funny is Franco Nero, from that point in time after "Django" through the '60s, and all through the '70s - him and Alain Delon were like, the two most popular leading men in Europe at that time. But the thing that was so funny was in particular, in Germany, the "Django" movie was so popular that any movie that Franco Nero did was retitled "Django Something - in Germany." He did a whole series of cop movies directed by Enzo G. Castellari, the guy who directed the original "Inglourious Basterds"; including one called "High Crime," which was sort of their "French Connection" and started a whole line of what they call polizia movies, in Italy. Well, but in Germany, it was called "Django the Cop."
GROSS: So in your Django movie, "Django Unchained," Jamie Foxx is a slave who is freed during the course of the movie, and his name is Django. And the kind of catchphrase, the trademark phrase from the movie is, somebody asks him his name, and he says Django; the D is silent.
TARANTINO: Right.
GROSS: That's great. So can you talk a little bit about coming up with that line? I doubt that line is in the original "Django."
TARANTINO: No, it's not. It was actually - simply the fact that it seems like I thought everyone would know how to say the name Django, even if it wasn't from the spaghetti Westerns, at least from Django Reinhardt you would know how to say it. And people would read the script: Oh, "D-jango Unchained," OK.
TARANTINO: And people would say it all the time. Frankly, I considered it an intelligence test. If you say D-jango, you're definitely going down in my book. Where that actually came from was, I came up with a cool bit because actually Franco Nero is in the movie, and it's a sequence where we actually had the two Djangos in the same frame - both Jamie Foxx and Franco Nero.
And so I have Franco look at him, look him up and down, ask him his name. Jamie says Django. Can you spell it? And then he spells the whole thing, and then after he gets through spelling it, I go - I had him say, "the D is silent." And then Nero looks at him and says, "I know."
TARANTINO: A little - meta movie moment.
GROSS: If you're just joining us, my guest is Quentin Tarantino, and we're talking about his new movie "Django Unchained." "Django Unchained" is a revenge fantasy from the point of view of a freed slave. And so you're taking on slavery as an issue while paying homage to the spaghetti Westerns, the Django spaghetti Western.
And it's - I don't know, it's two types of movies that may or may not work very easily together. So what were the parts of those two genres - you know, like bounty hunter meets slavery - that you had trouble fitting together? And what worked, that was easy to fit together?
TARANTINO: I don't think I had - you know, for me, at least as far as I was concerned, I didn't have any trouble fitting them together. I mean, there's kind of two points in that, I think. One, I wanted to tell a Western story, and then two, I wanted to deal with America in the antebellum South during slavery times, and show you America at that time and give a kind of unblinking look at it.
But, you know, when - there hasn't been that many slave narratives in the last, you know, 40 years of cinema. And usually, when there are, they're usually done on television. And for the most part, most of these TV movies or specials that come out are kind of what I call - they're historical movies; like, history with a capital H. Basically, this happened, then this happened, then that happened, then this happened.
And that can be fine, well enough, but for the most part I think - they hold - they keep you at arm's length dramatically because also there is this kind of level of good taste that they're trying to deal with about the history of the subject. And frankly oftentimes they just feel like dusty textbooks just barely dramatized.
Then there's other kinds of movies that have dealt with slavery in America, something like "Goodbye Uncle Tom" or "Mandingo" or "Drum." Now actually, I actually think those movies get far, far closer to the truth. Having said that, the sensationalistic aspect and the almost exploitationistic aspect of the films can't be ignored, even though like I said I think they actually cut closer to the truth and cut closer to the bone.
So what I wanted to do is I didn't want to go in either one of those directions. I wanted to tell the story as a genre movie, as an exciting adventure. And in this case, I wanted to do an exciting Western tale, an almost odyssey voyage that Django goes on, a journey to free his wife from the clutches of an evil empire but use antebellum South slavery as a backdrop for that adventure.
And the whole idea of bringing up the bounty hunting thing, actually, I thought ended up working kind of brilliantly for what I was trying to tell because I can't believe no one ever brought it up before. But Schultz brings it up. You know, in slavery you have people selling human lives for cash. In the bounty hunting laws of the day, you have people selling corpses for cash.
GROSS: Is it a coincidence, is it any coincidence that after taking on World War II and the Nazis in "Inglourious Basterds," you set your new movie in the time of American slavery? So you've taken two absolutely horrible chapters in history whereas, you know, your other films are contemporary; you know, set it contemporary times. So what made you want to take on just like, two just abhorrent chapters of history?
TARANTINO: Because I actually thought they would be really good stories. I've had both stories in my head for a while. It just took them a while to sit in the incubator until they were ready. And "Inglourious Basterds" popped out first, and then it really set the stage for "Django." But I like the idea of telling these stories and taking stories that oftentimes, if played out in the way that they're normally played out, just end up becoming soul-deadening because you're just watching victimization all the time. And now, you get a chance to put a spin on it and actually take a slave character, give him an heroic journey, make him heroic, make him give his payback, and actually show this epic journey; and give it the kind of folkloric tale that it deserves, the kind of, you know, grand opera stage it deserves.
GROSS: So there's a lot of violence in your movie. Slaves are being whipped and tortured, slaves forced to fight to the death like gladiators, lots of shooting and splatter. So what are your - how do I put this exactly? What are your limits for, like - what's your sensibility for how much splatter, how much violence, how much sadism feels like right, like it's part of the genre, like there's a certain, like, style to it that you're trying to express? And what's going to the point of, like, past where you want to go, to the point of, like, revulsion and exploitation to, you know, to a degree that's just - I don't want to use the word immoral but just, you know, bad?
TARANTINO: Well frankly, I mean, you know, what happened during slavery times is a thousand times worse than I show. So if I were to show it a thousand times worse, to me that wouldn't be exploitative; that would just be how it is. If you can't take it, you can't take it.
Now I didn't want - I wasn't trying to do a "Schindler's List" you-are-there-under-the-barbed-wire-of-Auschwitz kind of movie. I wanted the film to be more entertaining than that. Like I said, I wanted it to be an exciting adventure movie.
But there's two types of violences in this film: There's the brutal reality of the violence that slaves lived under, under the slavery laws, 245 years. And then there's the violence of Django's retribution. And that's movie violence, and that's fun, and that's cool, and that's really enjoyable. It's kind of what you're waiting for.
And you're - it's actually paying back the pain that you had to watch to get there. And so there are two different types of aesthetics going on. And I wanted the painful violence of the slavery sections to hurt and to be painful. Now here's the deal: I could handle a lot more than I put in this movie. I have a tolerance for viscera more than the average person. So I could have actually handled it a lot more.
And in - like as I was cutting the movie, earlier versions of it had more in there. But when I started watching it with - finally when I started showing it in front of audiences, I have a lot of different emotions I want you to kind of get to in the course of this movie. And one of the emotions I wanted you to get to at the end is cheering Django. I want you to cheer his triumphs at the end and, you know, be rooting for him and actually cheer.
And if you don't cheer at the end, I haven't done the job, I haven't pulled off the movie I was trying to pull off. I mean, it's very easy for me if I've failed or succeeded. If the audience cheers at the end, I've succeeded. If they don't cheer, or if it's a qualified cheer, maybe I haven't failed, but it was a qualified response, and this house didn't go with it as much as I thought they should have, as much as they were supposed to. So it's very clear choice of, you know, did I do it, did I not do it.
And when I watched with, you know, those rougher scenes, like the Mandingo scene or the dog scene or the castration scene, when they were rougher, I saw - I traumatized the audience too much. They were too traumatized, so their responses in all the other sections of the film were qualified by that trauma. So I pulled it back a little bit.
GROSS: Well, I think when you're watching the film, the audience isn't thinking like you're thinking because you're thinking, like, there's the reality violence, and then there's the fun genre violence.
TARANTINO: Oh, I think they are. I think they are. I totally think they are, yeah. Yeah, I totally think they are. One, there's the violence that's hard to watch, and there's the violence that's fun to watch. I think they're totally thinking that.
GROSS: So what was it like for you to be in the position of having people dress as slaves and then making them act like they were fighting to the death like a dog fight and dressing other people as slaves and having them get whipped? You know, it's - was that, say, a little awkward?
TARANTINO: Well, it wasn't awkward so much as it was, you know, it was painful. It was a little painful. I mean, when we actually started doing it, it was kind of - it was fine because we knew what we were doing, and everyone knew what we were doing. We're making a movie. Everyone knows what's going on.
You know, put a bunch of black folks dressed as slaves in a cotton field, they're picking cotton, then there's a break, OK cut, and then, you know, you give them coconut water or something, or they're eating power bars. You know, so it's like you're making a movie. You know what time it is.
But after I wrote the script, thinking about it, it was something that I was - frankly had trepidation about doing. You know, it's one thing to write on a piece of paper 100 slaves are marched through the mud wearing metal collars and in chains and with metal masks like mad dogs, being moved around by white people on horses and with shotguns.
And it's another thing to actually have 100 black folks get dressed in, you know, in these clothes and marched through the mud that way, in this slave auction town that you've built or putting them in the background, planting a cotton field and putting them in the field and having them work under a broiling sun. And I had a little trepidation about it and was actually trying to think of some way that maybe I could escape the pain of asking Americans to do that.
And, you know, I thought at one point of maybe I could shoot it in the West Indies, those sections, or maybe shoot it in Brazil or something because, you know, they have their own - they have their own history, but it wouldn't be an American history. So there would be this once-removed quality to it.
And then it was funny,, I actually went out, after I finished the script, I went out with Sidney Poitier for dinner and was telling him about my story and then telling him about my trepidation and my little plan of how I was going to get past it. And he said, he goes: Quentin, I don't think you should do that. I think basically - what you're just telling me is you're a little afraid of your own movie, and you just need to get over that.
If you're going to tell this story, you need to not be afraid of it. You need to do it. Everyone gets it. Everyone knows what's going on. We're making a movie. They get it. Just treat everybody with the right kind of compassion, as I know you will, and you have nothing to be worried about.
GROSS: Quentin Tarantino will be back in the second half of the show. His new film is "Django Unchained." Here's one of the songs from the soundtrack that actually comes from the original 1966 movie "Django." I'm Terry Gross, and this is FRESH AIR.
I'm back with Quentin Tarantino, who wrote and directed the films "Reservoir Dogs," "Pulp Fiction," "Jackie Brown" and "Inglourious Basterds." His new film, "Django Unchained," is a revenge movie inspired by spaghetti Westerns. It's set in the South a couple of years before the Civil War.
Christoph Waltz plays a bounty hunter who frees a slave named Django, played by Jamie Foxx, and makes him his partner. Eventually, they go in search of the Django's wife, who was recently sold to a notoriously brutal plantation owner. We recorded our interview December 21st, right before we began our series of holiday programs.
There's a part of the Western genre, in the Spaghetti Western genre that is about sadism, you know, where...
TARANTINO: Mm-hmm.
GROSS: ...and a line from your film that I'm thinking of and is like: No, don't shoot them, it's too simple for these men. So...
TARANTINO: Yeah.
GROSS: ... implication is nah, shooting them is an easy death. You got to torture.
TARANTINO: Yeah. Yeah.
GROSS: And I grew up on so many Westerns where that was just like a part of it. And, of course, two things happened. First, there's the opportunity for some torture and in a lot of Westerns that's very lightweight, like not allowing them to drink in the desert or something. And others it's much more rotten stuff. But then there's also the opportunity for escape because you're not killing them, so...
TARANTINO: Mm-hmm. Yeah.
GROSS: That gives them time to get free.
TARANTINO: Well, there actually is this, you know, there actually is this thing in Spaghetti Westerns. It's almost a trial by, it's almost a ritual trial by fire that usually happens to the Spaghetti Western's hero. At some point he's captured by the villains.
GROSS: Right.
TARANTINO: And he's given a Passion of Christ beating at the hands of the bad guys. And then he, you know, and then he gets away and rains down vengeance on them. It's kind of part and parcel to the Spaghetti Western. There's even, you know, you even call it a Spaghetti Western beating.
GROSS: And what do you like about that?
TARANTINO: What do I like about it?
GROSS: Mm-hmm.
TARANTINO: It's fun.
GROSS: So I just have to ask you, is it any less fun after like the massacre at Sandy Hook Elementary, like, do you ever go through a period where you lose your taste for movie violence? And movie violence is not real violence, I understand the difference. But still, are there times when it just is not a fun movie experience for you - either to be making it that way or to be in the audience for something like that?
TARANTINO: Not for me.
GROSS: So it's so completely separate, that the reality of violence doesn't affect at all your feelings about making or viewing very violent or sadistic...
TARANTINO: Sadistic? I don't know. I do know what, I don't know. I think, you know, you're putting a judgment on it.
GROSS: No, no, no...
TARANTINO: You're putting a judgment on it.
GROSS: The characters are sadistic. The characters are sadistic. I'm not talking about, you know, the filmmaker. I'm talking about the characters. I mean, the characters are undeniably sadistic.
TARANTINO: Mm-hmm. When you say after the tragedy, what do you mean by that exactly?
GROSS: Well, like...
TARANTINO: Do you mean like on that day would I watch "The Wild Bunch?" Maybe not on that day.
GROSS: Or in the next few days, like while it's still - while it's still really fresh in your - while the reality - yeah.
TARANTINO: Would I watch a kung fu movie three days after the Sandy Hook massacre? Would I watch a kung fu movie? Maybe, 'cause they have nothing to do with each other.
GROSS: You sound annoyed that I'm...
TARANTINO: Yeah, I am.
GROSS: I know you've been asked this a lot.
TARANTINO: Yeah, I'm really annoyed. I think it's disrespectful. I think it's disrespectful to their memory, actually.
GROSS: With whose memory?
TARANTINO: The memory of the people who died to talk about movies. I think it's totally disrespectful to their memory. Obviously, the issue is gun control and mental health.
GROSS: Just one other related question. Did you ever - because I know you really enjoy, have always enjoyed really violent movies. Have you ever been exposed to a movie image - even like when you were a child or as an adult that you wished you hadn't seen because it was so troubling and scary and you had nightmares about it and hunted you?
TARANTINO: Well, you make that that's not supposed to happen, like that would be a bad thing.
GROSS: Not passing value judgment, just asking.
TARANTINO: Well, let me just, you know, let me just say this, it's...
GROSS: I mean, well, some of my favorite movies from childhood like terrified me but...
TARANTINO: Yeah, I know exactly. Yeah, I mean here's this kind of where I'm coming from, is I've been asked this question for 20 years. And my an...
GROSS: Which question?
TARANTINO: About the effects of violence in movies relating to violence in real life. And my answer is the same 20 years ago. It hasn't changed one iota.
GROSS: And it's the answer you just gave?
TARANTINO: Yes.
TARANTINO: Well, I don't know what I just said but...
TARANTINO: ...obviously, I don't - obviously I don't think one has to do with the other.
GROSS: Right. So this question is kind of separate from all of that, the question about images that wanted you to. So let's define this is a different chapter. But I'll give you a for instance. When I was growing up in New York, the first time the Charles Laughton's version of "The Hunchback of Notre Dame" came on Million Dollar Movie I was absolutely terrified. I forced my family to change the channel and put on "Texas Rangers"...
GROSS: ...because just the sight of Charles Laughton's face was so horrifying to me because he has a very, you know, disfigured face in the film. And it's set in like, you know, medieval times and the whole thing just terrified me. And then I couldn't, I had to turn the movie, it's the Million Dollar Movie so it was repeated like several times every day for a week.
TARANTINO: Yeah.
GROSS: And I found that I had to keep putting on the TV and every day I'd watch more of it, and to this day it is one of my favorite movies. I mean I think it is just an absolutely beautiful film in every way. But it started off as being terrifying for me and filled with images that scared me. So I'm just wondering about the correlation in your mind between images that you found frightening in movies you ended up liking or images that maybe you wished you'd never seen.
TARANTINO: The only thing that I've ever watched in a movie that I wished I've never seen is the real-life animal death, a real-life insect death in a movie. That's absolutely positively where I draw the line. And a lot of European and Asian movies do that, and we even did that in America for a little bit of time. I don't like seeing horses being yanked on cables from running Ws. I don't like seeing animals murdered on screen. I don't.
Movies are about make believe. It's about imagination. Part of the thing is we're trying to create a realistic experience, but we are faking it. And the faking it is the art. The faking it is the art of it, it's the make-believe of it all. I don't think that there's any place in a movie for a real death. And you can say, oh, Peckinpah shot the heads off the chickens in "Pat Garrett And Billy the Kid," but it's OK because they ate the chickens afterwards. And actually, maybe those chickens got three more days of life because they were taken out of a slaughterhouse and everything. Well, you can justify it that way because people eat chicken, and I eat chicken. So, all good.
I don't want to see real death, though; that's the problem. It's the watching of the real chicken get his real head blown off. I didn't - I don't pay money, or I don't want to sit down and watch real death, when I watch a movie. I don't even want to see an animal terrified. I've seen movies where they've terrified an animal to get a response from him, and I don't want to see that. It's...
GROSS: You want to see artifice. You don't want to see genuine pain.
TARANTINO: Yes, it's make-believe.
GROSS: Or torture or death.
TARANTINO: Exactly. It's make-believe.
GROSS: If you're just joining us, my guest is Quentin Tarantino. We're talking about the new film that he wrote and directed called "Django Unchained." Let's take a short break here and then we'll talk some more.
TARANTINO: Cool.
GROSS: This is FRESH AIR.
GROSS: If you're just joining us, my guest is Quentin Tarantino. We're talking about the new movie that he wrote and directed, "Django Unchained."
So let's just talk Westerns for a minute.
TARANTINO: Mm-hmm.
GROSS: What are some of your favorite all-time American Westerns?
TARANTINO: Mmm. Some of my favorite American Westerns, you know, I'm, you know, I like every era of Westerns in America. One of the things that's interesting about Westerns in particularly is there's no other genre that reflects the decade that they were made and the morals and the feelings of Americans during that decade than Westerns. Westerns are always a magnifying glass as far as that's concerned. You know, so, you know, the Westerns of the '50s definitely have an Eisenhower birth of suburbia and plentiful times aspect to them. America started little by little catching up with its racist past by the '50s at the very, very, very beginning of it and that started being reflected in Westerns. Consequently, the late '60s has a very Vietnam vibe to the Westerns leading into the '70s, and by the mid-70s, you know, most of the Westerns literally could be called Watergate Westerns because it was about a disillusionment and tearing down the myths that we have spent so much time building up.
So some of my favorite Westerns kind of off the top of my head - American Westerns - I love Anthony Mann's Westerns, but in particularly "Winchester '73," that's one of my favorite...
GROSS: With Jimmy Stewart?
TARANTINO: Yeah, Jimmy Stewart. And especially the episodic structure, the way you follow the rifle...
GROSS: Mm-hmm.
TARANTINO: ...you know, from owner to owner and owner, the fact that it's all kind of episodic and vignettey is really terrific. I love Robert Aldrich's "Vera Cruz." I'm a big, big fan of Don Siegel's Western "Flaming Star" with Elvis Presley, which I actually think is maybe the most violent Western made in the '50s, very similar to a '70s Western in that regards. And I love Marlon Brando's "One-Eyed Jacks." And I love a ton of Westerns from the '70s. I love "Little Big Man." I actually think "Little Big Man" actually, there has a bit of a symbiotic relationship to "Django Unchained" to some degree.
GROSS: Now, I read in a couple of places you saying that you think you might retire from moviemaking when you hit 60, in part because you want to, you know, have more of a life then you can have when you are obsessed with making movies, but also you don't want to make those kind of old man interview career movies that aren't very good and, you know.
TARANTINO: Mm-hmm.
GROSS: And that bothered me a little bit because here's why. I think that part of what I interpreted you as saying is that you didn't want to make movies that would be older, that would reflect being older. And I think like I want to know who the older Quentin Taran - when you hit 60 I want to know who you are and what you're interested in. I want to see...
TARANTINO: Well, I'll be...
GROSS: ...if your sensibility has changed and if it has, what's it changed into? I want you to feel free...
GROSS: ...to get older and to experience any change that that may or may not bring in your sensibility, and to go with it.
TARANTINO: Well, you will. I just won't be making movies. I'll be writing.
GROSS: Oh, OK.
TARANTINO: I'll be writing novels. I'll be writing novels. I'll be writing film criticism and everything, you know, books on cinema. So my artistic life won't stop, it'll just change. I'll become a man of letters.
TARANTINO: You'll probably get far more into my psyche than you get right now because that's all I have to do.
GROSS: So here's something I was wondering, I know there's so much like, you know, African-American popular culture that you really love. And I was wondering when you were growing up if you grew up in an integrated neighborhood, if you went to an integrated school, if you had African-American friends or if your contact with black people was largely through popular culture.
TARANTINO: No, no. I went to a mostly black school. You know, it wasn't all-black because I was there, but it was mostly black.
TARANTINO: And the different points of my life I was raised by black people, raised in black homes - between my mom's best friend that I lived a lot of times with her and her family and just the kind of United Nations aspect that my mom's house was in the early '70s, right at the explosion of black culture. So black culture is my culture growing up.
GROSS: Your mother had a United Nations kind of home?
TARANTINO: Yeah. Well, it was almost like a sitcom, actually the way we lived in the '70s because she was in her 20s, she was hot, all right, she was a hot white girl. Her best friend was named Jackie. She was a hot black girl. And her other best friend was Lillian and she was a hot Mexican girl. And they lived in this like swinging singles apartment with me.
GROSS: What impact did that have on you?
TARANTINO: Yeah, well, it was just yeah, it was just, you know, it was the '70s so it was, you know, I lived with these three hip ladies all going out on dates all the time and dating football players and basketball players and, you know, my mother...
GROSS: Professionals ones or...
TARANTINO: Yeah. Yeah. My mom dated Wilt Chamberlain. She's one of the thousand.
GROSS: No.
GROSS: Did that - this is getting too personal, but did that affect your sense of sexuality when you were growing up?
TARANTINO: In what way?
GROSS: Well, because most people can't imagine their - so many people can't imagine their parents having sex. And when you're growing up with like your mother and two other women who are obviously engaging, you know, it makes you think of your own...
TARANTINO: Oh yeah. No, it was...
GROSS: Yeah.
TARANTINO: You know, she was a woman. She was a, you know, she was living the life. She was having a good time and everything, you know? She was taking care of me, too, so everything was fine. It was hip. It was just cool. You know the boyfriends would come over and they'd take me out. They'd take me blacksploitation movies trying to, you know, get me to like them.
And buy me footballs and stuff. And we'd go to, like, cool, you know, my mama and her friends would take me to cool bars and stuff where they'd be playing cool live rhythm and blues music. And I'd be drinking whatchamacallit, Shirley Temples, I think. I called them James Bond because, yeah, I didn't like the name Shirley Temple.
TARANTINO: I drank Shirley Temples and, you know, eat Mexican food or whatever. While, like some, you know, Jimmy Soul and a cool band would be playing in some lava lounge-y kind of a '70s cocktail lounge. It was really cool. It made me grow up in a real big way. When I would hang around with kids I'd think they were really childish. I always used to hang around with, like, really groovy adults.
GROSS: Well, I feel like I know you just a little bit better now.
TARANTINO: Yeah. No, no. You know, Saturday - every time Saturday would roll around, it would become 1 o'clock, everyone in the house (technical difficulties)
GROSS: Great. OK. So one last question because I know you have to go. I know you bought a movie theater in L.A. What's your dream movie theater? Like, if you could design a movie theater from scratch what would it be?
TARANTINO: Oh, gosh. You know, I don't know if I'd really want to spend the money to build something from scratch.
GROSS: You don't have to spend the money. It's a dream movie theater. Don't worry about it.
TARANTINO: Yeah. But I would be more inclined to actually just take over some cool, more historical theater or something like that. I mean, I guess a dream movie theater for me would be if I owned The Castro.
GROSS: Oh.
TARANTINO: In San Francisco. That would be awesome. Yeah. To own the Castro would be cool.
GROSS: There's a great organ in there and - yeah.
TARANTINO: Oh, yeah. Yeah, that would be awesome.
GROSS: Yeah.
TARANTINO: That would be cool, to own the Castro. That would be my dream movie theater.
GROSS: Right. Yeah. Great. Great. OK.
TARANTINO: You know, I mean, I guess maybe the Cinerama Dome too, all right? If we're going to really dream.
GROSS: And what's your own movie theater like?
TARANTINO: Oh, it's a little shoebox.
GROSS: Oh, OK.
TARANTINO: I'd like to do so much stuff there but I can't because it's just so small. All right. But it's lovely in its tackiness. But, you know, it's genuine. It's a cool little single house movie theater that is really nice and cute and modest. And always shows 35 millimeter. Except right now, oddly enough. Because they're playing "Django," the original "Django" and they only have a digital thing.
And they actually had to ask my permission to show something digital there.
GROSS: And you gave it?
TARANTINO: And I broke down. I broke down and gave it on this one instance.
GROSS: You compromised.
TARANTINO: This one instance alone. This one instance and this one instance alone.
GROSS: Well, Quentin Tarantino, it was great to talk with you again. Thank you so much.
TARANTINO: My pleasure, Terry.
GROSS: Quentin Tarantino wrote and directed the new film "Django Unchained." You can see clips from the film on our website freshair.npr.org. Coming up, an interview from our archive with Harry Carey, Jr. who died last week. He appeared with John Wayne in several classic John Ford Westerns. This is FRESH AIR.
TERRY GROSS, HOST: The actor Harry Carey Jr., who's best known for appearing in Westerns, died last Thursday at the age of 91. We're going to listen back to a 1989 interview with him. His father, Harry Carey Sr., was one of Hollywood's first Western movie stars, best known for his roles in John Ford films. Carey Sr. died in 1947 but his son continued the family tradition.
Harry Carey Jr. became a regular character in Ford's stock company appearing in nine Ford films including "Rio Grande," "She Wore a Yellow Ribbon," and "Wagonmaster." Cary's first Ford Film was "The Three Godfathers" with John Wayne. I asked if he felt his future with Ford was secure from then on.
I grew up watching Westerns all the time, both movie Westerns and television Westerns.
HARRY CAREY JR.: Mm-hmm.
GROSS: And I could tell you, it was my ambition in life when I was young to be a cowboy. You grew up the son of a cowboy star. You know, a star of Westerns.
JR.: Yeah.
GROSS: Did you want to be a cowboy when you grew up? Did you ever have those kinds of fantasies?
JR.: Yeah. Well, when I was in my teens I wanted to be a racehorse trainer. And my idol, equine idol, was Sea Biscuit, who was a very famous racehorse. And much to my dad's chagrin, I mean, he wanted me to be a, you know, to start roping and he said you don't wear your boots enough. You don't wear your cowboy hat. You're always running around in your tennis shoes and stuff.
And finally when I was about 19 I met a great cowboy. He was a world champion. His name was Andy Juaregui. He was a Spanish Basque. And he became my hero and he taught me to rope. And then I got cowboy nuts and my father was very proud of that.
GROSS: What was one of the most challenging action scenes that you were in?
JR.: Well, that was in the picture called "Rio Grande." There's some what they call Roman teams. That's two horses linked together and you leap on one and then when they start to run you get up, stand on top of them, and ride the two horses. It's called Roman riding.
GROSS: This is one leg on each horse?
JR.: One foot on each horse. You're standing up. It's like water skiing on horses.
GROSS: Right.
JR.: And so anyway, that was the most challenging because we had to learn that before the picture started. You just don't do that. The main reason is even though we were in our twenties your legs just give out. And your first instinct when you get on the horses who are broken to do that is to bend your knees and be in a squatted position all the time.
Because you feel safer that way. But actually, when you get better at it you begin to straighten up more. So your legs just give out when you first start doing it. So we did it for three weeks before the picture started and I think that was the most challenging physical thing that we had to do, horseback-wise.
GROSS: Can you give a sense of what it's like to be in the middle of one of those epic scenes with the cavalry versus the Indians and a lot of, you know, horses charging?
JR.: Yeah. Well, we loved it. It's sort of like I imagine a good athlete feels the same feeling before a baseball or a football game. It's a challenge and the unexpected is always the best. Ford was very lucky that way. I think he got the best action of any director I've ever worked for.
GROSS: Were you ever hurt?
JR.: But there was a wonderful feeling before a scene like that because in those days they didn't have the walkie-talkie things, you know, like they have in all the war pictures now. And the ADs, the assistant directors, carried these, you know, on their belts. And they can talk - even if they're two miles away from the camera they can talk to the director.
In those days you rode out to wherever you were before the stampede or before the big cavalry charge and you'd be like a half a mile or a quarter of a mile away from the director. And then you'd just have to wait until you heard a gunshot and then when the director shot the gun off then you started charging. It was a great feeling. It was very exhilarating.
GROSS: Well, how were these things choreographed? Like, how much would you rehearse it and how well would it actually work on the final shoot? Because it seems like it would so easily become chaos in one of the big battle scenes.
JR.: Well, Ford didn't rehearse those things. You can't when you've got that many horses and Indians and cavalry and everything involved. But he had a tremendous talent and gift for communicating with large groups of people. And even though he could be tough personally, one on one with actors - I mean, he picked on John Wayne a lot - he was marvelous with the extras and with the Indians and with the Navajos and all of the extra guys that they hired out on locations.
Like up in Moab or Monument Valley, wherever. And they all got to know him. Like, he'd make them feel like they were playing a very important role in the picture. And so he had them so keyed up, like a really great football coach with a football team. He'd have them so organized and told everybody exactly what he wanted. It was all clear in all of our minds. And then you just couldn't wait to do it. And when you heard that gunshot, all hell broke loose, you know. He'd always have like six cameras or five cameras on a scene like that. You know, he just didn't rely on one camera. You know, he'd have them stuck all around on top of hills and everything so that he could get intercut with different things.
GROSS: Say it was one of these big chaotic battle scenes, did you know who you were supposed to be shooting?
JR.: No.
GROSS: Or who was supposed to be shooting you?
JR.: And one of the things that happened, like when you - Western actors finally got the, you know, you use blanks of course, as I'm sure you know, and then - but when you get on location you're using local kids or local guys, and they get these blank pistols and you can get hurt with powder burns, you know, and this big wad comes out and hits you right in the eye or in the forehead. And I've seen guys look right at you and then shoot you, you know.
JR.: And Wayne would always make a big speech. He'd say shoot at an empty space because on the camera it doesn't look like - you know, it looks like you're aiming at somebody. But he said don't point your guns at another person. Shoot at the empty spaces. But they never heard, you know, and you had to be careful because somebody would shoot you right in the face.
GROSS: You've been doing spaghetti Westerns in Italy.
JR.: I did a couple of them. Yeah.
GROSS: Was that fun? They must think of you as, like, really authentic because you were in classic American Westerns.
JR.: They treated me terrific over there. You know, I wasn't a lead like, you know, Clint was or anything. It was just I played - they had a big star there called Terrence Hill and I played his dad in a couple of shows. And then I did another one with Franco Nero called "The Return of White Fang."
JR.: It was a lot of fun. We made it in Austria.
GROSS: Harry Carey Jr., recorded in 1989. He died last Thursday at the age of 91. You can download podcasts of our chow on our website freshair.npr.org. I'm Terry Gross.
We'll close with music by dobro player Mike Auldridge, who died Saturday at the age of 73. He was best know for his work with the band Seldom Scene. Just a few months ago, he won a National Endowment for the Arts National Heritage fellowship.
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.


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Welcome to Drayer Physical Therapy Institute in New Haven, IN
We realize you have a choice when it comes to selecting your physical therapy provider, and we look forward to providing you with exceptional care and a remarkable experience!
Our mission is to serve our patients, and we are committed to treating you promptly with integrity, honesty and compassion. Our reputation for best-in-class patient care and unparalleled customer service, combined with our local and regional density, makes us the provider of choice for patients and referral sources in the markets we serve. In addition to in-clinic treatment, we offer telehealth physical therapy services as an option should you choose to receive your care through video interaction/conferencing with a licensed therapist, all from the comfort of your home.
We are part of the Upstream Rehabilitation family of clinical care, a network of industry-leading brands providing world-class physical and occupational therapy services across the US.
- Concussion Management
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Effectiveness of Care
We are consistently better than the national average.
Our philosophy of care is dedicated to consistently providing our patients with the best care and service humanly possible. Our purpose is centered on our patients, not ourselves, ensuring we always do what is in their best interest.
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New Haven, IN Drayer Physical Therapy Patient
Our Location:
We are located on the corner of Minnich Rd and 930. Located in the Lutheran Health Network Plaza near by the Dollar General.

subset: commoncrawl


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I don't know what it is about St. Patrick's day but every year I seem to go all out and this year was no different. Last year I came across this recipe for apricot glazed corned beef with sauteed cabbage and colcannon on Sticky Gooey Creamy Chewy a bit late to make it in time but I have been patiently waiting and now it was finally time to try it. I have used apricot glazes in savoury dishes before so I know that they work well and the honey dijon glazed corned beef that I made last year was a great success with its sweet and tangy glaze so I knew that this one would also be great.
This corned beef recipe was a slow cooker version and one of the things that I liked about it was that everything was "pre-cooked" together in the slow cooker and once that was done there was very little effort required to finish everything off. I did run in one problem and that was that I was unable to get a 3 pound corned beef and the 5+ pound corned beef that I ended up with was too big to fit into the slow cooker. After a few minutes of worrying I decided that it was not a problem as I have cooked corned beef on the stove top before and I could simply cut the beef in half and do half in the slow cooker and half on the stove. I also decided to make one a little larger and use the apricot glaze on it and the smaller half I would just save for another dish after it was cooked. I really liked that after placing the beef in the pot you could pretty much just walk away and leave it for a few hours with no effort require.
Both the slow cooker version and the stove top version came out beautifully and the larger one from the slow cooker got glazed up and popped into the oven right away. While it was finishing up I quickly made the colcannon and the sauteed cabbage, neither of which were too much trouble. The corned beef turned out nice and tender and although I think I prefer the honey dijon glaze, the apricot glaze was definitely a keeper! I served the corned beef with some extra apricot glaze for even more apricoty goodness. Overall, this meal was one of the best that I have had in a while and I am definitely looking forward to enjoying the leftovers for lunches this week. I also already have plans for that second, unglazed corned beef.
Colcannon is an Irish version of mashed potatoes that also contains cabbage or kale. You really can't go wrong with creamy mashed potatoes but I liked the sound of adding some roughage and I could not help but noticing the bacon in this recipe. One of the good things about making colcannon when you make a corned beef is that you can throw both the potatoes and the cabbage into the pot with the beef to cook and they will absorb all of that extra flavour. Once the potatoes and cabbage came out of the pot all that was left to do was cook the bacon and saute the onion and cabbage a bit before mashing everything up. The colcannon was so good! The potatoes were nice and smooth and creamy and the cabbage and potatoes added a nice texture.
With a whole head of cabbage going into the pot, there was really too much to use it all in the colcannon so sauteed cabbage was a great way to use up the rest of it. Since you are going to need something to saute the cabbage in anyways, why not use some bacon grease? And if you need bacon grease why not cook up some bacon and add it to the sauteed cabbage as well? Though simple, this sauteed cabbage was really good! The cabbage was already nice an tasty from absorbing the corned beef and its pickling spices flavours and then you add some bacon and everything is all good.
Apricot Glazed Corned Beef
Tender slow cooked corned beef served in a sweet and tangy apricot glaze.
- 3 cups water
- 2 tablespoons sugar
- 2 tablespoons cider vinegar
- 2 cloves garlic, peeled and smashed
- 1 (3 pound) corned beef brisket with pickling spices
- 1/2 cup apricot preserves
- 2 tablespoons brown sugar
- 2 tablespoons dijon mustard
- 2 tablespoons grainy mustard
- Mix the water, sugar, vinegar and garlic in a large pot, add the corned beef, and the pickling spices and bring to a boil, reduce the heat to medium-low and simmer, covered until the meat is tender, about 1 hour per pound.
- Mix the the apricot preserves, brown sugar and mustards in a bowl.
- Place the beef in a baking pan and cover in the apricot glaze.
- Bake in a preheated 350F/180C oven until the glaze is bubbling.
- Let it rest for 10 minutes, slice and serve with the remaining apricot glaze.
Irish style mashed potatoes with sauteed cabbage, green onions and bacon.
- 1 pound potatoes, peeled and cut into 1/2 inch cubes
- 4 slices bacon, cut into 1 inch slices
- 1 onion, sliced
- 1/4 head of a small cabbage, sliced thinly
- 4 green onions, sliced
- 1/4 cup half and half
- 2 tablespoons butter
- salt and pepper to taste
- Bring some water to boil, add the potatoes and simmer until fork tender, about 20-30 minutes.
- Meanwhile cook the bacon in a large pan over medium heat until it renders, about 3-5 minutes.
- Add the cabbage saute until tender, about 10 minutes.
- Add the green onions and cook another 5 minutes.
- Drain and mash the potatoes in a large bowl.
- Mix in the bacon, cabbage and onions, half and half, butter and season with salt and pepper to taste.
Sauteed Cabbage
Cabbage sauteed with bacon makes for an easy and tasty side dish.
- 4 slices bacon, cut into 1 inch slices
- 1 onion, sliced
- 1/2 head of cabbage, sliced thinly
- 2 tablespoons cider vinegar
- 2 teaspoons sugar
- salt and pepper to taste
- Cook the bacon and set aside.
- Add the onion and saute it in the bacon grease until tender, about 5-7 minutes.
- Add the cabbage saute until tender, about 10-15 minutes.
- Add the bacon, vinegar, sugar, salt and pepper and cook until the liquid disappears.
Reuben Sandwich
Breakfast Reuben Sandwich
Reuben Quiche
Reuben Dip
Reuben Quesadillas
Reuben Soup
Corned Beef Poutine with Guinness Gravy
Corned Beef Hash
Reuben Cauliflower Corned Beef Hash
Kimchi Reuben Sandwich
Corned Beef, Cabbage and Kimchi Burrito
Corned Beef Grilled Cheese Sandwich with Guinness Caramelized Onions
Corned Beef Cuban Grilled Cheese Sandwich
Guinness Glazed Slow Cooker Corned Beef
Apricot Glazed Ham
Corned Beef Glazed in Honey and Mustard Dinner with Cabbage
Pot Roast
Maple and Mustard Glazed Chicken
Curried Honey Dijon Roasted Chicken
Ham Crusted with Mustard and Gingersnap Crumbs
Bangers and Colcannon with Guinness Onion Gravy
Slow Cooker Balsamic Glazed Roast Beef
Apricot Glazed Bacon Wrapped Cajun Pork Tenderloin
Corned Beef and Cabbage Soup
Corned Beef and Cabbage Pizza
Fried Cabbage


text:
How to install Super Run on android phone?
Once you've downloaded the APK file, click on the downloaded file, then hit the "Install" button.
How to fix problems while installing/opening?
Make sure you have downloaded the file correctly. The downloaded file extension must end with .apk file. If you face any package install error, redownloading the file may fix the issue.
How to update APK without losing the data?
To update APK without losing the data, you don't need to follow anything extra. Click on the downloaded APK file and click the "Install" button. The app will update automatically without loss of data.
I am getting Play Protect warning while installing!
Some mod APK files might get a warning. You can ignore this warning and install the APK file. Follow these simple steps to turn off Play Protect:
Open Google Play app > Click Profile Icon > Select Play Protect -> Setting > Turn off both "Scan apps with Play Protect" and "Improve harmful app detection" options.
Why the download speed is slow?
The downloading speed depends on your bandwidth speed. Don't hesitate to contact your ISP to increase the bandwidth speed if you face a slow downloading speed issue.
The download link is not working?
If you see the download link is broken, please contact us ASAP with the download link.


text:
Two years in the making, this chain tool is built to stand the test of time.
The threaded body and lead screw are made from cro-moly and receive a low friction powder vapor deposition (PVD) coating to give it a silky feel you've never felt in a chain tool before. Large handles ensure ease of use with any chain. The freely rotating pin is made from a shock rated tool steel and will likely last as long as the rest of the tool. The chain tool comes with a spare chain pin in the handle and they are cross-compatible with Shimano and Campagnolo pins.
The greatest part of the chain tool has to be the interchangeable mid plate. The saddled part that holds the chain in position can be swapped to work with nearly anything the industry comes out with. This ensures that your investment won't become obsolete when company "X" comes out with an 18-speed cassette in 20 years.
The tool also peens Campagnolo 11 and 12 speed chains to factory specs using a backstop that threads into the backside of the tool as a stop.
Compatible with 9-12 speed chain, including the new 12-speed chains from Campagnolo and Shimano's XTR 9100.


text:
AfghanistanThe life expectancy at birth in Afghanistan is 50.49 while in Argentina it is 77.51.
This entry contains the average number of years to be lived by a group of people born in the same year, if mortality at each age remains constant in the future. The entry includes total population as well as the male and female components. Life expectancy at birth is also a measure of overall quality of life in a country and summarizes the mortality at all ages. It can also be thought of as indicating the potential return on investment in human capital and is necessary for the calculation of various actuarial measures.
CIA World Factbook
The number of deaths of infants under one year old in a given year per 1,000 live births in Afghanistan is 117.23 while in Argentina it is 9.96.
This entry gives the number of deaths of infants under one year old in a given year per 1,000 live births in the same year; included is the total death rate, and deaths by sex, male and female. This rate is often used as an indicator of the level of health in a country.
CIA World Factbook
Afghanistan has an unemployment rate of 35.00% while Argentina has 7.30%
This entry contains the percent of the labor force that is without jobs.
CIA World Factbook
The GDP per capita in Afghanistan is $1,100 while in Argentina it is $18,600
This entry shows GDP on a purchasing power parity basis divided by population as of 1 July for the same year. A nation's GDP at purchasing power parity (PPP) exchange rates is the sum value of all goods and services produced in the country valued at prices prevailing in the United States. This is the measure most economists prefer when looking at per-capita welfare and when comparing living conditions or use of resources across countries. The measure is difficult to compute, as a US dollar value has to be assigned to all goods and services in the country regardless of whether these goods and services have a direct equivalent in the United States (for example, the value of an ox-cart or non-US military equipment); as a result, PPP estimates for some countries are based on a small and sometimes different set of goods and services. In addition, many countries do not formally participate in the World Bank's PPP project that calculates these measures, so the resulting GDP estimates for these countries may lack precision. For many developing countries, PPP-based GDP measures are multiples of the official exchange rate (OER) measure. The differences between the OER- and PPP-denominated GDP values for most of the wealthy industrialized countries are generally much smaller.
CIA World Factbook
Argentina consumes 0.6636 gallons of oil per day per capita while Afghanistan consumes 0.0042
This entry is the total oil consumed in gallons per day (gal/day) divided by the population. The discrepancy between the amount of oil produced and/or imported and the amount consumed and/or exported is due to the omission of stock changes, refinery gains, and other complicating factors.
CIA World Factbook
The per capita consumption of electricity in Argentina is 2,582kWh while in Afghanistan it is 78kWh
This entry consists of total electricity generated annually plus imports and minus exports, expressed in kilowatt-hours. The discrepancy between the amount of electricity generated and/or imported and the amount consumed and/or exported is accounted for as loss in transmission and distribution.
CIA World Factbook
Per capita public and private health expenditures combined in Afghanistan are $51.50 USD while Argentina spends $995.20 USD
This entry contains the per capita public and private health expenditure at purchase power parity using US Dollars. This figure combines government, personal, and employer spending on health care
World Health Organization
83 in every 100,000 people are currently imprisoned in Afghanistan compared to 154 in Argentina
This entry contains the number of people in penal institutions, including pre-trial detainees. Comparability is hampered by differences in local practice, including whether psychiatrically ill offenders are under the authority of the prison administration. People held in a form of custody not under the authority of a prison administration are not included in this figure.
International Centre for Prison Studies
The percentage of adults living with HIV/AIDS in Afghanistan is 0.10% while in Argentina it is 0.40%. 300 people in Afghanistan and 3,700 people in Argentina die from AIDS each year.
This entry gives an estimate of the percentage of adults (aged 15-49) living with HIV/AIDS. The adult prevalence rate is calculated by dividing the estimated number of adults living with HIV/AIDS at yearend by the total adult population at yearend.
CIA World Factbook
6.50 in every 100,000 people are murdered annually in Afghanistan compared to 7.00 in Argentina
This entry contains the number of victims of an unlawful death purposefully inflicted on a person by another person. Data is originally sourced from either criminal justice or public health systems.
United Nations Office on Drugs and Crime
The annual number of births per 1,000 people in Afghanistan is 38.84 while in Argentina it is 16.88.
This entry gives the average annual number of births during a year per 1,000 persons in the population at midyear; also known as crude birth rate. The birth rate is usually the dominant factor in determining the rate of population growth. It depends on both the level of fertility and the age structure of the population.
CIA World Factbook
With its 31,822,848 people, Afghanistan is the 40th largest country in the world by population. It is the 41st largest country in the world by area with 652,230 square kilometers.
Ahmad Shah DURRANI unified the Pashtun tribes and founded Afghanistan in 1747. The country served as a buffer between the British and Russian Empires until it won independence from notional British control in 1919. A brief experiment in democracy ended in a 1973 coup and a 1978 communist counter-coup. The Soviet Union invaded in 1979 to support the tottering Afghan communist regime, touching off a long and destructive war. The USSR withdrew in 1989 under relentless pressure by internationally supported anti-communist mujahedin rebels. A series of subsequent civil wars saw Kabul finally fall in 1996 to the Taliban, a hardline Pakistani-sponsored movement that emerged in 1994 to end the country's civil war and anarchy. Following the 11 September 2001 terrorist attacks, a US, Allied, and anti-Taliban Northern Alliance military action toppled the Taliban for sheltering Osama BIN LADIN. The UN-sponsored Bonn Conference in 2001 established a process for political reconstruction that included the adoption of a new constitution, a presidential election in 2004, and National Assembly elections in 2005. In December 2004, Hamid KARZAI became the first democratically elected president of Afghanistan and the National Assembly was inaugurated the following December. KARZAI was re-elected in August 2009 for a second term. Despite gains toward building a stable central government, a resurgent Taliban and continuing provincial instability - particularly in the south and the east - remain serious challenges for the Afghan Government.
Check out the recommended reading list below for great sources of information on Afghanistan


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Lucy Medium Blue Shirt
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- In stock, ready to ship
- Inventory on the way
This Lucy Medium Blue Shirt is sure to be a hit with the little ladies! Stylishly sleeveless and with a fashionable ruffle button-up, it's the perfect way to add a bit of flair and sass to any wardrobe. Let them show their unique style in this light blue beauty!
Matches perfectly with the Brinley Spring Floral Skort, Oaks Spring Floral Bloomer Set, Kinsley Spring Floral Romper, Daisy Spring Floral Dress, Boys short sleeve blue polo, and Joseph Blue Linen Shorts Set.
Thank you for choosing The Oaks Apparel! We hope you will be delighted with your purchase.
In the event that you need a return or exchange, Please follow the instructions below. By placing an order, you agree to our shipping terms and conditions.
We are able to accept returns for store credit or exchanges on full priced merchandise purchased online at www.oaksapparel.com within 14 days of receiving the item(s). If you are returning an item that was purchased with free shipping, a deduction of the exact amount for shipping will be issued at refund.
1. Items must be returned in their original condition (inside plastic bag and tags attached) to the address below. If items are NOT in their original condition, you will be charged a $10 restocking fee. - The Oaks Apparel reserves the right to refuse worn or damaged merchandise.
2. Please include a copy of your receipt and a note that includes the order number your name and contact information. Please indicate if you would like a Store Credit or exchange (please note the size you would like).
3. When shipping merchandise we highly recommend using a courier that provides a tracking number such as UPS, USPS and FedEx. The Oaks will not be responsible for packages lost in transit. We will be responsible for items once received at our facility.
4. Customers are responsible for return shipping costs unless the return is due to an error on our part. (e.g., wrong item shipped)
The Oaks Apparel LLC
1161 North Park Avenue
Dothan, AL 36303
Returns and Exchanges are not available on the following items.
-Discounted items
-Items purchased with a coupon code
-Shipping fees
If you have any questions please feel free to reach out to us at firstname.lastname@example.com. We want to make sure that shopping with us is a pleasure.
The team at Oaks strive to fill and ship orders in a timely manner. Our shipping times are 2 to 3 business days after you order.
When determining shipping options, please remember it will take 2-3 business days for fulfillment of your order plus the amount of days for shipping that you choose.
Thank you.
The Oaks fulfillment team


text:
phone-metadata: preferred and deprecated versions
Preferred and deprecated versions can be used to influence Cabal's decisions about which versions of phone-metadata to install. If a range of versions is preferred, it means that the installer won't install a non-preferred package version unless it is explicitly specified or if it's the only choice the installer has. Deprecating a version adds a range which excludes just that version. All of this information is collected in the preferred-versions file that's included in the index tarball. [maintainers: edit]
If all the available versions of a package are non-preferred or deprecated, cabal-install will treat this the same as if none of them are. This feature doesn't affect whether or not to install a package, only for selecting versions after a given package has decided to be installed. Entire-package deprecation is also available, but it's separate from preferred versions.
Stored information
phone-metadata has no preferred version ranges.
Explicitly deprecated versions for phone-metadata include: 0.0.1.3
The version range given to this package, therefore, is <0.0.1.3 || >0.0.1.3Versions affected
Green versions are normal versions. Yellow are those out of any preferred version ranges. Red are deprecated.


text:
Product Details
Same style jersey "Joey Kocur" wore during the 1990's while playing for the "New York Rangers"
- Manufactured by "CCM"
- V550 Replica model
- Vintage Collection Throwback Series
- 100% polyester heavyweight "Air Knit" fabric
- Re-inforced stitching on shoulder and armhole seams
- Double layer shoulders
- CCM woven neck label
- CCM embroidered logo on lower back hem
- As with every CCM V550 replica model the "Rangers" front embroidered crest is "Glued" on the jersey
- "Kocur" is sewn on the back of the jersey in 2-colors
- # 26 is sewn on the back and each sleeve of the jersey in 2-colors
- The name and numbers are customized (sewn) in the "Rangers" official style font and colors as worn on the ice
- All customization is done in Pro Twill fabric
- Every Hockey Jersey we sell has the players name and number(s) professionally SEWN on the jersey in the official team font and colors.
- There are many other sellers who are selling hockey jerseys that have the players name and numbers "GLUED" on the jersey, theirs are NOT sewn.
- You can easily verify whether the Name and Numbers are actually sewn on the jersey by simply turning the jersey "inside-out". If the Name and Numbers are sewn on you should see a "zig-zag" stitch outline on the inside of the jersey. If you do not see a "zig-zag" stitch outline then the Name and Numbers are "Glued" on.


text:
Saturday, May 22, 2010
From the kitchen of One Perfect Bite...While local strawberries aren't ready to harvest, those in the supermarkets no longer taste like cardboard and can be used to make some passable desserts. Several years ago, I discovered fruit extracts that can be used to heighten the flavor of less than prime fruit. While I wouldn't use the berries that are currently available for short cake or a glacéd tart, they work perfectly well in desserts such as panna cotta, especially when given the flavor boosts a pure fruit extract can provide. I must admit that those of us who live in Oregon are spoiled by the quality of fruit that is available to us. While markets glorify huge strawberries, most folks never get to taste the small field berries that are available to us in season. Pure ambrosia! I like this version of panna cotta because it's made with buttermilk rather than heavy cream and it has a slight tang that makes it a pleasant way to end a meal. Panna cotta is one of the easiest of all desserts to make, but it needs time, a lot of time, to properly chill. Whenever possible, I make mine the night before I plan to serve it. While most recipes suggest than eight hours is a sufficient time for the gelatin to set, I've found twelve hours to be ideal. Once made, they can be kept for up to 2 days in the refrigerator. I like to serve these with macerated berries or a fruit compote to keep the dessert light. Here's the recipe.
Strawberry Panna Cotta...from the kitchen of One Perfect Bite, inspired by Gourmet magazine
Panna Cotta
3 cups sliced strawberries (1 pound)
1-3/4 cups well-shaken low-fat buttermilk
6 tablespoons sugar
2-1/2 teaspoons unflavored gelatin, from less than 2 (1/4-oz) envelopes
1/4 cup whole milk
1/4 cup heavy cream
Optional: 1 teaspoon strawberry extract
Fruit Compote
2-1/2 cups strawberries (preferably small; 3/4 lb), trimmed
1/4 cup fresh orange juice
2 teaspoons superfine granulated sugar
1) To make panna cotta: Blend strawberries, buttermilk, and sugar in a blender until very smooth, then pour through a very fine sieve into a medium bowl, pressing hard on solids. Discard solids. Sprinkle gelatin over milk in a small bowl and let stand 1 minute to soften. Bring cream to a boil in a small saucepan. Remove from heat and add gelatin mixture, stirring until dissolved. Whisk cream mixture into strawberry purée and pour into 6 (6-oz.) molds. Chill molds, covered, until firm, at least 8 hours. To unmold, dip molds in a small bowl of hot water 2 or 3 seconds, then invert panna cottas onto dessert plates and remove molds. Let stand at room temperature 20 minutes to soften slightly.
2) To make fruit compote: Halve strawberries lengthwise if small or quarter if larger. Whisk together orange juice and superfine sugar in a bowl until sugar is dissolved and add strawberries, tossing to coat. Serve panna cottas with compote.
Yield:6 servings.
You might also enjoy these recipes:
Pumpkin Panna Cotta - One Perfect Bite
Lemon Panna Cotta with Raspberry-Orange Sauce - The Recipe Girl
Toasted Almond Panna Cotta - Cooking for Seven
This post is being linked to:
Pink Saturday, sponsored by Beverly at How Sweet the Sound.
60 comments :
- Unknown said...
You always sharing so delicious recipies.
Happy Pink Saturday!
Charo - May 22, 2010 at 1:48 AM
- MaryMoh said...
This is such a lovely, sexy panna cotta! The colour just blows me away. My hubby must learn to make this for me...haha. Have a lovely weekend. Mary
- May 22, 2010 at 2:45 AM
- Jeannie said...
I love the pink look of this panna cotta and would be great if I could have some now! It's so hot here!
- May 22, 2010 at 3:39 AM
- Sushma Mallya said...
Beautiful panna cotta,
- May 22, 2010 at 3:47 AM
- Angie's Recipes said...
Nice pinky fruity creamy panna cotta!
Wish you a very Happy Pinky Saturday!
Angie - May 22, 2010 at 6:48 AM
- Diane said...
There are so many strawberries around at the moment that my mouth just waters and I can't eat them as I am allergic - never used to be - it isn't fair! Sob. Diane
- May 22, 2010 at 6:52 AM
- Linda M said...
Welcome to Pink Saturday. That looks good.
- May 22, 2010 at 7:03 AM
- Deana Sidney said...
Lovely recipe, Mary! I imagine the yogurt adds a lovely tang to the mix. I think panna cottas are fabulous!
- May 22, 2010 at 7:10 AM
- Schnitzel and the Trout said...
Looks beautiful, Mary. I like the buttermilk idea. Have not heard of the fruit extract. Must search that out.
- May 22, 2010 at 7:13 AM
- Allie and Pattie said...
Mary, I made panna cotta with macerated strawberries just yesterday, but now I'd really like to try this with buttermilk. I do remember the wild field strawberries in upstate NY, but have not yet found them here in NC
xoxo Pattie - May 22, 2010 at 7:15 AM
- Patricia @ ButterYum said...
Oh Mary - your photo is breathtaking!
Thank you for the fruit extract link - I've been purchasing French Essence which is considerably more expensive. Next time I'll give these a try.
Happy Pink Saturday - May 22, 2010 at 7:30 AM
- Lorraine @ Not Quite Nigella said...
Ahh interesting about fruit extracts! I can really see when they would come in handy! :)
- May 22, 2010 at 7:33 AM
- pigpigscorner said...
I've never heard of fruit extracts! Thanks for the link!
- May 22, 2010 at 7:38 AM
- Julie said...
Mary - Happy Pink Saturday!
Your panna cotta is beautiful! I've never made panna cotta before. I just purchased strawberries, I may give this one a try. - May 22, 2010 at 7:57 AM
- Carol at Serendipity said...
This sounds wonderful. I like the idea of the buttermilk. Pretty!
Carol - May 22, 2010 at 8:21 AM
- Jacalyn @ rmebathproducts.com said...
LOVE this recipe. Maybe I'll give it a try!!!
Happy PS,
Jacalyn - May 22, 2010 at 8:24 AM
- Federica Simoni said...
una vera delizia!!! complimenti!!un abbraccio!ciao!
- May 22, 2010 at 8:44 AM
- PeggyR said...
That looks delicious! Have a great Pink Saturday!
- May 22, 2010 at 8:58 AM
- Inspired by eRecipeCards said...
A terrific make ahead summer cool dessert... a winner!
- May 22, 2010 at 9:15 AM
- Rachel Cotterill said...
We get tiny wild strawberries in our garden - they taste amazing, but although we get quite a lot over the course of the summer, it's not enough to cook with. So we just eat them straight from the plant :)
- May 22, 2010 at 9:41 AM
- Becky said...
Your panna cotta looks delicious! And I so agree with you about the small tasty strawberries. This year I planted two strawberry jars with Mara des bois, just so we can enjoy the flavour
My Pink Saturday contribution is a rose. - May 22, 2010 at 9:46 AM
- marye said...
Adding this to my roundup today. - May 22, 2010 at 10:03 AM
- Susi's Kochen und Backen said...
Mary, I love Panna Cotta! Yours looks heavenly with the strawberries. I'm adding this to my "must make" list, as it would be a wonderful ending to a very hot day in the Southwest :o) Thanks for sharing!
- May 22, 2010 at 10:47 AM
- Martha@A Sense of Humor is Essential said...
This looks delightful! I love strawberries and am so happy when Berry Season arrives!
- May 22, 2010 at 11:19 AM
- Foley said...
looks amazing - so fresh and creamy! This is one that i must try - as soon as I can find some good strawberries - the last ones I purchased LOOKED good in the package but were so under ripe when I sliced them! So disappointing...taking them back to the grocery.
Congrats also on your publications - no one derserves it more!! - May 22, 2010 at 11:30 AM
- Martha said...
Perfect and pretty little dessert for pink Saturday, Have a wonderful weekend Mary :-)
- May 22, 2010 at 11:47 AM
- Eliana said...
What an amazing looking dessert. Love the great color it gets from the compote.
- May 22, 2010 at 11:48 AM
- Unknown said...
This looks yummy! Happy Pink Saturday!
- May 22, 2010 at 12:40 PM
- Unknown said...
wow strawberry
one spoon is enjoy to taste it,
but for tasting this , we need 2 cups ,
ever lasting taste
nice post - May 22, 2010 at 12:54 PM
- Renée said...
A Perfectly Pink Presentation! Thanks for sharing your lovely recipe. I think it's something on the sweet side I can actually eat!
- May 22, 2010 at 1:12 PM
- Heidi said...
Thanks so much for stopping by and the kind comments about my blog! I enjoy yours very much :)
- May 22, 2010 at 3:13 PM
- Salsa Verde said...
I love strawberries and I love Panna Cotta, so, this is the perfect recipe!!
Lia. - May 22, 2010 at 3:15 PM
- T.W. Barritt at Culinary Types said...
I will have to hunt down these fruit extracts - that would come in handy. Last Sunday I picked up a basket of strawberries at a farm stand on Long Island. They were small, sweet and heavenly!
- May 22, 2010 at 3:41 PM
- CC said...
As always Mary, this looks delicious.
I've been scrolling down and reading..the portabella mushroom burger, I just have try. I know I would just love it. Happ Pinks..have a great weekend. - May 22, 2010 at 4:15 PM
- San said...
Wish i had that strawberry panna cotta in my hands right away.
Iam impressed looking at the stunning dessert. - May 22, 2010 at 4:23 PM
- Gloria Baker said...
MAry your panacotta is absolutely georgeous and yummy!! blessings,gloria
- May 22, 2010 at 4:52 PM
- theUngourmet said...
We are a bit spoiled here. This is such a lovely dessert and perfect for a Pink Saturday
- May 22, 2010 at 5:29 PM
- Chef Dennis Littley said...
your absolutely right about the size of strawberries..the huge ones may look good but the absolutely decadence of flavour belongs to normal size berries....love your panacotta!
- May 22, 2010 at 5:31 PM
- Valerie Harrison (bellini) said...
I still need to make my first panna cotta. This may just be the push I need!
- May 22, 2010 at 7:14 PM
- Jennifer said...
Soooo pretty in pink! I have never used fruit extracts but am fully intrigued!! Have a blessed weekend!
- May 22, 2010 at 7:34 PM
- Jersey Girl Cooks said...
I love panna cotta and these are so pretty.
- May 22, 2010 at 7:44 PM
- tasteofbeirut said...
This pink panna cotta would be inhaled at my house! Except for the gelatin which I would replace with agar-agar, I love all the ingredients that you hav listed. A keeper for sure. - May 22, 2010 at 7:44 PM
- A Spoonful Of Sugar said...
Your recipe sounds amazing - I have been wanting to try making a panna cotta - thanks for the recipe.
- May 22, 2010 at 8:09 PM
- Lori said...
Oh Mary- that sounds like pure heaven and even better when local strawberries are in. I remember one time eating these teeny tiny strawberries in Nova Scotia. My cousin and I picked them when we were up there visiting. They were the tastiest strawberries I have ever had.
- May 22, 2010 at 9:33 PM
- Amisha said...
Ooooh I love panna cotta! But I've only ever made vanilla. So now I have to try this recipe out.
- May 22, 2010 at 9:34 PM
- Unknown said...
happy pink saturday
- May 22, 2010 at 10:05 PM
- Kait said...
What a wonderful use of strawberries. I like that this can be made a day ahead of time.
- May 22, 2010 at 11:43 PM
- Devaki said...
What a wonderful celebration of the season with a fresh strawberry panna cota. Wonderful!
Ciao, Devaki @ weavethousandflavors - May 22, 2010 at 11:46 PM
- Deb in Hawaii said...
Beautiful panna cotta--it's one of my very favorite desserts. I miss Oregon berries. ;-)
- May 23, 2010 at 1:31 AM
- Unknown said...
ohhh wow that looks wonderful!!!! just amazing
- May 23, 2010 at 7:45 AM
- Mary Bergfeld said...
Jeannie, I hope the weather breaks for you soon. Intense heat can be very hard to deal with. Blessings...Mary
- May 23, 2010 at 9:05 AM
- Laurie said...
Your recipes look divine Mary!
Have a great day :)
Laurie - May 23, 2010 at 6:54 PM
- Laurie said...
Your recipes look wonderful Mary, thank you for sharing them!!
Have a great day :)
Laurie - May 23, 2010 at 6:56 PM
- RecipeGirl said...
Looks delicious! Thanks for the mention :)
- May 23, 2010 at 8:03 PM
- Ciao Chow Linda said...
What a great idea to use buttermilk instead of cream. This is one panna cotta I've got to try.
- May 23, 2010 at 9:39 PM
- Claudia said...
Panna cotta is just a palette for different flavors. Loving the buttermilk in it. And it does indeed dressup so pretty in pink.
- May 24, 2010 at 9:25 AM
- Juliana said...
Oh Mary, I love panna cotta, but never had this version with strawberries, sounds and looks so yummie, creamy and fruity, it is a must try :-)
- May 24, 2010 at 2:26 PM
- Unknown said...
Your Panna cotta is so pretty and perfect! Thank you for the very thoughtful and kind comments for my blog. I really look forward to reading more of your recipes, they are fantastic!
- May 24, 2010 at 6:01 PM
- Beverly said...
Happy Pink Saturday, Mary. Here it is Wednesday, and I have finally made it here for a visit.
But, I am probably too late for this delightful panna cotta. Oh, does it look delicious.
I am petitioning to be your neighbor - the one you love and adore - and feed.
The problem is I am not nearly so talented as you. So, I hope you will accept love and admiration in return. - May 26, 2010 at 7:31 AM
- Megan said...
I love Panna Cotta but have never tried a buttermilk version! SU'ed!
- May 27, 2010 at 11:37 AM


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Program your window treatments so that they adjust themselves automatically, creating the perfect room ambiance morning, noon and night.
Learn more about Hunter Douglas custom window sheers, including our shadings and privacy sheers. Innovative, light-diffusing sheers. Your trusted source for window treatments.
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text:
So you never knew love
Until you crossed the line of grace.
And you never felt wanted
Till you'd someone slap your face.
So you never felt alive
Until you'd almost wasted away.
You had to win, you couldn't just pass
The smartest ass at the top of the class
Your flying colours, your family tree
And all your lessons in history.
Please, please, please
Get up off your knees.
Please, please, please, please, oh yeah.
And you never knew how low you'd stoop
To make that call
And you never knew what was on the ground
Till they made you crawl.
So you never knew that the heaven
You keep you stole.
Your Catholic blues, your convent shoes,
Your stick-on tattoos now they're making the news
Your holy war, your northern star
Your sermon on the mount from the boot of your car.
Please, please, please
Get up off your knees.
Please, please, please
Leave me out of this, please.
So love is hard
And love is tough
But love is not
What you're thinking of.
September, streets capsizing
Spilling over down the drains
Shard of glass, splinters like rain
But you could only feel your own pain.
October, talk getting nowhere.
November, December; remember
We just started again.
Please, please, please
Get up off your knees, yeah.
Please, please, please, please, ah.
So love is big
Is bigger than us.
But love is not
What you're thinking of.
It's what lovers deal
It's what lovers steal
You know I've found it
Hard to receive
'Cause you, my love
I could never believe.


text:
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When you're looking for the right pair of ski goggles, there are a few things to consider. In addition to finding goggles with 100 percent UV protection, you can buy a pair that has vents or an anti-fog coating, preventing them from fogging up when you get going. Polarized lenses will eliminate that harsh glare off the snow, making it much easier for you to see the slope. If you wear prescription glasses, you can also find ski goggles that fit comfortably over them.
Combating Dry Eye In The Winter Air
The air can often be drier in winter than at other times of the year, and the heating we use indoors can dry it out even more. This can leave our eyes dry and irritated. To fight back against dry eye in winter, make sure you're staying hydrated, use the seat warmers in the car a little more and the heater a little less, and consider getting a humidifier for your home.
Ask Us For More Winter Eye Protection Tips
If you'd like to know more about what you can do to protect your eyes from snow blindness, winter dry eye, and other problems we're more susceptible to in the colder months, just let us know! We want to make sure all of our patients have the information and tools they need to keep their eyes healthy year round!