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Raising the bar for your desktop movie experience, X3 comes packed full of features that promises the best cinematic experience at home, regardless of your preference for speakers or headphones. It is the world's first external multi-channel USB DAC and Amp to feature our award-winning Super X-Fi technology, as well as 7.1 discrete surround on speakers, 7.1 virtual surround on headphones, and Dolby Digital Live1. Coupled with high-quality audio components that power hi-res 32-bit / 192 kHz playback at 115 dB DNR / SNR, you can be sure that audio is delivered with studio-level precision and clarity.
And when it comes to versatility, the X3 is unmatched. Featuring a myriad of connectivity options including a USB-C port, Optical-out, and Line-in that makes it compatible with most audio devices, X3 is set to redefine your movie experience at the comfort of your home.
1Dolby Digital Live is only available on Windows.
Introducing the world's first external USB DAC and Amp sound card to house the Super X-Fi technology, Sound Blaster X3 redefines your movie experience on PC, Mac and even PlayStation 4.
Critically-acclaimed by respected journalists all over the world and garnering 15 CES Best-of awards in 2019, the Super X-Fi technology captures the listening experience of a high-end multi-speaker system set up, and recreates the same expansive experience — with the same original depth, detail, realism, and immersiveness — in your headphones. Not simply a 3D surround technology, the power of Super X-Fi lies in its capability to recreate natural, realistic audio holography that matches your hearing profile, to deliver to you a full theatrical experience.
Imagine watching a film at home, putting on a pair of headphones, and feeling the audio move around you like the movie experience you get out of a real cinema. What's more, it works even on streamed content! Whether you're streaming the latest 4K movie off iTunes, or watching compressed clips off YouTube, the Super X-Fi processor in the X3 automatically transform videos into full-fledged, cinematic audio experience.
We can't physically bring you back to that last concert you've attended, but we can definitely help you relive the ambience and energy of that performance! When switched on, Super X-Fi brings you to the heart of a live concert with the same expanded soundstage as if you were there in person. Hear the crowd, feel the passion of your favorite band, and get absolutely pumped for the next concert.
Headphone fatigue? Thing of the past. With Super X-Fi, the expansive audio allows for extended sessions of podcast enjoyment without being too heavy on your ears.
For the casual gamer, Super X-Fi transforms all your headphone gaming content into a full-blown, immersive cinematic audio experience, especially suitable for role-playing games. Be transported into the thick of the action, and hear every gunfire and explosion all around you.
Step 2
Create your Super X-Fi profile via the SXFI App, select 'Personalize' via the menu tab, and follow the guided Head and Ear-Mapping process.
Step 3
On your PC or Mac, download the Sound Blaster Command Software.
Step 4
Load your Super X-Fi profile onto Sound Blaster X3 by logging onto your account (as registered in Step 1) on Sound Blaster Command software via the SXFI tab.
If you prefer the usual 7.1 virtual surround without headphone holography, X3 also supports up to 7.1 virtual surround for headphones.
That's not all — Sound Blaster X3 works beyond just headphones. With support for multi-channel audio output of up to 7.1 discrete surround in speakers for sound delivery that's distinctly positioned for that spatialized effect, you can instantly transform your room into a cinema theater — perfect for when you have friends over, or to impress that special someone during movie nights.
For Window users, there's also Dolby Digital Live1 for convenience of encoding any audio sources to multi-channel surround sound in real-time, all while transmitting data using only a single optical cable solution for decoding on a home theater system.
1Dolby Digital Live is only available on Windows.
Right out of the box, there are three specially-tuned EQ modes that are designed to enhance audio for different usages. Simply press the Mode button on X3 to cycle through the different modes — Music, Movies, and Footsteps Enhancer.
These EQ modes are also customizable so you can further tweak them to your liking, and save your preferred settings to each mode via the Sound Blaster Command software or mobile app.
|Mode 1 — Music
|Get instant bass enhancement to your current tune.
|Mode 2 — Movies
|Hear the characters dialogues clearly without compromising the background effects.
|Mode 3 — Footsteps Enhancer
|Bring your team to victory with that footsteps enhancer that allows you hear beyond what you see.
Find the perfect harmony between two audio sources with X3's Audio Balance feature — perfect for use during conference calls while listening to music or podcasts at the same time. X3's Volume Control Knob allows you to toggle your audio control between the SPDIF interface and speaker sources simply by turning the knob left to right, and vice versa.
You can also control the volume mix between your gaming audio and voice audio of your teammates to hear them better.
The X3 is highly versatile and compatible with many devices! Featuring a myriad of connectivity options, X3 is specially designed to be used with many platforms — you'll be spoilt for choice.
Hover over the devices to see how to connect it with the X3.
Analog Speaker System
Mobile device / Audio player
AV Receiver
PC / Mac / PS4 / Switch
1. Analog Speaker System
2. Mobile device / Audio player
3. AV Receiver
4. PC / Mac / PS4 / Switch
The Sound Blaster X3 features a 600Ω headphone amplifier that's capable of driving studio-grade headphones with ease. Coupled with 32-bit / 192 kHz playback, enjoy detailed audio with clarity and accuracy. Thanks to the extra power from the amp, you'll get a load more volume!
To further boost your audio experience with the X3, we've also included our industry-leading audio processing technologies — featuring Sound Blaster Acoustic Engine's full suite of audio enhancements and delivered through the redesigned Sound Blaster Command software.
Streamlined and optimized, it's now easier than ever to customize your audio quickly for your specific needs. When it comes to changing audio settings between movies, music, or even games, you can save and switch to your different profiles with just a simple click. The best part of the software? You can control every bit of it.
For more convenience, you can also manage Sound Blaster X3 from your mobile devices using wireless Bluetooth® Low Energy (BLE) via the Sound Blaster Command app. Without the hassle of switching between PC and console, you can customize and save EQ settings, switch between EQ and SXFI, or switch between Headphone and Speaker output — all the necessary controls on your mobile phone.
We have also summarized the features of X3 and their feature compatibility across platforms in this table.
Windows Desktop / Laptop
Mac OS
PlayStation 4
Nintendo Switch
*Via Sound Blaster Command app for Android and iOS devices.
Creative delivers a bevy of different sound options worth listening to with its latest external sound card that's worth it if you're tired of bad-sounding computer speakers.
4/5 Stars
Sound Blaster X3
Personally, I like the X3 a lot and in my opinion Creative Labs put together an excellent product and implemented it with precision. I say this because there were moments were I listened to specific sections of a movie long after what I needed to hear had past. The sound experience kept me engaged even when I was suppose to move on to something else. This is what good audio is about. Capturing and captivating you and not letting you go which is something you can not physically measure.
Sound Blaster X3
Sound pumped through the Sound Blaster X3 is greatly enhanced, especially with Hi-Res compared to merely using a motherboard line out port. It's also effortless to switch between EQ modes, toggling SXFI, and there's plenty of options in the Sound Blaster Command software. The X3 sounds great and will be a welcomed upgrade for those on basic or integrated solutions.
4/5 Stars
Sound Blaster X3
^ Use as a remote controller for Sound Blaster X3 on PS4 / Nintendo Switch only, does not support Bluetooth audio streaming
1-year Limited Hardware Warranty
WARNING: This product can expose you to chemicals including Lead, which are known to the State of California to cause cancer and birth defects or other reproductive harm.
For more information go to www.P65Warnings.ca.gov.
To meet the requirements of Proposition 65, it is our responsibility to notify consumers in the State of California that they can be exposed to chemicals that are known to cause cancer and/or reproductive toxicity. It does not mean that the product is in violation of any product-safety standards or requirements.
Audio Balance allows user to control and attenuate the output volume of 2 separate playback endpoints by turning the volume knob in a clockwise/anti-clockwise direction. The 2 playback endpoints on Sound Blaster X3 are Speakers and SPDIF Out respectively. Applying this concept, user can launch 2 different software with one output/playback its audio to Speakers and the other playback its audio to SPDIF Out.
User can apply such configuration in various scenarios such as listening to music while chatting with friends on a VoIP software, you will want to listen to the music and reduce the chat volume when the conversation is not of interest to you; or watching a movie while listening to a podcast; or when playing a FPS game with team mates when the game audio over-powers your team mates' chat volume, you will want to reduce the game audio so that you can hear your team mates' chat clearer, or vise-versa.
Super X-Fi is an audio technology that naturally recreates the sound stage of a high-end, multi speaker system. So, users can enjoy the maximum capability of Super X-Fi.
When Super X-Fi is turned on, the EQ modes will be switched off. Similarly, when the EQ mode is switched on, Super X-Fi will be switched off.


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One of the ongoing questions that we face is: "How to prune my crape myrtle?" Each year many of these beautiful trees are butchered by unaware contractors and home owners. This butcher method is also known as crape murder. Some people believe that this is the only way to get their crape myrtle to bloom. An improperly pruned crape myrtle, in some cases, produces long new branches that are not able to support the weight of the new blooms. This also puts the plant at risk of injury due to insects and disease. We prefer to wait until February or March to begin our pruning. We prefer to prune crape myrtles with a "natural pruning method." Leave
3 to 7 of the strongest trunks/branches; and remove the weaker ones.
Remove crossing or rubbing branches that could cause plant injury and
weaken the plant. Remove spent flower pods and any sucker growth from
the base of the tree.
Seasonal Calendar
Mar 14
All day
Valentine's Day
View Calendar
A family owned, full service landscape design, installation,
and maintenance company. We've been in business since 1975 and
are fully licensed, bonded, and insured.
Have a question? Need expert advice?
Please email us at email@example.com
5371 Republic Drive
Memphis, TN 38118
(office) 901-795-4301
(fax) 901-365-9614

subset: commoncrawl


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Welcome to the website Advanced Functional Nanorobots. This project is co-financed by the EU funds.
NEWS: We accept new team members with the Marie Curie fellowship
We also help candidates with the preparation of the project and administration.
NEWS: Job offer
The successful candidate will become a post-doctoral member of prestigious international research team in project Advanced Functional Nanorobots. The candidate will work as researcher at the Department of Inorganic Chemistry, University of Chemistry and Technology in Prague, Czech Republic.
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Must Watch: Metta World Peace's Mentor Brother Polight Shares Knowledge On Systematic Injustice & Oppression Towards Black People In The U.S.!
Via Power 105.1. Posted by Jay
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Everyone has heard of Grauman's Chinese Theatre in Hollywood, where generations of film stars have signed their names and imprinted their hands in wet concrete. It turns out we have our very own mini-version of Grauman's Chinese right here in the East Village!
Theatre 80, at 80 St. Marks Place near First Avenue, used to be the kind of place where they ran movies from the golden era of Hollywood, the 30s to the 50s, and served you coffee in china coffee cups and cake on real porcelain.
Former actor/singer Howard Otway bought the former speakeasy from its former owner, gangster Walter Scheib (discovering two safes with $2M depoisted within, which he wisely gave to Scheib) and decided to turn it into a revival house in 1971. His dream was realized in August of that year when he threw an old-fashioned Hollywood premiere party to celebrate the opening. He invited several old-time Hollywood stars, and had them make their marks on the new sidewalk outside the theatre. By the end of 1971 several stars had visited, and managed to leave mementoes.
In addition to the theater, patrons can have a drink at the bar, which is left over from the speakeasy days.
A number of imprinted blocks can be seen outside the theatre. They were jeopardized by a sidewalk replacement sveral years ago, but they were saved.
Joan Crawford, who in 1971 was starring in her last picture, Trog (a sci-fi vehicle concerning a caveman) left two handprints.
Joan Blondell left two shoe prints.
Allan Jones, a Broadway and Hollywood star who had a big hit record in 1938 with "The Donkey Serenade." That same year, Jones had a son named Jack, who went on to have several easy-listening hits in the sixties and sang the Love Boat theme.
Shoe prints from dancer Ruby Keeler
Gloria Swanson, who started in the silents and made a big comeback in Sunset Boulevard in 1950 as a former star trying to make a comeback
Myrna Loy of the beloved Thin Man series. Many people forget that she made dozens of silents and often appeared as Asian femme fatales!
In the 1980s, a couple of stars also dropped by Theatre 80…
Kitty Carlisle, who starred in the 1935 Marx Brothers movie A Night At The Opera when she was 21, and later appeared in dozens of television game shows.
Finally, Dom DeLuise was at Theatre 80 in 1983.
Upon the death of Howard Otway, the theater was leased out for live theater, and was managed by the Otway family trust. The original mini marquee is still there.
Home of the Pearl Theatre Company for many years, in the Summer of 2009, they announced they would be leaving the building and a new theatrical tennant was being sought. In November 2009, it was announced that the Theatre 80 St. Marks would be reopening as a movie theatre with some live theatre use. Films would be projected digitally. The new operator is Lorcan Otway, the son of the original owner of the theatre, the late Howard Otway. cinematreasures
Lorcan Otway has opened the Museum of the American Gangster on the floor above the theater.
8/29/99; revised 6/13/12


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The historical roots of rootbeer run deeper than many realize. Learn how rootbeer came to be and what's in this popular brew.
There's nothing quite like a frosty mug of creamy, real, old fashioned root beer. But where did this sweet beverage come from? Though the roots of root beer are so deep, they're more American than apple pie, there are varying theories about just who invented root beer and where it came to be.
There are early historical documents in which Shakespeare is noted to have drank "small beers." This European brew, actually made from an early colonial American recipe, contained 2-12-percent alcohol, and was considered a light, social drink made from herbs, berries and bark. During American Colonial times, root beer was introduced along with other beverages like Birch Beer, Sarsparilla Beer, and Ginger Beer. Only root beer would emerge as a longtime favorite. There are even historical documents which show 18th century farm owners brewing an alcoholic version of root beer in backyard stills for family get-togethers, social events, and parties.
Most historians believe that the invention of an actual root beer recipe happened by pure accident, thanks in part to an inventive pharmacist, eager to create a miracle drug. Though people had been drinking an herbal home brewed variety for years, root beer was still just an experiment for the creative and inventive. In 1870, an unknown pharmacist toying with a handful of roots, berries and herbs, came up with a recipe for root beer which consisted of juniper, wintergreen, spikenard, pipsissewa, sarsaparilla, vanilla beans, hops, dog grass, birch bark and licorice. The original drink was quite medicinal in nature, tasting both bitter and sweet. Even though the pharmacist offered the drink to the public as a cure-all, it was never marketed or well-received.
Meanwhile, Charles Hires, also a pharmacist, was on his honeymoon around the same time when he discovered an herbal tea he simply could not part with. After taking the recipe of herbs, berries and roots home to Philadelphia with him, he began selling a packaged dry mixture to the public made from many of the same ingredients as the original herbal tea. Well received, Hires soon developed a liquid concentrate blended together from more than 25 herbs, berries and roots. The public loved the new drink and as a result, Hires introduced commercial root beer to the public in 1876 at the Philadelphia Centennial Exhibition. In no time, it became a popular drink of its day. By 1893, the Hires family sold bottled versions of their well-known brew, sealing their place in rootbeer history.
No matter which version of root beer history is true, one thing is for certain: Rootbeer is an original brew, predating colas and other popular sodas.
The key ingredient to root beer is sassafras root, which is what produces the tangy, thick brewed flavor that root beer is noted for. In 1960, the U.S. Food and Drug Administration banned the use of sassafras oil, labeling it a carcinogen. Root beer makers began experimenting with new and improved recipes, minus the sassafras oil, hoping to find a suitable tasting alternative. Not long after the ban, the root beer industry was saved when inventors discovered that sassafras could be used afterall, if treated first, to remove the oil.
There's is no true authentic root beer recipe, since there are so many different combinations and brews. Over time, root beer has contained ingredients like allspice, birch bark, coriander seed, ginger and ginger root, hops, burdock root, dandelion root, guaiacum chips, spicewood, wild cherry bark and bitters, wintergreen and wintergreen oil, yellow dock, prickly ash bark and even, molasses.
Today, root beer is made from a mixture of flavorings, sweeteners and carbonation. Depending on the brew, bottler and manufacturer, root beer still contains a large number of herbs (burdock root, sarsaparilla root, yellow dock root, ginger root, juniper berries, wild cherry bark, birch bark, etc.), oils (anise, lemon, artificial wintergreen, etc.), sweeteners (sugar, molasses, corn sugar, fructose, asparatame, brown sugar, lactose, malt extract, etc.) and carbonation (yeast, artificial, forced carbonation.)


text: Shawn 297 Report post Posted January 4, 2013 Quite right! I love how Mignola has started to dig deep into the lore & mythology of Hell. HB seeing his throne was a highlight. I wonder....will HB meet his pa? However, a minor issue....Mignola's art is not as strong as it used to be. Also, too many wide shots with tiny figures. I love it! I really do, but I start to ponder how this would all look if done by Fegredo. I should say that is less a condemnation of Mignola's work and more high praise for the work of Fegredo, which I was spoiled on for so long. Quote Share this post Link to post Share on other sites


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Party Wear Western Tops0 Review(s)
Product Name: WESTERN CULTURE-6
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the review site with a difference since 1999
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Blue Underground presents
"Now they've awakened from beyond, and without eyes to see they find their victims by the sounds they make and continue to offer human sacrifices to their evil master."
DVD ReviewAlthough the cinema of Spain was subject to strict censorship under the last years of the Franco regime, occasionally some real shockers slipped out as things began to relax in the late 1960s and early 1970s. Few can compare to the amazing Blind Dead movies written and directed by Amando de Ossorio; with a ferocious sense of gore and excess, copious deviant sexuality and monsters that are chilling like few other zombies, this four-film series is hard to forget. Even if there is some inconsistency from film to film, these are some exceptionally atmospheric horrors that are guaranteed to raise a chill.
The first in the series, Tombs of the Blind Dead (La Noche del terror ciego), released in 1971, introduces the evil Knights Templar with a bang. Friends Betty Turner (Lone Fleming), Virginia White (Maria Elena Arpon), and Roger Whelan (Cesar Burner) are on a pleasure excursion in rural Portugal when sexual jealousies flare. Virginia decides to jump off the train they're riding and heads for a medieval monastery. Unfortunately for her, the monastery at Berzano is the 13th-century headquarters of the Knights Templar, who were devil worshippers performing human sacrifice. The Templars were captured and executed and their corpses left to the crows, who pecked out their eyes. But they had a deal in place with their satanic master for eternal life, and by night the sightless corpses rise from their tombs and feast on human flesh. When Virginia's body is found, the police believe smuggler Pedro Candal (Joseph Thelman) is involved. Wanting to investigate further, Betty, Roger, Pedro and Pedro's moll, Maria (Maria Silva), decide to check out the monastery themselves. Who will survive, and who will succumb to the curse of the blind dead?
The disc includes both the uncensored European version, in Spanish language, and also the US PG-rated version shorn of all the sex, nudity, lesbianism, and most of the torture and gore, as well as the entire rape sequence and much of the climactic and legendary attack of the Templars on a passenger train. The Spanish cut is obviously to be preferred, though the PG cut is interesting for comparison (especially in light of the ad material that prominently insists 'Children Admitted!'). The Spanish cut is gory and horrific, yes, but it's also highly atmospheric, with numerous sequences that are hair-raising in their suspense. The mood is greatly assisted by an amazing score of chants, percussion, and very low piano that all by itself creates an insistent sense of unease. De Ossorio clearly knew a good thing when he had it, for the score is reused for all of the films in the series. Then there are the blind dead themselves, ghastly in appearance in their mouldering robes, with wisps of hair on their skeletal faces. Their bony hands aren't terribly convincing since they don't move, but in another sense it just makes them seem weirder. The crowning touch is the simple expedient of running the horse-riding Templars in slight slow motion, which emphasizes their ghostly character.
The characters are interesting, with numerous quirks and antagonisms that help seal their fates, including a bisexual love triangle between the three leads. A catfight between Betty and Maria as the Templars approach feels a little forced, however. There are nifty tidbits like the morgue attendant (Simon Arriaga), who displays a sadistic streak and perhaps is a bit of a necrophiliac to boot; the one moment of comic relief in this picture is when he proudly unveils a body for Virginia to identify, only it's someone else entirely. Even the police are presented as ineffectual blunderers who have no idea what they're dealing with, jumping to conclusions and keeping blinders on throughout. Two scenes of violence against women are particularly harrowing: a torture sequence that culminates in the Templars drinking the blood of the victim (Eurocult starlet Britt Nichols), and a particularly nasty rape scene. With its use of actual ruins, the film has great production values and stands as a landmark and a classic of horror.
The first sequel was not long in coming. Return of the Evil Dead (El Ataque de los muertos sin ojos) (1973) matches the original in many ways and even exceeds it in others. This time around, the village is called Bouzano, and the Templars lost their eyes through the angry mobs of the village capturing them, torturing them and burning their eyes out, which is not only shown in graphic detail before the credits but again in a flashback later on, just to remind you that they're blind. It's the 500th anniversary of the slaying of the Templars, and Bouzano is having a fiesta to commemorate the event. The Templars promised they would then return and destroy the city, but mayor Duncan (Fernando Sancho) shrugs off any such idea. Jack Marlowe (Tony Kendall) has been brought in to provide fireworks for the fiesta, but there are a different type of fireworks when he realizes that the mayor's fianc�e Vivian (Esperanza Roy) is an old flame. Alas for him and many other inhabitants of the village, deformed idiot Murdo (Jose Canalejas) wants to get revenge on the cruel people of the village and sets about delivering a human sacrifice to raise the Templars from their tombs. Before long, the entire village is in panic as the Templars rule the streets of Bouzano, slaughtering at will. Only a handful of survivors, holed up in the church, stand any chance, and their factions and hostilities make their odds of survival slimmer still.
Lone Fleming and Joseph/Jos� Thelman return from the original, but in different roles unrelated to the first film. The characters are rather better developed this time around, though they are more numerous. Particularly nasty is the mayor, who not only refuses to acknowledge reality until it's much too late, but has the viciousness to use a small child as bait for the Templars to make his own escape. The siege situation is reminiscent of far too many zombie movies, beginning with Night of the Living Dead, but it's pretty well handled overall by de Ossorio. The story is more linear and compactly told than in the first film, which tends to jump around a bit much, and constitutes a fairly satisfying whole. The best part about the film is that the Templars are revived before 20 minutes have elapsed and they get substantially more screen time than they did in their debut. They're still quite effective, and have the added shiver of an electronic echo added to the footsteps of them and their horses, increasing the unearthly feeling that they have. The story makes better use of the need to be silent, with several attempts to evade the sharp ears (or whatever) of the Templars sprinkled through the picture, making the heroes seem a bit more sensible than one usually finds in horror films. There are a few effects shots (usually of stomachs being pierced by swords) that are utterly unconvincing, but on the whole it's a worthy followup to Tombs. The old Anchor Bay version of this film suffered from about a dozen cuts of gore, violence or nudity, all or nearly all of which have been reinstated here. The US version (which is even more heavily cut and substantially re-edited) is also included on a second layer.
It's not entirely clear whether there are two or four Blind Dead movies; the same Templars appear in the third and fourth pictures in the series, but there's no express reference to their blindness in these latter efforts. The Ghost Galleon (El Buque maldito/Horror of the Zombies, 1974) is the weakest of the four by far. A pair of models, Kathy (Blanca Estrada) and Lorena (Margarita Merino) have been sent out to sea in a tiny motorboat by agent Lillian Barbie (Maria Perschy) as a publicity stunt for tycoon Howard Tucker (Jack Taylor). But their plans are spoiled when Kathy's lover, Noemi (Barbara Rey), shows up demanding answers. To prevent Noemi from going to the police, Lillian and Tucker agree to take Noemi out by yacht to pick up the girls, a task given some urgency after a distress call is received. It seems that even though they're in the North Sea, they've drifted into a deep fog with a tropical heat and stumbled onto a centuries-old galleon that stoves in the side of their boat. Clambering aboard, they are distressed to learn that the ship carries the undead Templars (blind or not), a situation made no better when their rescue party falls into the Templars' clutches as well.
Although the first two films have a driving, forward narrative, the third is rather lacking. Part of that may be the quickness with which it was put together; its copyright notice date is 1973, which means it was shot almost immediately after Return. Long sequences are devoted to waiting for the Templars to show up, wandering around the ship or slow pursuit by the Templars as the prey stand still screaming. The result is fairly dull stuff for the most part. Things aren't helped at all by incredibly cheesy effects, with a laughable model of the galleon heading the list. Even the Templar makeup looks slapped together this time around (possibly as a result of them being seen in better lighting). De Ossorio's misogynism continues to be expressed by yet another rape sequence and the generally brutal treatment of Noemi by Tucker's assistant Sergio (Manuel de Blas). One could excuse this as a situation for the story in one or even two films, but it starts to take on the appearance of a pattern after three in a row. There are a couple positives, however. One is the incredibly nasty sequence in which one of the victims, vocal cords ripped out, struggles to get away only to be dragged back exactly the same way, to be beheaded and devoured by the dead. The other redeeming feature is a grim ending that is right at home with the bleak conclusion of the original film.
The final film in the series picks things up a bit again. Night of the Seagulls (La Noche de las gaviotas, 1975) continues the theme of the sea, with the Templars set up in a castle at the sea shore. Henry Stein (Victor Petit) has come to the nearby village with his wife Joan (Maria Kosti) to serve as the new doctor. But the villagers are openly hostile and the old doctor warns them both away. The cruelty of the villagers is exemplified first in their vicious mistreatment of halfwit Teddy (Jose Antonio Calvo), and even worse, by their periodic offering of their young women as sacrifices to propitiate the Templars. When they seek to sacrifice the doctor's new housekeeper, Lucy (Sandra Mozarowsky), he decides to take matters into his own hands, and take the fight to the Templars. But perhaps they will take matters to him first for meddling in their rites.
Things really do pick up again here, with the makeup in particular looking a lot better. Interestingly, in the flashbacks, the live Templars move very much like the ancient dead ones. This time around, however, the dead ones seem to be able to function just fine in daylight (or perhaps the more simple explanation is that the day-for-night processing was bungled). There are some interesting poetic touches, such as the notion that the seagulls calling at night are the souls of the young women sacrificed. The bleak setting is quite effective, with the hardscrabble terrain providing one explanation as to why the villagers are so desperate (though they ultimately do come off just as villainous as the Templars themselves). Finally, a Lovecraftian vibe is injected into the story as the god of the Templars is revealed to be an obscene toadlike thing to which they feed human hearts. The inevitable house siege is well-executed, with the inhabitants alternately being resourceful and horror-stricken at the assault. The finale is effective and quite satisfying, especially as a coda to the entire quartet.
Individually, these films have a vibrant power and strike a unique chord. As a set, they have an even greater effect, so long as you're not insistent on continuity or exact consistency from film to film. De Ossorio shows a consistent command of his visuals, from the eerie flashing red light over a row of mannequins in Tombs to the ghostly horses riding in slow motion up to the Templars' castle in Seagulls. The cleaned-up and uncut versions of these films should go a long way towards getting them better known and appreciated.
Rating for Style: A
Rating for Substance: A-
Image Transfer
Image Transfer Review: On first blush, these transfers look terrific. Closer examination reveals that there has been a little over-enthusiastic application of digital noise reduction, resulting in flickery tree branches and the like. There's also significant ringing and other compression artifacts visible. Tombs and Return are, not surprisingly, significant improvements over the old nonanamorphic Anchor Bay renditions of these films. However, the Anchor Bay version of Tombs runs 1h:41m:03s, versus the Blue Underground 1h:37m:03s timing. A cursory inspection didn't reveal anything missing, but the timing discrepancy matches the 4% speedup one would expect from a PAL source, so it may be that the Blue Underground disc was derived from a PAL video master. The transfer is free from conspicuous PAL/NTSC ghosting, however. Return looks pretty similar, but Ghost Galleon is strikingly better, perhaps helped by an RSDL presentation that allows for a more relaxed bit rate. The source materials seem to be in significantly better shape as well. Seagulls is very grainy indeed, but except in very bright sequences, sparkliness is avoided. Despite the defects noted, these are an enormous step above the heavily cut and dupey bootleg versions of these films previously circulating.
Image Transfer Grade: B+
Audio Transfer
Audio Transfer Review: The Spanish and English mono tracks are acceptable for the most part, if undistinguished. The first reel or so of the Spanish version of Return has an annoying electronic buzz running through it, and there's an annoying audio pop. Galleon sounds fine, with nice sound design on the wind sweeping over the ocean. The English track on Seagulls is rather tinny but the Spanish track sounds quite fine.
Audio Transfer Grade: B
Disc ExtrasStatic menu with music
Scene Access with 100 cues and remote access
Subtitles/Captions in English with remote access
Cast and Crew Biographies
6 Original Trailer(s)
1 TV Spots/Teasers
1 Documentaries
1 Featurette(s)
Weblink/DVD-ROM Material
Packaging: generic plastic keepcase
Picture Disc
5 Discs
1-Sided disc(s)
Layers: dual
Extra Extras:
There's also a fifth disc that's fairly short in running time, but contains some valuable information. The Last Templar (24m:53s) is a 2001 documentary overview of de Ossorio's career made right around the time of his death, with interviews from the director, Jack Taylor, Lone Fleming and Esperanza Roy, as well as members of crew, film historians and other notables such as Spanish horror icon Paul Naschy. It's full of rare clips and interesting factoids, such as the notion that de Ossorio shot the first Cinemascope footage ever taken in Spain. De Ossorio also remarks on the eroticism that the French and German producers always demanded in the films, and decrying their lurid tendencies. Unearthing the Blind Dead (10m:41s) is an interview with de Ossorio primarily devoted to these four films. He's humorous about the limitations of budget etc. and quite unstinting in his self-criticism. Finally, there's a four-page article in PDF form from Shivers magazine that covers much of the same ground, serving as an obituary of sorts for the director. The whole package of five discs is presented in an amusing black coffin box bearing the Templars' ankh symbol.
Extras Grade: B-
Final CommentsDe Ossorio's bloodthirsty undead Templars come to DVD in a beautiful restored package that any horror fan will want to own. Unlike many supposed horror films, these can be quite scary, featuring a constant sense of dread with little relief.
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Good work experience is vital, but are businesses ready to deliver it?
Melanie Shee, Partnership Manager for the North East, talks about her early career memories of work experience and asks if the creative sector is ready for T-Levels.
In the run-up to our 2018 National Conference, we are running a series of think-pieces by sector leaders about key issues affecting our creative industries and the future of the workforce.
A few weeks ago I was in Newcastle catching up with a former colleague for lunch. We met near the Side Gallery, a great gallery which is currently hosting an exhibition on Lenin.
My visit took me back to when I was a student at a further education college studying for a BTEC Diploma in Art & Design. Every Saturday morning I'd go to my work experience placement in a theatrical hire agency, which was based next door to the Side Gallery.
I had spent my late teens and early twenties designing, making and selling clothes. I was certain I was going to have a career in fashion - so imagine my disappointment when, during my course, I came to the realisation that the cut throat world of fashion was not for me after all!
This hands-on learning opportunity was, to say the least, an improvised experience.
A change of course
I had, however, discovered a love of researching clothes and had mastered the craft of pattern cutting and making. But I wondered what I could do to utilise these skills going forward.
As I also had a passion for film I decided I would study Costume at university, with the aim of applying my skills in the film industry - a perfect combination.
In order to pass my college course I needed to develop and refine my costume making skills whilst also producing a final fashion collection. I would also need to demonstrate my new found passion for Costume in interviews with universities and gaining suitable work experience was one way to do this.
I spoke to one of my tutors who happened to have a contact in a theatrical costume hire agency in Newcastle. I contacted them and was delighted when they offered me work experience on a Saturday morning.
Work experience
Each weekend I would turn up at their little studio and be handed a wide variety of costumes to work on for hire by local theatre companies. Looking back this hands-on learning opportunity was, to say the least, an improvised experience.
I had no health and safety induction, my tutors didn't ask me how the work experience was going and not once was a safe-working-environment assessment made. All I did was sit at a sewing machine and sew.
I gained no insight into their business or the real world of costume making - such as pattern cutting or how they got clients, costed their work and promoted their business. In retrospect this was a real shame.
I am pleased to say that this would not happen today. Both further and higher education institutions have moved on and come to understand the importance of ensuring that work experience is safe and meaningful. All necessary health and safety checks are made at the start, along with some attempt to suitably match the employer with the learner.
Real life work experience is a growing ambition for the Government as part of its Post-16 reforms.
Real life work experience is a growing ambition for the Government as part of its Post-16 reforms. The new T-Levels, which are gradually being phased in as an alternative to A-Levels, will feature a mandatory 40-65 day relevant work experience requirement.
Work placements will take place outside of the college environment and will be closely shaped in partnership with receiving employers.
Whilst Creative & Cultural Skills welcomes this move, and sees huge value in directly relating and applying occupational study to the workplace, there is no doubt that this is an ambitious ask.
It is particularly ambitious for a sector like ours that is predominantly clustered around major cities. Over 75 per cent of creative industry companies are based in and around London and the South East.
I know, first-hand, the important impact that work experience can have on one's skills, as well as the positive role work experience students can play in a business. But we urge caution in the design and execution of any formal work experience offer.
Many of the colleges within our National Skills Academy have told me that they still have issues with work experience in our sector, namely finding companies that are willing to offer this in the first place. How is the Government going to realistically ensure work experience for everyone undertaking a T-Level related to Creative and Design occupations?
Call for T-Level panel members
You may have seen the recent article from Pauline Tambling, Creative & Cultural Skills CEO, which calls for "more engagement between the post-16 education sector and our industry to make it work".
We see the Technical Education Reforms as a chance to finally get skills development right for our sector. For that to happen business, government and education professionals have to be fully involved in their formation.
We see the Technical Education Reforms as a chance to finally get skills development right for our sector.
The Department for Education is seeking panel members who will develop the outline content for new T levels. There are already 6 T-Level panels in place and at the end of March recruitment will open for panels on Agriculture, Environmental and Animal Care; Business and Administration; Hair and Beauty; Creative and Design; and Catering and Hospitality.
The Institute for Apprenticeship's occupational maps demonstrate the occupations that panel members need to have experience in.
We would encourage anyone who has the skills and experitse required to get involved with this process and help to future proof the creative industries.


text: January 31, 2018 from 7pm to 9pm – Rhodes Estate Community Centre Sustainable Hackney's Steering Group meetings review and plan our work and check on progress. They are open to anyone with an interest in sustainability. Organized by Kathryn Johnson | Type: biodiversity, buildings, energy, economy, food, justice, pollution, transport, waste


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Rose 'Orb' Silver Cufflinks
Uniquely designed, these men's cufflinks of 925 silver are a handmade masterpiece. Reflecting both the character and timeless dedication of Italian artisans, these silver cufflinks are created with rose gold plating and capture the pure brilliance of the most intense cubic zirconium, with each stone is hand finished and fitted to perfection. With an unfailing commitment to excellence, these Stanley Lewis Limited Edition handmade men's cufflinks are presented in a leather and suede cufflink box created by one of Italy's finest. SIZE - Round 13mm diameter
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We always believed that Stone Age was a time of wandering men from place to place while women stayed at home. According to the new findings suggest that women during the Stone and Bronze Age nearly 4,000 years ago, travelled across villages while men stayed at home.
The research reveals that Bronze Age women travelled between 300 km and 500km from their home villages to start families while men stayed near where they were born. It also suggests that these women are largely responsible for the exchange of cultural objects and idea throughout this period.
Researchers examined the 84 skeletons in the Lechtal, a valley region in Austria where ancient settlements once existed. The scientists from the Ludwig Maximilian University of Munich performed research using genetic and isotope analyses, based on archaeological evaluations of people buried between 2500 and 1650 BC.
The results conclude that majority of the women buried there were not native to the region. According to the dental and bone records, Men stayed in the same area their whole lives
Mobile phone use during pregnancy will not affect the baby's brain
Philipp Stockhammer, from the Ludwig Maximilian University of Munich, said, "The research allowed to view the large extent of early human mobility in a new light. "Individual mobility was a major feature characterizing the lives of people in Central Europe even in the third and early second millennium."
Dr. Alissa Mittnik, one of the principal researchers of the study, "We see a great diversity of different female lineages, which would occur if over time many women relocated to the Lech Valley from somewhere else."
She said the burials of the women did not differ from that of the native population, indicating that the formerly "foreign" women were integrated into the local community.
Follow our website Techfactslive.com on Facebook and Twitter for more News and Updates. If any problem contact us at [email protected]


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Larry Merchant and Floyd Mayweather: "I would kick your ass"
Larry Merchant was not at all pressed by Mayweather's outburst during their interview after last night's match between Mayweather & Ortiz. Larry told him, "If I was 50 years younger I'd kick your ass!", turned his back and continue his interviewing like a boss! If Larry was 50 years younger he'd bee 50.


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Notre Dame News is taking another major technological leap: launching with this issue its own native iOS and Android application.
The original, student-built app will be available for download on the App Store and Play Store by the end of the month.
The app for the independent student news resource ND News, the technology and related content, has been in the process of being reviewed and accepted by Apple and Google since the start of the semester. The companies must evaluate and approve all original apps before they can be released on the iOS and Android platforms.
ND News is the first organization on campus to have a native application.
Other student organizations utilize existing technologies. Notre Dame Basketball and the Notre Dame Women's Soccer teams use "Team App," an application that already exists, to communicate with fans.
The ND News application was designed and developed by senior management information systems major Chris Moomaw, managing editor and technology director of the student news organization for the past three years.
"When I became managing editor, one of my goals was to use not only my leadership skills but also my technology skills to help the students gain real world work experience and to help Notre Dame News develop as a campus news organization for students by students," said Moomaw.
According to Moomaw, the ND News application will allow students, their professors, parents and potential employers to read all articles posted on the website from a mobile device and much more. The app also provides access to listening to original podcasts, accessing information on local and national elections and learning about the current college student news staff and the history of the student news resource.
"With the app, ND News will continue to help inform, educate and engage students of the college, through the perspective of students, and now with another system favored by students," said Moomaw.
The native app follows the technology advancement of January 2015 when ND News transformed from print to digital and launched www.thendnews.com, the online college student news website.
That transition was made to take advantage of technology, provide student staff more relevant and advanced experience, increase readership and serve the planet by eliminating paper waste, according to Moomaw.