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As a self-proclaimed Metalhead, the diversity of my tastes have repeatedly metamorphosed, with the extremities of my youth ultimately being counter-balanced by increasingly erratic, ADHD-propelled varieties of Hard Rock, Metalcore and Thrash. Gone, for the most part, at least, are the simplistic harmonies of my youth, having long ago been replaced by a series of not so user-friendly wares. Among my most fervent of these new obsessions is Pennsylvania-born icons The Lord Weird Slough Feg. Armed with a veritable wealth of Black Sabbath, Iron Maiden and Thin Lizzy influences, the group amassed a uniquely dedicated cult following via a series of well-regarded releases (i.e. Traveller, 2003, Ape Uprising!, 2009 and Digital Resistance, 2014). As a result, when I at last found myself enlightened via New Organon (2019), I was once again only more than happy to over-indulge.
Todd: What prompted the decision to release New Organon under the full The Lord Weird Slough Feg moniker?
Mike: "I don't really think of it as two separate eras, ya know? ...I recently saw a website that was a lot like Encyclopedia Metallica that actually had 'Slough Feg' and 'The Lord Weird Slough Feg' listed as two different bands. It was like 'They've been together since 2005' and I was like 'What? Really?' At first, I thought it was just someone who didn't realize we existed before 2005, but it wasn't. It was someone who was fucking saying 'At first they were called Slough Feg and then they broke up, but then they changed and then they came back'. I was like 'What the hell?' I didn't think it was going to have that much importance to people. Jesus Christ', ya know? That was really, really weird to see. And I don't understand why it's that big of a deal because it never was to me. Originally, the band's name was Slough Feg, but in the comic book we got if from (the Celtic folklore-influenced Sláine, published in 1983), it said 'The Lord Weird Slough Feg', so that's what we decided we'd use."
Todd: As an artist and a marketer, that must have been frustrating on so many levels. Apparently those outside the fan base didn't understand that the name on the packaging had zero effect on the materials contained therein.
Mike: "If you saw a Spider-Man movie but then saw that it said The Amazing Spider-Man on the Marvel comic, you wouldn't think there was a difference Spider-Man in the comics. Really, it was the Europeans who didn't like the change. When our second record (Twilight Of The Idols, 1999) came out on an actual label, and the label, Dragonheart Records, which I didn't like, instead of putting 'The Lord Weird' small and then 'Slough Feg' as big, they wrote it where it was all the same size. They put 'The Lord Weird Slough Feg' across the bottom of the record or wherever the fuck it was and I was like 'That is not what I wanted, but whatever.' And then record stores and magazines started listing us under and 'L' instead of an 'S', ya know? And then some of them in Europe started listing us under 'T', which didn't happen very often. People started having trouble finding us in record stores. They'd be like 'Well, I looked for your record and I couldn't find it. I looked for it under 'S' and it was actually under 'L', ya know? And I thought 'We're just compromising our record sales', so then I had the thought 'Let's just call it Sough Feg. Let's not put The Lord Weird on there' anymore and they're all like 'Oh, you changed your name'. And I thought 'No, we didn't. What the fuck?' So for this record, I thought it'd be kind of funny. 'You want to put 'The Lord Weird' on it? Yeah, let's do it just to fuck with people because they made such a big deal out of that' (laughs). ...And also it looked better that way with the way the graphics are on the record."
Todd: Did Metal Blade Records have any impact(s) on how Digital Resistance (2014) ultimately came together?
Mike: "Metal Blade had nothing to do with it at all, so they didn't ask us to sound a certain way. And that's one of the reasons we signed a one album contract with them. When I talked to them, I said 'Our album's going to sound exactly how we want it to sound' before I had signed anything. Not that I'd ever heard about Metal Blade in particular telling people how to sound. Maybe I have heard that, but it definitely wasn't true in our case. I was like 'Okay, it's going to sound weird, and it's also going to sound different than some of the other records' and it did. So Metal Blade had nothing to do with it. It was just what we wanted to do at the time. It's not my favorite record and it's not anybody else's favorite one either from what I can tell (laughs). It's a weird record. If some random person were to dive into our catalog based on it, I don't think it would make a very good starting point."
Todd: Taking that into consideration, what do feel would be an ideal Slough Feg starting point? With everyone having different tastes, and often drastically different opinions, how does someone find the best places to begin?
Mike: "Well, if a random person were to jump into our discography by listening to Traveller (2003), it might be a great place to start, but they wouldn't understand what Slough Feg actually sounds like. We're a lot more of a straight-ahead Metal band. ...Digital Resistance might be our weakest album, but then again, it might not. What I've noticed from making ten records and some other records with other bands, is that almost always, with very little exception, when you put out a record in underground Metal, it usually gets good reviews. Underground staff and underground press have a hard time saying 'Hey, this sucks' or 'We don't like this'. I'm not complaining about that, but also, with few exceptions, every time I put a record out, they almost always say 'It's a really great comeback because their last album was kind of weak' (laughs) And it happened with our best albums. It also happened when we put out Hardworlder (2007), which is, I would say, not one of our strongest albums. People said 'What a great comeback because Atavism (2005) was kind of weak'. ...But when Atavism came out, there were rave reviews about it, so I don't know what the fuck that's about. It might be a natural reaction that people have to just say 'Oh, their last album was weak because this one is so great'. People are just full of shit and they feel compelled to compare to it to something. I think Digital Resistance is definitely our weakest, but it seemed that way even more now because when it was first released, they talked about how great everything is (laughs)."
Todd: For the uninitiated, what are your influences? My introduction to the group (The Animal Spirits, 2010) was certainly dissimilar from your earlier efforts. Despite this, the Thin Lizzy influence have remained constant.
Mike: "Asking someone 'What are your influences?' after their tenth album is kinda weird, ya know? It's pretty obvious, isn't it? ...The funny thing is, we didn't discover Thin Lizzy until much later. Early on, people used to say that we discovered the sound that made us sound like Thin Lizzy before we discovered Thin Lizzy. When I was a teenager. The word Thin Lizzy was something that most people have heard of. It wasn't a household name. They weren't very popular in America. If anything, if you'd heard the name Thin Lizzy, you were like 'Oh, isn't that the band that sounds like something...'. What I used to think was that there were a Glam or Glitter band from England from the '70's. I had never heard anything. A few years later, I was like 'Oh, I've heard of Thin Lizzy. I didn't realize they are the band that sings that shitty song "The Boys Are Back In Town" or 'Those guys must suck' because I had heard "The Boys Are Back In Town" and was like 'Oh, I know that song. That song sucks. That song sounds like shit. It sounds like the Doobie Brothers or something else I don't like'. If you only hear "The Boys Are Back In Town", it's not very impressive. I'm not saying it's a bad song, but back then, that was my impression of it. And then you'd hear the song "Jailbreak" and it was the same thing. My image of Thin Lizzy was generic and very un-noteworthy. And then somebody gave me a copy of Black Rose (1979) and said 'Dude'. This was around the time our second album came out (Twilight Of The Idols, 1999). He said You've got to listen to this band' and I said 'I've heard a couple of songs. They weren't that good and he said 'No, you have to hear Thin Lizzy'. That just goes to show you how much nobody gave a damn about Thin Lizzy in America in 1997. They weren't like they are now, ya know? There was no nostalgia but this guy said 'I found this album called Black Rose. I found it on the street in a pile of shit' because no one cared about vinyl in 1997 either. So I took it, listened to it and oh my God, it's the most incredible song on the most incredible album. I listened to it and was like 'Holy shit. That's awesome. That's Thin Lizzy?'. And I then started exploring the Thin Lizzy catalog and started discovering all this cool stuff. But the point isn't that they weren't not good. The point is that in the popular American at that point, no one knew shit about Thin Lizzy besides "The Boys Are Back In Town" and didn't care. ...But after I learned about them, I immediately became inspired by what they had done."
Todd: That perspective has certainly changed, hasn't it? It seems as if they're outright worshiped at this juncture.
Mike: "I feel like almost every Metal band is trying to sound like that these days. They're such an influence for so many Metal bands now that is almost like 'Oh, Thin Lizzy, yeah' (laughs). ...When I started this band, I tried to sound like Iron Maiden, I tried to sound like Judas Priest and I tried to sound like Motörhead., but it was never like that with Thin Lizzy. Someone brought Thin Lizzy to me saying 'You're writing music like this. I think you should listen to this'. ...It's interesting that I never really thought about us having a Celtic Irish sound."
Todd: When the arguably inevitable line-up changes have taken place, has it been a challenge for you to find the right people? While the group's music isn't glaringly mainstream, I would imagine a vacancy would be coveted.
Mike: "Only in the case of drummers. For everybody else, it wasn't hard at all. It was hard to play a bass player in the '90's, in the late '90's particularly. We went through a lot of bass players. Between our original bass player Justin Phelps and Adrian (Maestas) who's been the bass player for nineteen years, it was hard as hell. Back then, (original drummer) Greg (Haa) were terrified of losing people. In fact, we became a three-piece for our first couple of albums there because we couldn't find another guitarist who was good enough and still wanted to play with us. We'd go through another bass players and be like 'Oh shit. Who's going to play bass for us? Nobody wants to play bass for Slough Feg'. It was hard back then, but after the year 2000, the only changes we made were replacing (guitarist) John Cobbett (Hammers Of Misfortune, GWAR, Ludicra) with Angelo (Tringali) and then, of course, the drummers. Drummers are incredibly hard to find. When we lost Greg, we tried out Antoine Reuben, but he didn't work out on the. We went through a bunch of people as we tried them out. It was really hard. We finally found Harry (Cantwell, Bosse-de-Nage) and he was awesome. That line-up lasted seven years before we lost Harry. It stayed tough until we found (current drummer) Jeff (Griffin). Before we found Jeff, the we went through lots of different auditions. ...We went a full eight months without a drummer. It really sucked."
Todd: To what do you attribute the group's issues with finding a suitable drummer? Has there been a common, reoccurring factor à la the musical differences and personality conflicts that have stricken so many other artists?
Mike: "I think it's hard for anybody who can't actually pay them a wage. First of all, it's hard to find a drummer, period, because there aren't that many drummers out there. There just aren't. There's a lot more guitar players and bass players are easy to find, too Drummers are very difficult to find for any band, unless you're playing a totally different style of music where the drums hardly matter (laughs). We found drummers who wanted to do it, but when we tried them out, they just don't work. This is very difficult music. The double bass thing is hard. You can always find a drummer who can easily to play Black Metal or Death Metal, but we need someone who can do the double bass stuff and can also swing. We've tried people who are really good Extreme Metal players and they don't work because some of them can't swing. Then you find good Rock drummers who can't do double bass and can't do Metal as well. ...Any Rock musician will tell you the hardest thing to replace is the drummer and that's why drummers have such power. They know they're not replaced very easily. Most drummers I know play in five different bands and can do whatever they want. You can't have a bad or mediocre drummer in Slough Feg. It just won't work. You need a really good drummer for this band. ...It is what it needs."
Todd: When touring in support of New Organon (or, for that matter, any other new Slough Feg release), is the goal to evenly represent each release within the group's discography? If so, that must be a daunting undertaking.
Mike: "It's somewhat of a goal. But more than anything, we want to do songs that are exciting to people and that create a good show. That's really what the bottom line is. It can change from night to night sometimes, but it's basically the same set. I worry less about 'Oh, well, you didn't do a song off the first record' or 'You didn't do a song off this record' or 'You didn't do off a song off that record.' I worry about 'Did we put on a really good show and excite the people were who there?' That's what's really important. On this last string of shows we did, we did, it was a little bit different, but in a good way because instead of writing all the songs and then going right into the studio, we wrote them one at a time over the course of two or three years and then we incorporated them into our set. Half of them immediately went into the set and were tested out live, much like a band does on their first record. ...When you're playing night clubs or whatever, you play all these different songs and then you write new songs and throw some of them out. By the time you get to actually do a record, it was like your greatest hits of the last three years. Really, the bottom line is that we have ten records out now and we want to represent a lot of them. But more than that, we want to get people excited, have them enjoy it and have it be a memorable set. ...That's the bottom line. Whatever it takes to get it. If we have to play only new songs, we will."
Todd: What were the primary motivations behind the group not releasing any new material for five years? From an outsider perspective, it seemed like an unusual choice considering how prolific you had been up to that point.
Mike: "By the time you do your third, fourth, fifth and sixth record, you're still like 'I don't have anything yet.' After your last record or tour, you just have to sit down and write a bunch of songs. And I hate that at this point. I've done that and I don't like it because you feel like you're just writing stuff. You don't really know how it's going to sound. You're sort of forcing things out just for the purpose of making more songs. I hate that, so what we did is we took five years. We didn't need to. After Digital Existence, I wasn't dying to make a record at all and then Harry left and we couldn't really write. As soon as we got another drummer, things came out when they came out. Songs started to develop as they naturally did. I was just like 'Okay, this song is good, so let's do it'. And then we'd play it live. The song "New Organon" was the first one I wrote for this record and we played it live weeks after it was written, which was three years ago. It really went over well, so we did the same thing with most of the songs on the first half of the record. We did most of them and they worked. So we had been playing those in the set for a while before the record came out. What people saw was almost half a set of new songs with the other half being songs like "Wicker Man" plus what people responded to from the other albums."
Select Discography
New Organon (2019)
Digital Resistance (2014)
The Lord Weird Slough Feg (Box Set) (2013)
Made In Poland (2011)
The Animal Spirits (2010)
The Slay Stack Grows - Early Demos And Live Recordings (2009)
Hardworlder (2007)
Atavism (2005)
Traveller (2003)
Down Among The Deadmen (2000)
Twilight Of The Idols (1999)
The Lord Weird Slough Feg (1996)
Higlander (Demo) (1994)
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|Akira Kurosawa
黒澤 明 or 黒沢 明
Akira Kurosawa on set
|23 March 1910
Shinagawa, Tokyo, Japan
|6 September 1998 (aged 88)
Setagaya, Tokyo, Japan
|film director, screenwriter, editor, film producer
|Years active
|Yōko Yaguchi (1921–1985)
Akira Kurosawa (黒澤 明 or 黒沢 明 Kurosawa Akira , 23 March 1910 – 6 September 1998) was a Japanese film director, producer, screenwriter and editor. In a career that spanned 50 years, Kurosawa directed 30 films. He is widely regarded as one of the most important and influential filmmakers in film history. In 1989, he was awarded the Academy Award for Lifetime Achievement "for cinematic accomplishments that have inspired, delighted, enriched and entertained worldwide audiences and influenced filmmakers throughout the world." [1]
Akira Kurosawa was born to Isamu and Shima Kurosawa on 23 March 1910.[2] He was the youngest of eight children born to the Kurosawas in a suburb of Tokyo.[3] Shima Kurosawa was 40 years old at the time of Akira's birth and his father Isamu was 45. Akira Kurosawa grew up in a household with three older brothers and four older sisters. Of his three older brothers, one died before Akira was born and one was already grown and out of the household. One of his four older sisters had also left the home to begin her own family before Kurosawa was born. Kurosawa's next-oldest sibling, a sister he called "Little Big Sister," also died suddenly after a short illness when he was 10 years old.
Kurosawa's father worked as the director of a junior high school operated by the Japanese military and the Kurosawas descended from a line of former samurai. Financially, the family was above average. Isamu Kurosawa embraced western culture both in the athletic programs that he directed and by taking the family to see films, which were then just beginning to appear in Japanese theaters. Later, when Japanese culture turned away from western films, Isamu Kurosawa continued to believe that films were a positive educational experience.
In primary school, Kurosawa was encouraged to draw by Tachikawa, a teacher who took an interest in mentoring his talents. Both Tachikawa and his brother Heigo had a profound impact on him.[3] Heigo was very intelligent and won several academic competitions but also had what was later called a cynical or dark side. In 1923, the Great Kantō earthquake destroyed Tokyo and left 100,000 people dead. In the wake of this event, Heigo, 17, and Akira, 13, made a walking tour of the devastation. Corpses of humans and animals were piled everywhere. When Akira would attempt to turn his head away, Heigo urged him not to. According to Akira, this experience would later instruct him that to look at a frightening thing head-on is to defeat its ability to cause fear.[4]
Heigo eventually began a career as a benshi in Tokyo film theaters. Benshi narrated silent films for the audience and were a uniquely Japanese addition to the theater experience. In the transition to talking pictures, later in Japan than elsewhere, benshi lost work all over the country. Heigo organized a benshi strike that failed. Akira was likewise involved in labor-management struggles, writing several articles for a radical newspaper while improving and expanding his skills as a painter and reading literature.
When Akira Kurosawa was in his early 20s, his older brother Heigo committed suicide. Four months later, the oldest of Kurosawa's brothers also died, leaving Akira, at age 23, as the only surviving son of an original four.
Kurosawa's wife was actress Yoko Yaguchi.[5] He had two children with her: a son named Hisao (who became a producer and worked with his father on the films Ran, Dreams, Rhapsody in August, and Madadayo)[6] and a daughter named Kazuko.
In 1936, Kurosawa learned of an apprenticeship program for directors through a major film studio, PCL (later Toho).[7] He was hired and worked as an assistant director to Kajiro Yamamoto. After his directorial debut with Sanshiro Sugata (1943), his next few films were made under the watchful eye of the wartime Japanese government and sometimes contained nationalistic themes. For instance, The Most Beautiful (1944) is a propaganda film about Japanese women working in a military optics factory. Judo Saga 2 (1945) portrays Japanese judo as superior to western (American) boxing.
His first post-war film No Regrets for Our Youth (1946), by contrast, is critical of the old Japanese regime and is about the wife of a left-wing dissident who is arrested for his political leanings. Kurosawa made several more films dealing with contemporary Japan, most notably Drunken Angel (1948) and Stray Dog (1949). However, it was the period film Rashomon (1950) which led to him being known internationally and won him the Golden Lion at the Venice Film Festival.[8]
Kurosawa had a distinctive cinematic technique, which he had developed by the 1950s. He liked using telephoto lenses for the way they flattened the frame. He believed that placing cameras farther away from his actors produced better performances as they would not be conscious of the camera. He also liked using multiple cameras, which allowed him to shoot an action scene from different angles. As with the use of telephoto lenses, the multiple-camera technique also prevented Kurosawa's actors from "figuring out which one is shooting him [and invariably turning] one-third to halfway in its direction."[9] Another Kurosawa trademark was the use of weather elements to heighten mood; for example, the heavy rain in the opening scene of Rashomon and the final battle in Seven Samurai (1954); the intense heat in Stray Dog; the cold wind in Yojimbo (1961); the snow in Ikiru (1952); and the fog in Throne of Blood (1957). Kurosawa also liked using frame wipes, sometimes cleverly hidden by motion within the frame, as a transition device.
He was known as "Tenno", literally "Emperor", for his dictatorial directing style. He was a perfectionist who spent enormous amounts of time and effort to achieve the desired visual effects. For the rainstorm scenes in Rashomon, because the falling water (provided by fire trucks) did not show up on film against the sky, he dyed the water black with calligraphy ink in order to achieve the effect of heavy rain.[10] In the final scene of Throne of Blood, in which Mifune is shot by arrows, Kurosawa used real arrows shot by expert archers from a short range, landing within centimetres of Mifune's body.[11] In Ran (1985), an entire castle set was constructed on the slopes of Mt. Fuji only to be burned to the ground in a climactic scene.[12]
Other stories include demanding a stream be made to run in the opposite direction in order to get a better visual effect, and having the roof of a house removed, later to be replaced, because he felt the roof's presence to be unattractive in a short sequence filmed from a train.
His perfectionism also showed in his approach to costumes: he felt that giving an actor a brand new costume made the character look less than authentic. To resolve this, he often gave his cast their costumes weeks before shooting was to begin and required them to wear them on a daily basis and "bond with them." In some cases, such as with Seven Samurai, where most of the cast portrayed poor farmers, the actors were told to make sure the costumes were worn down and tattered by the time shooting started.
Kurosawa did not believe that "finished" music went well with film. When choosing a musical piece to accompany his scenes, he usually had it stripped down to one element (e.g., trumpets only). Only towards the end of his films are more finished pieces heard.
Unusual among directors, Kurosawa edited his films himself during production. After each day's shooting he would go to the cutting room and cut the dailies.[11]
A notable feature of Kurosawa's films is the breadth of his artistic influences. Some of his plots are based on William Shakespeare's works: Ran is loosely based on King Lear, Throne of Blood is based on Macbeth, while The Bad Sleep Well (1960) parallels Hamlet, but is not affirmed to be based on it. Kurosawa also directed film adaptations of Russian literary works, including The Idiot (1951) by Dostoevsky (his favorite author) and The Lower Depths (1957), from the play by Maxim Gorky. Ikiru was inspired by Leo Tolstoy's The Death of Ivan Ilyich. Dersu Uzala (1975) was based on the 1923 memoir of the same title by Russian explorer Vladimir Arsenyev. Story lines in Red Beard (1965) can be found in The Insulted and Humiliated by Dostoevsky.
High and Low (1963) was based on King's Ransom by American crime writer Ed McBain. Yojimbo may have been based on Dashiell Hammett's Red Harvest and also borrows from American Westerns. Kurosawa was very fond of Georges Simenon and Stray Dog was a product of Kurosawa's desire to make a film in Simenon's manner.[13]
Cinematic influences include Frank Capra, William Wyler, Howard Hawks, his mentor Kajiro Yamamoto, and his favorite director John Ford,[14] whose habit of wearing dark glasses Kurosawa emulated. When Kurosawa met Ford, the American simply said, "You really like rain." Kurosawa responded, "You've really been paying attention to my films."[15] He would later instruct Yoshio Tsuchiya, one of the actors in Seven Samurai, to retrieve the same hat Ford wore during that meeting.[16]
Despite criticism by some Japanese critics that Kurosawa was "too Western,"[17] he was deeply influenced by Japanese culture as well, such as the Noh theaters and the Jidaigeki (period drama) genre of Japanese cinema.
Seven Samurai was remade as The Magnificent Seven (1960)[18]. Seven Samurai is also considered the progenitor of the "men on a mission" film, popularized by films such as The Dirty Dozen (1967) and The Guns of Navarone (1961). The film is also recognized for popularizing the use of slow-motion in action films/sequences.
Rashomon was remade by Martin Ritt in 1964's The Outrage. Several films and television programs have also come to use what is known as the Rashomon effect, wherein various people give opposing or contrasting accounts of an event; these films include, but are not limited to Vantage Point, Courage Under Fire, Hero, Hoodwinked, and The Usual Suspects. Tajomaru, a film that centers on the eponymous character from Rashomon, was released in 2009.
Yojimbo was unofficially remade as the Sergio Leone western A Fistful of Dollars (1964) (resulting in a successful lawsuit by Kurosawa)[19] and was remade as the prohibition-era film Last Man Standing (1996). Sanjuro was remade in 2007 as Tsubaki Sanjuro, directed by Yoshimitsu Morita.
The Hidden Fortress (1957) was remade as The Last Princess (2008) and is an acknowledged influence on George Lucas's Star Wars films, in particular Episodes IV and VI and most notably in the characters of R2-D2 and C-3PO.[20][21] As well as using a modified version of Kurosawa's signature wipe transition, it has been observed that specific scenes from various Kurosawa films have been emulated throughout George Lucas's Star Wars saga.[21]
Remakes for Ikiru[22] and High and Low[23] are in progress. Second remakes for Rashomon and Seven Samurai are also on the way.[24][25]
The following directors either were directly influenced by Kurosawa, or greatly admired his work:
During his most productive period, from the late 40s to the mid-60s, Kurosawa often worked with the same group of collaborators. Fumio Hayasaka composed music for seven of his films — notably Rashomon, Ikiru and Seven Samurai. When Hayasaka died, he collaborated with composer Masaru Satō, who scored most of his later films. Kurosawa worked with the same five scriptwriters during his career: Eijiro Hisaita, Ryuzo Kikushima, Shinobu Hashimoto, Hideo Oguni, and Masato Ide.[54] Yoshiro Muraki was Kurosawa's production designer or art director for most of his films after Stray Dog in 1949, and Asakazu Nakai was his cinematographer on 11 films including Ikiru, Seven Samurai and Ran. Kurosawa also liked working with the same group of actors, especially Takashi Shimura, Tatsuya Nakadai, and Toshirō Mifune. His collaboration with the latter, which began with 1948's Drunken Angel and ended with 1965's Red Beard, is one of the most famous director-actor collaborations in cinema history.
The film Red Beard marked a turning point in Kurosawa's career in more ways than one. In addition to being his last film with Mifune, it was his last in black-and-white. It was also his last as a major director within the Japanese studio system making roughly a film a year. Kurosawa was signed to direct a Hollywood project, Tora! Tora! Tora! (1970) but 20th Century Fox replaced him with Toshio Masuda and Kinji Fukasaku before it was completed.[55] His next few films were to be significantly more difficult to finance and were made at intervals of five years. The first, Dodesukaden (1970), about a group of poor people living around a rubbish dump, was not a commercial or financial success.
After an attempted suicide, Kurosawa went on to make several more films, although he had great difficulty in obtaining domestic financing despite his international reputation. Dersu Uzala, made in the Soviet Union and set in Siberia in the early 20th century, was the only Kurosawa film made outside of Japan and not in the Japanese language. It is about the friendship of a Russian explorer and a nomadic hunter, and won the Oscar for Best Foreign Language Film. Kagemusha (1980), financed with the help of the director's most famous admirers, George Lucas and Francis Ford Coppola, is the story of a man who is the body double of a medieval Japanese lord and takes over his identity after the lord's death. The film was awarded the Palme d'Or (Golden Palm) at the 1980 Cannes Film Festival (shared with Bob Fosse's All That Jazz). Ran was the director's version of Shakespeare's King Lear, set in medieval Japan (and the only film of Kurosawa's career that he received a "Best Director" Academy Award nomination for). It was by far the largest project of Kurosawa's late career, and he spent a decade planning it and trying to obtain funding, which he was finally able to do with the help of the French producer Serge Silberman. The film was an international success and is generally considered Kurosawa's last masterpiece. In an interview, Kurosawa said that he considered it to be the best film he ever made.
Kurosawa made three more films during the 1990s which were more personal than his earlier works. Dreams (1990) is a series of vignettes based on his own dreams. Rhapsody in August (1991) is about memories of the Nagasaki atomic bomb and his final film, Madadayo (1993), is about a retired teacher and his former students. Kurosawa died of a stroke in Setagaya, Tokyo, at age 88.[56]
After the Rain is a 1998 posthumous film directed by Kurosawa's closest collaborator, Takashi Koizumi, co-produced by Kurosawa Production (Hisao Kurosawa) and starring Tatsuya Nakadai and Shiro Mifune, son of Toshirō Mifune. The film's screenplay was written by Kurosawa. The story is based on a short novel by Shugoro Yamamoto, Ame Agaru.
To coincide with the 100th anniversary of Kurosawa's birth, his unfinished documentary Gendai no Noh will be completed and released in 2010. While filming his masterpiece Ran in 1983, Kurosawa experienced a number of problems during production, including financial troubles, and temporarily postponed filming to work on a non-fiction project. The documentary was to be about classic Japanese Noh theater, whose style had a substantial influence on Ran, as well as Throne of Blood and Kagemusha. Only about 50 minutes of footage exist, but to finish the film, an additional hour will be shot using Kurosawa's original screenplay.[57]
The Akira Kurosawa Foundation was established in December 2003.[58]
In commemoration of the 100th anniversary of Kurosawa's birth, the AK100 Project was created. The AK100 Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created."[59]
Anaheim University launched the Anaheim University Akira Kurosawa School of Film at the Beverly Hills Hotel on March 23, 2009, which would have been Kurosawa's 99th birthday. Kurosawa's son, Hisao Kurosawa, attended as Guest of Honor and a special memorial tribute video was played at the event featuring video presentations from Steven Spielberg, George Lucas, Martin Scorsese, Kurosawa's Assistant Director Teruyo Nogami and "Dreams" Producer/Nephew of Akira Kurosawa, Mike Inoue.[60]
Two awards have been named in Kurosawa's honor, the Akira Kurosawa Award for Lifetime Achievement in Film Directing, awarded during the San Francisco International Film Festival, and the Akira Kurosawa Award, awarded during the Tokyo International Film Festival.[61]
|Sanshiro Sugata
aka Judo Saga
|Sugata Sanshirō
|The Most Beautiful
|Ichiban utsukushiku
|Sanshiro Sugata Part II
aka Judo Saga 2
|Zoku Sugata Sanshirô
|The Men Who Tread on the Tiger's Tail
|Tora no o wo fumu otokotachi
|No Regrets for Our Youth
|Waga seishun ni kuinashi
|One Wonderful Sunday
|Subarashiki nichiyōbi
|Drunken Angel
|Yoidore tenshi
|The Quiet Duel
|Shizukanaru ketto
|Stray Dog
|Nora inu
aka Shūbun
|The Idiot
aka To Live
|Seven Samurai
|Shichinin no samurai
|I Live in Fear
aka Record of a Living Being
|Ikimono no kiroku
|Throne of Blood
aka Spider Web Castle
|The Lower Depths
|The Hidden Fortress
|Kakushi toride no san akunin
|The Bad Sleep Well
|Warui yatsu hodo yoku nemuru
aka The Bodyguard
|Tsubaki Sanjūrō
|High and Low
aka Heaven and Hell
|Tengoku to jigoku
|Red Beard
|Dersu Uzala
|Derusu Uzāra
aka The Shadow Warrior
aka Akira Kurosawa's Dreams
|Rhapsody in August
|Hachigatsu no rapusodī
aka Hachigatsu no kyōshikyoku
aka Not Yet
Unlike his other noted contemporaries, such as Yasujiro Ozu or Kenji Mizoguchi, the majority of Kurosawa's work is commercially available throughout the U.S. and Europe.
The Criterion Collection is the primary distributor of Kurosawa's films on DVD in the U.S., issuing 16 of his films as individual DVDs, with frequent contributions from Kurosawa historians Stephen Price and Donald Richie, and a further 5 issued in the "Post-War Kurosawa" Boxset as part of the label's Eclipse brand. Combined, these cover all the directors films from 1946's No Regrets for Our Youth to 1985's Ran except 1949's The Quiet Duel and 1975's Dersu Uzala. Kurosawa's first four films, Sanshiro Sugata, The Most Beautiful, Sanshiro Sugata Part II and The Men Who Tread on the Tiger's Tail, never previously available on DVD, are included with Criterion's other Kurosawa releases in the AK 100: 25 Films by Akira Kurosawa Boxset released to mark the 100th anniversary of the director's birth on December 8, 2009.[62] The director's remaining work, The Quiet Duel, Dersu Uzala, Dreams, Rhapsody in August and Madadayo, have all been commercially available on DVD in the U.S., though some are currently out of print. The first Kurosawa film to be released in the U.S. on Blu-ray was Kagemusha in August 2009.
|Awards and achievements
|Preceded by
René Clément
for The Walls of Malapaga
|Academy Award for Best Foreign Language Film
for Rashomon
|Succeeded by
René Clément
for Forbidden Games
|Preceded by
André Cayatte
for Justice Is Done
|Golden Lion - Venice Film Festival
for Rashomon
|Succeeded by
René Clément
for Forbidden Games
|Preceded by
Federico Fellini
for Amarcord
|Academy Award for Best Foreign Language Film
for Dersu Uzala
|Succeeded by
Jean-Jacques Annaud
for Black and White in Color
|Preceded by
Francis Ford Coppola
for Apocalypse Now and Volker Schlöndorff
for The Tin Drum
|Palme d'Or - Cannes Film Festival
for Kagemusha (tied with Bob Fosse
for All That Jazz)
|Succeeded by
Andrzej Wajda
for Man of Iron
|Preceded by
Francis Ford Coppola
for Apocalypse Now
|BAFTA Award for Best Direction
for Kagemusha
|Succeeded by
Louis Malle
for Atlantic City
|Preceded by
Woody Allen
for Manhattan
|César Award for Best Foreign Film
for Kagemusha
|Succeeded by
David Lynch
for The Elephant Man
|Preceded by
Charles Chaplin, Anatoly Golovnya, Billy Wilder
|Career Golden Lion
|Succeeded by
Michelangelo Antonioni
|Preceded by
Eastman Kodak, National Film Board of Canada
|Academy Honorary Award
|Succeeded by
Sophia Loren, Myrna Loy
Akira Kurosawa (黒澤 明 Kurosawa Akira, also 黒沢 明) (23 March 1910 - 6 September 1998) Japanese film director, producer, and screenwriter.
Akira Kurosawa (March 23, 1910 – September 6, 1998[1]) was a Japanese film director. Kurosawa's films are liked in Japan. Kurosawa's films are also liked by people in other countries. He made 30 films in 50 years.[2] He is thought to be one of the most important film directors.[3]
In many of his famous movies, including Rashomon and The Seven Samurai, he worked with the actor Toshiro Mifune.
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pcd:Akira Kurosawa
rue:Акіра Куросава

subset: commoncrawl


text:
2012 update! Syd & Rex
Ibiza menswear label Syd & Rex encapsulates the soul of Ibiza and all those kindred spirits who flock here – dubbed the Brotherhood of the Balearic Beat by founder Nick Adcock. In 2012, retail therapy comes via the new Syd & Rex Concept Shop in Can Bellotera (KM1,7), a beachside pop-up shop at El Chiringuito on Es Cavallet, or straight off the racks at reVOLVER, Ushuaïa, Atzaró, Aura, Baron, Jockey Club, Ex Xarcu and Beso Beach Club in Formentera.
If you can't wait until touching down in Ibiza for your Syd & Rex fix however, you may simply order via their online store and have a slice of Balearic life delivered directly to your door anywhere in the world!
Read the full article about Syd & Rex on White Ibiza


text:
Snap Design is a small studio with a comprehensive approach.
Good design emerges when we edit ideas and refine details.
In the end, we say: "It's clear-- this wouldn't work as well any other way.''
At Snap Design, we use a flexible design process to make elegant, functional products and spaces. We are detailed in our market analysis and communication with clients. AJ Kassenaar provides the scope of 20 years as an industrial and interior designer, and the contemporary context that comes from teaching at Boston's Wentworth Institute of Technology. Her work has included Cuisinart blenders, Crate&Barrel furniture, energy-saving storm windows and commercial and residential interiors.


text:
|Managing Resource Conservation: Socio-Ecological and Economic Aspects
Сотник І.М. Управління ресурсозбереженням: соціо-еколого-економічні аспекти: монографія / І.М. Сотник. -- Суми: Вид-во СумДУ, 2010. -- 499 с.
The monograph, which is the result of research carried out at SSU, systematically stated the theoretical, methodological with scientific and methodical aspects of the complex self-reproductive ecological-economic mechanism of resource saving management. Socio-economic, political, environmental prerequisites are studied with the state of resource-saving activities development in developed countries and Ukraine, theoretical background of resource-saving is deepened. Scientific and methodical approaches are developed for the assessment of socio-ecological-economic efficiency and motivation of resource saving measures. Methodological approaches are suggested for the ecological and economic mechanism formation of the resource saving management. Theoretical and practical aspects are considered for the creation of multi-level socio-ecological-economic monitoring system of resource saving processes. Scientific and methodical bases are improved for the organizational and economic administration of resource saving at different levels of management.
The monograph is aimed for experts in resource saving processes management in the economy, teachers, post-graduates and students of environmental and economic specialties.
The language is Ukrainian


text:
Maya Amestoy Lets Us In On Her JVHS Experience
Maya Amestoy, 19, is currently in her second year at Ryerson University, studying for her undergraduate degree in psychology. In 2016, she took JVHS's Philosophy: Questions and Theories course. Maya took the time to discuss her experience with JVHS.
Miriam: Why did you decide to take the philosophy course with JVHS?
Maya: When I decided to take the JVHS philosophy course, I thought it would be an interesting way to improve on my critical thinking skills and overall knowledge in philosophy. Also, although most high schools do provide an option to take philosophy courses, none would have been as relatable to me as this one due to its connection to Judaism.
Miriam: What kind of exposure have you had learning about your Jewish heritage in the past?
Maya: My exposure to Jewish heritage is somewhat limited. For the most part, I have learned most of what I know from my mom or grandparents. Moreover, in grade 12, I was enrolled in a Jewish studies course at my high school, which really gave me a lot of information about Judaism and what it means to be Jewish.
Miriam: Why was it important for you to take a philosophy course that included Jewish content?
Maya: Having the opportunity to learn about Judaism is an opportunity no one should miss. This class allowed me to learn interesting aspects of Judaism within a philosophical context. I believe that it is common for many young Jews like me to forget their roots and their religion and so when I realized that JVHS was an option, I didn't hesitate to enroll. I knew it would be interesting and something I would really enjoy.
Miriam: What were the benefits of taking a course online versus classroom learning?
Maya: Having this course online was very convenient! Learning online allowed me to engage in the lectures whenever was best for me. It also allowed me to complete assignments and tests in the comfort of my own home. As someone who gets a little anxious when writing a test, having the ability to write in my room at my own desk allowed me to stay calm and not freak out before writing.
Miriam: How would you rate the course in terms of how it was organized, the accessibility of the course supervisor, and the process of evaluation?
Maya: This course was organized perfectly with each lesson being outlined and each subtopic having its own heading and column. If we needed any further clarification, our teacher was easily accessible and always more than happy to help. For our assignment and tests, the instructions were outlined clearly and we always got feedback; this feedback was especially important to me since it allowed me to improve my grades for the next test. Everything I was tested on was covered in my notes; I never wrote a test where I found myself not remembering learning something.
Miriam: What did you think of the course's content?
Maya: I really enjoyed the content. This course provided me with all the information I was hoping to gain in my first philosophy course. Even if someone is not interested in philosophy or thinks they will not understand the content, they should reconsider their assumptions: I found that I was able to apply the information from this course to the real world. I have actually carried the knowledge with me throughout my university experience. I would definitely recommend this course to anyone interested in taking an online course.
Miriam: How has your understanding of your Jewish identity changed as a result of the course?
Maya: Prior to this course, I was knowledgeable about the facts of Judaism – the history of Israel, the history of our holidays, what is kosher. However, this course opened my eyes to a different side of Judaism, to the spiritual side, to the unanswered questions that are still up for debate today. This course really increased my knowledge of my Jewish identity in a way that no one prior to this course had.
To register to a JVHS course, please click here.


text: love2fishhave2work 0 Report post Posted October 11, 2008 Went out on Simcoe today and had a remarkable day. Boated nearly 100 perch, kept a dozen including this guy. By far the biggest perch I ever caught. Measured over 1 ft in length and 22 cm in girth. Most perch were in the 8-9 inch area but caught at least a dozen over 10 CM. When I got home, I noticed the big guy was tagged. Anyone know what I should do with it? Quote Share this post Link to post Share on other sites


text:
If someone can refer me to a good tutorial on Windows 7 small office networking/sharing/workgroups/homegroups that would be helpful for me.
In our office we have just 3 user computers interconnected (by cables) by a wireless router which is, in turn, connected to a cable modem for internet connectivity.
One of the computers acts as a "server" on which is stored the office data files. All 3 computers access these files.
The problems arise, in large part, because I don't understand what the designers were thinking when they created the concepts of workgroups and homegroups as it relates to sharing of files/folders and how that relates to the creation of individual user login profiles on just one computer vs. more than one computer; i.e. creating a user login profile on the "server" computer for users on the other two computers.
I have established a workgroup rather than a homegroup on the network. I think.
I'd like to feel confident about configuring this minimal network and feel is was bulletproof.
The real problem today is that one of the two non-server computers, out of the blue, is losing access to what are shared folders on the server. The problem is corrected by rebooting the server and problematic user computer.
Q: What could be causing this loss of access?
As an aside: although we have had such issues in the past, I do note that the server had some Windows updates added the night before these issues arose most recently.


text:
Bob Behrens retires after 35 years at UM-Dearborn
Robert Behrens will trade in his office in the Administration Building for the sandy beaches and scenic coastlines of Sarasota, Florida when he retires from UM-Dearborn at the end of the month.
Behrens, who has served as vice chancellor for business affairs since 1985, will retire on March 1 after 35 years with the campus.
A reception will be held from 2 to 5 p.m. on Thursday, Feb. 24 at the Henry Ford Estate with a formal program set for 3 p.m. Those wishing to attend the reception should RSVP at webapps.umd.umich.edu/eventsignup/.
Serving four different chancellors, Behrens was vice chancellor for business affairs during a time of tremendous growth of campus facilities, programs and enrollment.
"Bob has provided solid leadership and impeccable integrity during a period of time when state resources were steadily declining and campus aspirations were rising," wrote Chancellor Daniel Little in an e-mail to the campus about Behrens' retirement. "He leaves the University in a strong financial position and with a strong staff in place to continue the work of business affairs. Like many others on the campus, I feel a tremendous debt of gratitude to Bob for his steady, wise stewardship of the University's resources and plans."
Behrens began his U-M career on the Ann Arbor campus in 1970, where he joined the financial services staff following his graduation from Western Michigan University. He subsequently held a number of positions with increasing responsibility on the Ann Arbor campus before coming to the Dearborn campus as assistant director of financial services in 1976 and becoming director of that office the following year. Behrens was appointed vice chancellor for business affairs after serving as interim vice chancellor for 10 months.
Highlights of Behren's career include helping to acquire the Fairlane Center—a facility of two connected buildings with approximately 318,000 gross square feet on approximately 30 acres with 1,000 parking spaces--from Ford Motor Company in 2003, and helping negotiate the transfer of ownership of the Henry Ford Estate, a decision that was difficult but best for the campus and the national historical landmark in the long-run, according to Behrens.
But it's his administrative legacy that will always be a part of this campus and is an element of his career he's most proud of. "I'm delighted the campus has been on solid financial footing during my years here," Behrens said. "I'm happy to have played a part in that along with Robert Gassel and his team."
Behrens will begin his retirement by heading to Florida, where he and his wife plan to escape the Michigan winters, traveling up to Michigan in the summer months to enjoy quality time with their three sons and their families.


text:
The Path to Norman
Marquis Hayes knew that Norman was the right place for him very quickly. He was offered in July, 2016 and committed within the week. TFB's own JY wrote a spotlight on the Missouri native shortly after the commitment: TFB: Marquis Hayes Spotlight. Hayes played a big part in the recruitment of fellow Missouri native Ronnie Perkins.
Career so Far
Hayes took a redshirt season in 2017. In 2018, he appeared in 3 games in a reserve role at guard.
Current Profile
Position: OL
Height: 6'5"
Weight: 332
Year: Redshirt Sophomore
2019 Season
Hayes got leaner this offseason, coming in 15 pounds lighter than last spring. He got reps all over the line this spring (besides center), with praise for his good feet and pass-blocking ability. Eventually, he settled into the guard spot with Tyrese Robinson as the two presumed starters. They can't get too comfortable, however, as there is plenty of competition across the line. This unit, while all new starters outside of Creed Humphrey, is ultra-talented, big, and versatile. While it will be tough to live up to last year's unit, Coach Bedenbaugh has created a pipeline of reloading on the offensive line at OU; Hayes gets to be part of that this season.


text: PARTNER SOLUTION NOTE The Convergence of Security and IT: Video Surveillance at Scale Traditional video surveillance technology has included DVR or NVR-based appliances as well as analog cameras in an outdated architecture approach. With the growth of large-scale systems comprised of hundreds or thousands of cameras and increasing use of high-definition video, these traditional approaches have significant challenges. Customers using these architectures often experience pain-points related to limited scaling, capacity constraints and overall system performance issues. Managing these systems, especially in large-scale environments, is extremely complex. With recent advances in computing power and IP/telecommunications technology, it is becoming easier to deploy video surveillance at scale that is flexible, scalable, open, and future-proof. Flexible – It needs to be easy to deploy, manage, and operate with additions and changes to the environment. Scalability – The video surveillance system needs to scale as cameras, users, and longer retention are added. . Open - It needs to be IP-based, non-proprietary or a closed architecture. Future Proof - Unlike a traditional video surveillance approach that requires proprietary upgrades, an IP-based open architecture combats against costly and timely migrations – allowing the staff to focus on security rather than the technology enabling it. Isilon storage solutions are tested and certified with leading video management software (VMS) vendors at the EMC eLab, renowned for conducting rigorous interoperability testing. EMC Isilon scale-out storage offers unmatched simplicity and ease of use, massive scalability and the world's fastest NAS performance. We provide end-to-end data protection and security options that help you protect your video surveillance data with confidence. Our solutions are also highly efficient to help you reduce both OpEx and CapEx costs. >> Ease of Use – Isilon storage systems are simple to install, manage, and scale at virtually any size. >> Massive Scalability – With Isilon, you can have unimaginable room for your video surveillance data storage needs from 18 TBs to over 40 PBs of capacity per cluster. >> Unmatched Efficiency – Achieve up to 80% storage utilization efficiency to drive down storage costs and reduce your datacenter footprint. >> Proven Solution - Our joint solutions with VMS vendors are tested and certified at the EMC eLab, renowned for conducting rigorous interoperability testing – providing up-front expectations** Why network video? > Superior image quality > Remote accessibility > Easy, future-proof integration > Scalability and flexibility >Cost-effective > Distributed intelligence > Proven technology Why Axis? Technology Specifications: Ideal for video surveillance deployments at scale, EMC Isilon are simple to use and allow customers to add storage to existing environments without disrupting surveillance operations. Key elements of an EMC Isilon storage solution for Video Surveillance are likely to include: > Isilon X-Series platform nodes: Our most flexible and comprehensive storage product line, strikes the right balance between large capacity and high-performance. > Isilon NL-Series platform nodes: Designed to provide cost-effective, highly scalable nearline storage. The NL-Series combines high density and efficiency, with massive capacity capabilities and is an ideal data archive platform. > EMC services and support: Quickly and expertly help companies plan and implement their Isilon scale-out NAS for video surveillance data. EMC Isilon has teamed with industry-leading video management software (VMS) vendors and Axis to provide proven, end-to-end solutions designed to address your surveillance, security, data storage needs. Our joint solutions are tested and certified at the EMC eLab, renowned for conducting rigorous interoperability testing. This means that your organization can focus on video surveillance and not the technology enabling it. Isilon scale-out NAS can integrate and manage surveillance data from a wide range of sources and provide a highly scalable and efficient storage solution that is ideally suited to meeting the challenges of storing, analyzing, and managing massive amounts of surveillance video. ©2013 Axis Communications AB. AXIS COMMUNICATIONS, AXIS, ETRAX, ARTPEC and VAPIX are registered trademarks or trademark applications of Axis AB in various jurisdictions. All other company names and products are trademarks or registered trademarks of their respective companies. We reserve the right to introduce modifications without notice. > Worldwide #1 in network video, the world's leading expert > Proven installations across all continents > Broadest product portfolio in the industry > The largest installed base of network video products > Over 25 years of networking excellence Get the Axis picture. Stay one step ahead. EMC Isilon, is the global leader in scale-out storage. We deliver powerful yet simple solutions for enterprises that want to manage their data, not their storage. Isilon's products are simple to install, manage and scale, at any size. Learn what we mean at www.emc.com/Isilon. 53423/EN/R1/1308 www.axis.com


text:
Jason Jam is pretty darn creative. When it snows, he makes a snowman in his front yard on Yellowstone Avenue, and it's no ordinary Frosty. After rounding up all the snow in the area recently, he carved a garish face into the mound, one with a jutting nose, giant ears and protruding buck teeth.
At Halloween, he has just as much fun carving fantastic faces into pumpkins. Jam's seasonal creations are a product of his active imagination, one that has been running wild since he was a kid.
To channel and prompt such imaginative thoughts, every two years Jam challenges himself to create 100 drawings in 100 days, something he began in 2009. He describes the project as an "idea catcher."
"Throughout the day, you have ideas, and they escape, like dreams," Jam said. Yet, grabbing an idea, even just once a day, and running with it, has been fruitful for the cartoonist who also works as an illustrator and video game designer.
Jam grew up in Ryegate and his family moved to Billings when he was 13. As a child, he idolized western artists like C.M. Russell and Frederic Remington.
"Charlie Russell made Montana stand out," Jam recalled. "He made Montana an extra special place because of the way he painted it. He was so proud of Montana that he brought it to the world."
Jam also followed Stan Lynde's work and his western comic strip, Rick O'Shay. "The way both artists were able to create their images in such a beautiful manner, time after time after time, required a skill. I've always wanted to be able to do that."
Jam's upbringing was centered on art. His dad was a painter and potter and taught art in junior high and high school. His mother had a comic strip in the local newspaper, "Life in a Jam Jar," based on the family's lives.
Creative diligence was valued in the Jam family, and when an art teacher in high school introduced Jam to dip pens and ink drawing, he found his medium. Other art forms, like painting, had so many barriers of material.
"That was all I could afford as a young person, and that's all I wanted to do anyway, was just draw," Jam said.
Within the past seven years, Jam has started working in watercolor, oils and landscape painting, but his primary form of expression is through comics. Many of Jam's recent drawings combine western mythology with the supernatural, a merging of his favorite art forms: western art, comics, science fiction and horror.
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Jam said he's always been drawn to fantasy art because of its realism paired with abstraction. Similarly, western art appeals to his sensibilities because of the romanticism it contains.
"It's the romantic idea of what the Wild West was," Jam said. By joining the two, he's able to be both a realist with the abstraction of fantasy.
Jam said he looks forward to drawing daily, and describes 100 drawings in 100 days as a personal challenge. "I'm creating for me, and I'm also creating for the people that like my creations. They just give me so much enjoyment when I'm creating them. And I love entertaining people with the drawings."
Jam is drawn to the quick turn and the constant newness. "That is why the 100 drawings is very satisfying for me, because I get bored very quickly with what I'm working on."
What began as a series of character sketches now seems to tell more of a story, ideas Jam said can be built upon for comic books and longer stories. He carries the drawings around with him in a Ziploc — they're 4" x 6" — and in mass they're a stack of joyful accomplishments.
Some of these drawings Jam describes as "clunkers," but he never restarts a drawing. "They take a couple hours, and if you're second guessing your idea and trying to make it the best, then that idea is dead in the first place."
So, how many duds does he create? "I don't tell," he said. "I let the audience decide. What I think is a crappy one might be someone's favorite."
Photos: A selection of Jason Jam's 100 drawings in 100 days
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text:
[Verse 1]
There's a specter in the corner of an illustrated page
And a lonesome muted stripling with a rapt remedial gaze
The poverty of his language and the wealth of his emotion
Bring him endless murky musings and unexpected frustration
Angst and madness weave the fabric of his life
Tomorrow might be better but right now it feels like
[Verse 2]
There's a panther wild and proud behind the doors of a redolent cage
And an underdeveloped intellect filled with impotent and static rage
And don't think you're exempt if you earn good weekly wages
Cause your neighbor's going crazy and insanity's contagious
I know there's so much you want to say
But your tongue gets in the way and sometimes it feels like
[Verse 3]
I know there's so much you want to say
And the tumbrel of your mind gets in the way
It's the same for everybody to degrees
We all get that foggy freeze and sometimes it feels like
One of the bands' more conceptual songs.
Still ripe with heavy verbiage, the band creates a discordant cacophony in lieu of what cannot be said. This unsatisfied and inexpressible feeling is also summed up in "Incomplete"


text:
The 2 seaside holiday lodges and log cabins available in Adriatic are well suited for a range of beach holidays. The self catering holidays available to book offer larger lodges or log cabins can be perfect for groups or large family getaways. Whereas the smaller more intimate lodges are perfect for couples wanting a little respite from the day to day stesses. The lodges in Adriatic are ideally placed depending on your requirements, the speficifaction of these luxury lodges will provide a perfect comfortable base for any holiday in Adriatic..
Portofelice Camping Village on the Adriatic coast is packed with fun. Experience direct access to a private sandy beach, ideally located for day trips to Venice and the park has its own mini mall and bazaar. Portofelice Camping Village is in Eraclea Mare and is close to the beach..
Check Availability and Book Now
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An authentic, typically Italian parc with a great location close to a broad sandy beach and with Roman Ravenna's mosaics and museums on the doorstep. Why not round off lazy days beside the pool or beach with an evening stroll into town for a cappuccino or gelato. Kids will love a day out at Mirabialandia theme park near Rimini.. Adriano is in Punta Marina Terme and is close to the beach..
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text:
Design & Materials
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text:
Windows is a supportable operating system for your PC and laptop. It offers a smooth and classic experience for the general user to do their task. However, everything in the world has the limitations, and the same thing applies to the windows platform. You can see the driver_irql_not_less_or_equal error on windows 10 or windows 8/8.1 mainly.
Some people also called it BSOD (Blue Screen Of Death) that is a problem that can cause due to some damage in hardware or software.
I am the best person to give you detailed description ans solutions regarding this problem due to I face it two times in the last 2 yrs. In that time of BSOD, I got every small detail regarding this error message and what can you do to back your system from it.
Solutions For driver_irql_not_less_or_equal
There are two things I face one is the hardware issue and second. It occurs due to some software or virus problem. So, I will tell you that what you can do when you have the software problem and what for the hardware issue.
1. Check Your Drivers
If you are the computer is holding the screen for some time and not restarting, again and again, you can follow this method. You need to update and reinstall some drivers that are causing the issues. It is the first way that you need to counter for For driver_irql_not_less_or_equal.
1) Update or Reinstall Network Adapter
As you know, In windows we have different adapter or drivers to work our operating system for a special kind of hardware. You can reinstall it or update the pre-installed adapter to get rid of the driver irql_less_or_not_equal issue. To do this task, you require some instructions that I will write in the lower part.
Also Read: Confirm Form Resubmission – Solutions To The chrome Error
1) Hold the Window + X key, and you can see a list of option will appear on the left side of the screen.
2) Press the tab with text "Device Manager" from this list of settings.
3) Now left click on the "Network Adapter" term and after that, you can see a long list of adapters that are supporting your system.
4) Choose the Adapter that contains the word "wireless" and double-click on it to know the details of it.
5) Remove it by using the action button from the device manager window and after that download it again and install it into the system.
6) Before uninstalling, always remember the details regarding the adapter, so you can find it online and fix it.
2) Reinstall Audio Driver And others
As you can see the adapters and drivers name into the list of device managers, you can reinstall some them that you think are causing the issue or error. Mainly, I update all drivers that I can or reinstall some network, monitors and sound adapters to refresh them.
If you do it in the right manner, then it can remove the driver irql not less or equal cause and can make free your system from it. To install or uninstall any driver or adapter, use the options available in the header of the device manager settings and follow the above process.
2. Fix irql not less or equal Using Event Viewer
If your error is still there, then there is no issue regarding the drivers, and now you need to find the cause that was affecting your system. It can be any application or software that has any bug or virus with it. To check the problem, you need to find that bug that is causing the problem driver irql_less_or_not_equal on your system.
To error and logs check, windows created a User interface app with the name event viewer to find the bugs on the running system. Search the "event viewer" into the windows search and press the right click on the icon to open this window in your order.
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Now you can see a window with many log options and system reports. Click on the "Summary of administrative events" button to check all events that happen with your system in last seven days.
Select the event types like critical, error, warning and others. You can check any item or check the warning cause that is appearing on your screen. It is a better tool to get the idea behind the problem.
3. Anti Virus Or Firewall Tools
If you are using the window firewall, then do not try anything new or go to the next solution. In case, some people install external software like a firewall tool to protect their system.
It will backfire for some settings of windows, and that also create this kind of error on your system screen. Check control panel to know about any external firewall, if you acquire any then uninstall it and restart the local firewall.
Some time free antivirus software also start this error driver_irql_not_less_or_equal on any systems. If you keep something outdated or crack version, then uninstall it instantly and try some dedicated uninstaller software to obliterate it from your system.
4. Reset Your Windows
If any virus or corrupted file is settled into your system and you can able to remove it from the operating system, then you need to try windows reset. If you are using original windows 10 or 8 with the key, you can easily resent yous system that will help you to remove the bugs from your OS.
After the reset, your system will become a fresh operating system and all software will remove from the system. Please ensure that before going to this step that you can lose some of your favourable steps.
Read About: Use bit.ly/getbuildpin To Install kodi Ares Wizard
To reset the windows, please check these steps that I am going to write about after this line.
1) Open the settings in windows 10.
2) After that click on the update and security button.
3) Now choose the recovery tab from the left pane of the screen.
4) Select the button available in "Reset This PC" option. Now press gets started and follow the other instructions according to the demand.
5. Install The OS Again or Use Recovery
The last methods only work In case your system is showing the driver_irql_not_less_or_equal error after a 1 hour plus period. If your order is restarting again and again, then you can not use any of the above paths. If you can not open any properties of your window platform, then it is pointing towards a critical issue with your system.
I face this issue, so I know how it feels and how to resolve it efficiently by using these methods. Now, the first step you need to reinstall the OS or try its recovery option.
Now you can not go into the OS to reset it, so go to near service centre that can install any OS again on your system. You need first to try it because if driver irql not less or equal is occurring due to the virus attack, then you can get rid off it by paying a little amount to the vendor.
6. Hard disk or Ram
If your OS is not installing on your system and after starting your screen is showing this error again, and again then you need to move towards the hardware. In the case of OS, if the operating system is not loading on your system or you are not able to install it then now you can go on the one way.
When we run the operating system, it loads a file from hard disk to RAM and then it will start. So, these two things can have the problem or remember that your system hit anything past physically or any damage occurs near to it.
Remove the RAM first then test it with the new the same thing will do with HArd DIsk. To do such kind of operation, take help from any nearby shop or service centre.
After the process, I think you will get your answers what the problem with your system is.
7. Overclocking Tool And VPN
There are two extra things that you need to check before sum up all the things related to the issue of driver irql_less_or_not_equal. If you are using any VPN software, then please uninstall or remove it from the system for some time then check the error is now occurring or not.
If the answer no then adds the new version of the VPN with the different setting to the previous version(mainly do not block the setting that is connected to windows OS).
Overclocking tool is used to increase the efficiency of our Hardware's that are running with our operating system. Check for overclocking tools that are installed on your system, remove them and check that now you are getting the same error driver irql not less or equal on your screen or not.
If you problem is not solving then try the Microsoft community to fix the error.
This error can appear due to various reasons that I stat above the fix of driver_irql_not_less_or_equal. It would be best if you tried all the options according to the demand and conditions of your system.
If you live my way of writing and the methods that I shared across this guide, then please share it with other people. Thanks for reading my words!


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Is CNN guilty of blackmail against the Reddit user who created the viral GIF of Donald Trump attacking a mock CNN reporter?
The internet seems to think so.
The term #CNNBlackmail became a trending term on Twitter in the early morning hours on Wednesday after the cable news outlet tracked down the person responsible for using some creative editing to turn Donald Trump's appearance on the WWE into a slam against CNN.
The incident started earlier in the week, when a Reddit user who went by HanA**holeSolo created a gif of Trump attacking someone with a CNN logo for a head. Trump himself then tweeted the GIF, leading to criticism that he was promoting violence against journalists.
At the same time, many began looking into the posting history of HanA**holeSolo and found a number of racist and anti-Semitic images. A CNN investigation ultimately uncovered the person's real-life identity.
"Using identifying information that HanA**holeSolo posted on Reddit, [CNN's] KFile was able to determine key biographical details, to find the man's name using a Facebook search and ultimately corroborate details he had made available on Reddit," a CNN report noted.
The Reddit user then deleted all previous comments and wrote a lengthy apology.
"The meme was created purely as satire, it was not meant to be a call to violence against CNN or any other news affiliation," he wrote.
"I had no idea anyone would take it and put sound to it and then have it put up on the President's Twitter feed. It was a prank, nothing more."
The CNN report added that the man behind HanA**hole*Solo then called the network, confirming his identity and saying he was nervous about the consequences being outed could have for himself and his family. The network complied with this request but also appeared to issue a warning to the man and to others who might exhibit the same behavior online.
"CNN is not publishing HanA**holeSolo's name because he is a private citizen who has issued an extensive statement of apology, showed his remorse by saying he has taken down all his offending posts, and because he said he is not going to repeat this ugly behavior on social media again. In addition, he said his statement could serve as an example to others not to do the same."
"CNN reserves the right to publish his identity should any of that change."
But that warning to expose the Reddit user's identity itself led to controversy, and many people took to social media to voice their displeasure with the network. The term CNN Blackmail was trending across social media, with many noting the network's apparent hypocrisy for using anonymous sources in their own reporting.
You never take on the internet, specially Reddit. CNN apparently thought this was a good decision. Ha good luck #CNNBlackmail— Nick Short ???????? (@PoliticalShort) July 5, 2017
CNN can threaten to dox private citizens' information, but won't reveal their anonymous sources in news tips. #CNNBlackMail— #ThePersistence (@ScottPresler) July 5, 2017
This is not the first bit of controversy that CNN has found this week. Earlier, the network reported on a story claiming that the Trump White House threatened MSNBC hosts Joe Scarborough and Mika Brzezinski to release a hit piece in the National Enquirer if they did not issue an apology to Trump. But as the New York Post discovered, the image of National Enquirer cover used during the segment was one that never actually existed.
"The cover — which has the headline 'Heidi Cruz: Betrayed by Cheating Husband!' and promised details on a 'sordid threesome, sleazy love letters and sensational photo proof' — has never appeared on the National Enquirer, according to sources at the magazine," the report noted.
"It seems that it may have been created as clickbait."
#CNNBlackmail is Number One! pic.twitter.com/icusquYqoH— Jack Posobiec ???????? (@JackPosobiec) July 5, 2017
#CNNBlackmail is actually pretty accurate here. https://t.co/gJU7qBdUGO— Ben Shapiro (@benshapiro) July 5, 2017
And the bad publicity seems to continue for the network. In the early morning on Wednesday, the CNN Blackmail term had reached the very top of Twitter.
[Featured Image by Mario Tama/Getty Images]


text:
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Milano Cape is crafted in sporty, waterproof, lightweight fabric. Modern and stylish, it is embellished with metal zipper and a flap that fastens with a hand sewn decorative clasp. The zip-up silhouette is a luxurious addition to your spring/summer and early autumn ensemble. It will work perfectly on those late night outdoor hang outs with friends and will make you look good at the same time.
More details
- Length (front): 93cm
- Length (back): 109cm
- Sleeve length: 40cm
- Collar height: 7cm
- Zipper length: 65cm
- Size: U
- Composition: 100% polyester
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- Designer's logo – a circle sewn on by hand.
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|Developer: AnvSoft Inc.
|OS: Windows
|License: Freeware
|Size: 60MB
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text:
In an era where a popular mall store is selling padded swimsuits for girls as young as eight years old and the little sister of Miley Cyrus plans to launch a heavily-criticized risqué clothing line for her peers, it's unsurprising--yet no less disturbing--that one third of clothes designer for young girls is considered "sexy," according to a new study.
According to this story in UPI (which we discovered via Jezebel), "Samantha Goodin, a former Kenyon College student, and a research team led by Dr. Sarah Murnen, a professor of psychology at Kenyon College examined the frequency and nature of sexualizing clothing available for young girls -- children, not adolescents -- on the Web sites of 15 popular U.S. stores. The study, published in the journal Sex Roles, finds of the 5,666 clothing items studied, 69 percent of the clothing had only childlike characteristics. Of the remaining 31 percent, 4 percent had only sexualized characteristics, 25 percent had both sexualizing and childlike features and 4 percent had neither sexualized nor childlike elements."
Exactly how these clothes come across as "sexy" is even more upsetting: "Sexualization occurred most frequently emphasizing the look of breasts, or attention to the buttocks, the researchers say." When girls learn from such a young age that their bodies are meant to be on display--and judged by others for their physical attractiveness--it creates a dangerous culture where we become objectified, and where value is placed on undeniably superficial traits. It's also scary to think that the young girls wearing these "sexy" clothes have no idea what they actually signify (ie, an outward expression of sexuality), so they'll likely be unable to understand, now or at a later age, what implications those clothes may carry and how important it is to maintain some privacy for yourself and someone you choose to share your body with.
You can read the full story now over at UPI, and then weigh in. What do you make of this very upsetting statistic? Do you think young girls are dressing way too old for their age? Do any of you have daughters whose wardrobes you worry about getting too sophisticated? Discuss.


text:
CRC Press
305 pages
Optimal Control for Chemical Engineers gives a detailed treatment of optimal control theory that enables readers to formulate and solve optimal control problems. With a strong emphasis on problem solving, the book provides all the necessary mathematical analyses and derivations of important results, including multiplier theorems and Pontryagin's pr
Introduction. Fundamental Concepts. Optimality in Optimal Control Problems. Lagrange Multipliers. Pontryagin's Minimum Principle. Different Types of Optimal Control Problems. Numerical Solution of Optimal Control Problems. Optimal Periodic Control. Mathematical Review. Index.


text:
|Accommodation Hotels, Resorts, Villas Questions and Info
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|10 May 19, 01:11 AM
Dibbing with Tink
CBR Downgrade from Pirate to Standard?
We booked a pirate room at CBR to get the free dining, before they added standard rooms - it was a price we were happy to pay and we just wanted to secure the holiday. Now wondering whether we should save ourselves around £500 (after amendment fee) to switch to a standard room.
These are my thoughts. What would you do? Any recent experience to help me make my decision?
Against pirate room:
*Distance from main building (not sure exactly what this is. I walk just over a mile to work every day in about 15 mins, so Im thinking about a mile from what Ive read? This would mainly be an issue for accessing main pool.)
*Poor reviews for location and mattress comfort.
*Double beds, which I believe are smaller than U.K. doubles? Would prefer queen.
*Poor reviews for bus links
*Extra cost
For pirate room:
*Spyglass Grill would mean no need to trek to main building for breakfast.
*Seems to have better reviews since refurbishment. Perhaps mattresses have been replaced?
*Children dont know about holiday, but have seen and exclaimed over pictures of pirate rooms.
*Skyliner station appears to be just over a bridge at edge of Jamaica, so not too far?
*Reviews saying that bus links are managed better now.
*Its already booked, so saves the hassle of changing booking and losing amendment fee.
*I just dont like the look of the standard rooms. Im not very sophisticated, so the pirate theming has much more appeal!
WDW Nov 1988/DLP HC Aug 2016/DLPDLHDec 2017/DLP SF May-Jun 2018/WDW BC Aug 2020
Edited at 01:12 AM.
|10 May 19, 08:01 AM
VIP Dibber
if you prefer the pirate rooms and can afford the extra just stick with them.
|10 May 19, 08:13 AM
VIP Dibber
I think I would stick with the Pirate room, they look great especially for the kids. Im torn whether I should change to the Pirate room purely based on the look of them. We booked the 5th sleeper my youngest really likes the Murphy bed so thats my argument if they say they wished they were in a Pirate room!
|10 May 19, 09:13 AM
VIP Dibber
We were 'upgraded' to a pirate room when we were there on a late deal as no one wanted them & I have to say I would have preferred to be 'upgraded' to a standard room. Everyone round us had been 'upgraded' as part of the area was empty. If you have kids n they into pirates & you dont need to spend the money on other things then go for it but it's the rooms furthest from everything other than your quiet pool & laundry. Quiet pool was lovely & just us in it a lot of days. The 15/20 min walk to the main pool n food court was fine when it wasn't too hot but not so good in the 90's. The worse aspect for us, who like to be up n out early was the bus'es. There were (probably still are?) 8 stops & quite a few mornings people in our area were late for their ADR's due to busses not turning up or coming in full n not stopping. There were a lot if complaints so that may have been sorted out now.
Obviously if we got a good enough late deal again there sometime we would hope for a standard rather than Pirate room - I certainly would never pay for one tho.
The Wizard
|10 May 19, 11:04 AM
Hi Elodie,
I think there are pros & cons for all the rooms really.
If you prefer the look of the Pirate rooms & think your kids will love the room, I'd stick with it.
I wouldn't rush into anything just yet if I were you.
Like you say Pirate rooms will be quite close to the Skyliner, but not too close to cause any noise or disturbance with people walking to/from the Skyliner.
There are only 6 bus stops now at CBR and Trinidad where the Pirate rooms are is 4th stop.
When I last walked from Old Port Royal(the main building) to Pirate rooms it took 10 minutes or so, guess it depends on your pace & how hot it is.
Some of the standard rooms in Aruba can take almost 10 minutes to get to OPR too.
|10 May 19, 11:19 AM
Excited about Disney
Join Date: Jan 06
Exactly the same as us; booked a pirate room to make sure we got CBR.
I have though taken the £50 amendment fee hit and changed to a standard now they've been released. No-one was able to tell me what about the pirate room justifies ~£50 extra a night, and everything I was able to find was a negative to me; further from the facilities, smaller beds, etc.
|10 May 19, 11:56 AM
slightly serious Dibber
As long as the size of the beds/extra cost isn't a deal breaker I think I stay with it. Proximity to the spyglass grill and skylines will help. Lots quiets pools if you don't want to trek to the main pool. The kids faces will probable be worth every penny.
|10 May 19, 12:47 PM
Thread Starter
Dibbing with Tink
Thanks for all your thoughts. I think Id feel a bit disappointed on the girls behalf (especially my pirate-mad youngest) if we changed, and I wouldnt be looking forward to it quite so much.
I could come to regret it with the size of the beds, but hopefully well manage. I dont think the distance to the main pool is too much of a worry - well be visiting the water parks anyway, so we can use the small pool for a quick splash around, and just do the main pool once or twice.
Pretty sure Ive talked myself out of switching!
WDW Nov 1988/DLP HC Aug 2016/DLPDLHDec 2017/DLP SF May-Jun 2018/WDW BC Aug 2020
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Texas A&M Aggies White Riddell Speed Mini Football Helmet
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