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Former NEIT library building at Post Road campus gets new purpose, as Steamship Historical Society.
From The Providence Journal:
There was a time when steamships ruled the oceans.With fires stoked with coal, giant boilers generated the steam necessary to power huge ships such as the Titanic, the Carpathia and the Queen Mary as they sailed the globe.
Gallery: Steamship Historical Society moves to Warwick
As the 20th century progressed, however, the internal combustion engine began to edge out steam as the predominant power source for transportation.
Knowing that steam technology was waning, a group of historians and steamship aficionados gathered in a garage in West Barrington in the mid-1930s and also met with kindred spirits in New York city.
Their goal was to celebrate and preserve the history of steamships and the technology that had humble beginnings on riverboats dating to the late 18th century.
The Steamship Historical Society of America was born with founding members that included knowledgeable maritime historians such as William King Covell of Newport and art collector Elwin M. Eldredge of New York City.Over the years, they were able to amass an impressive collection of artifacts, photographs and art, and attract about 2,500 members in 15 countries.But until now, the nonprofit organization has never had one home for all its collection.
On Tuesday, Matthew Schulte, executive director of the society, and Mayor Scott Avedisian announced that the historical society is in the process of moving into the former library building of the New England Institute of Technology at 2500 Post Rd.
Calling the roughly 8,000-square-foot space "perfect," Schulte said the historical group plans to create exhibits for the public plus have enough room for researchers to pore through its extensive archives, which include ships' schematics, brochures and other information from famous steamship lines such as Cunard and White Star.
"The plan to consolidate into one building has been in the works for a decade," society president Erik Ryan said in a statement. "Our library in was in Baltimore for 30 years but closed in 2006. Our maritime arts collection is in storage in New York. Now they will come together along with thousands of photographs, ephemera and artifacts and our professional staff all under one roof."
Avedisian, who helped the society connect with New England Tech, said it is a perfect fit for the city, not only because Warwick is a coastline community, but also because he is committed to attracting "historic and cultural organizations to our city."
via Full steam ahead for Steamship Society of America's new home in Warwick | News – Rhode Island news right now | Providence Journal.


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Mahmud Hams / AFP - Getty Images
A Palestinian teacher speaks in class at a school in Gaza City on April 2.
Mohammed Salem / Reuters
Palestinian school children raise their hands during a class in al-Qahera elementary school in Gaza City on April 2. New rules from the Education Ministry of the Islamist Hamas movement ruling the Gaza Strip will bar men from teaching at girls' schools and mandate separate classes for boys and girls from the age of nine.
By Dalia Nammari, Ibrahim Barzak, The Associated Press
Starting with the new school year in September, Gaza boys and girls in middle and high school will be breaking the law if they study side by side.
Gaza's Islamic militant Hamas rulers argue that the new legislation, mandating gender separation in schools from age nine, enshrines common practice. But women's activists warned Tuesday that it's another step in the Hamas agenda of imposing its fundamentalist world view on Gaza's 1.7 million people. Continue reading.
Hatem Moussa / AP
Palestinian school girls and boys walk in front of a United Nations Relief and Works Agency elementary school in Shati refugee camp in Gaza City, on April 2. Gaza's Hamas-controlled parliament has passed a law requiring separate classes for boys and girls in public and private schools from the fourth grade. Currently, boys and girls are separated in grade seven in public schools, but private schools can set their own rules.
Previously on PhotoBlog:
- Palestinian unity? Fatah holds first mass Gaza rally in years
- Hero's welcome as exiled Hamas leader returns to Gaza
- Gazans work to reopen tunnels bombed by Israel
- With truce holding, children in Gaza return to school for the first time since fierce fighting began

subset: commoncrawl


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'Walking Dead' stumbles in finale
"The Walking Dead: Season One" was a surprise hit — a story-heavy episodic video game based on the "Walking Dead" franchise that was full of pathos and excitement in equal measure.
"The Walking Dead: Season Two," while rich with atmosphere and 1characters, lives in the shadow of its predecessor and fails to be as emotionally impactful.
The game follows Clementine, a survivor from the end of last season, forced to abandon her childhood innocence in order to survive the suffocating darkness of a post-zombie apocalypse life. She's a strong protagonist who deserves a season with a stronger ending. After a season of dramatic highs and demoralizing lows, the credits rolling left more emptiness than triumph.
It isn't the feeling you get after turning the final page of a great book — it's more akin to being promised a great dinner, but only receiving a frozen corn dog. The final episode, "No Going Back," has all the tools to have ended the season with a bang but only ends up fizzling out.
The premise of this season was to give the player a choice on Clem to grow up. They could have her go down the path of the ruthless killer, Carver, or become the nurturing leader like Lee from the game's last season.
By this point, the series has taken the player through so much with Clem — from when she was old an 8-year-old girl trying to survive in the streets of Atlanta, to the hardened, determined survivor she becomes. Coming into the finale, you'd expect to see how Clementine was going to grow and how all the decisions you've made shaped Clementine, for better or worse, but that's not what is delivered.
The episode starts strong — the events leading up to this episode's climax are intense, the worst situation the survivors have been in. The weather is chilling to the bone, supplies are low, and emotions are running high.
"No Holding Back" has some beautiful moments amid the action. The season has done an exceptional job with character development and dialogue as opposed to the action, but those moments really stand out here. Every moment of peace is always short-lived, lending a foreboding feeling looming over your shoulders, but the player learns to enjoy these moments, remember those left behind and learn to live with the choices they made in an effort to survive in the zombie-infested world.
The biggest issue with this season is its manufactured drama, when someone would leap out of character and put themselves and everyone else in danger for seemingly no good reason.
This is the issue that is so frustrating.
How can you have a game built upon choice when the player has none? These moments feel forced, arbitrarily adding more drama and bloodshed to the plot, rather than letting events grow organically from the decisions the player has made. At one point, a major character makes a promise to never do something ever again, and not even six seconds later they seem to forget that promise after a mild problem surfaces and go on a rampage that endangers everyone.
Action is needed to drive the story forward, but it shouldn't be forced and out-of-character. It was frustrating seeing the "adults" act like children. The game wanted to give the player the idea that the stress of the situation was causing them to lose their sense of mind, but all it winds up doing is nearly ruining the emotional payoff at the end.
The most surprising part at the end wasn't the jaw-dropping loss of a major character; it was how the game tosses all notion of Clem's character development out the window. While the player is mourning the loss of an old friend, the scene is interrupted with a stale and predictable pre-death monologue where the character tells Clem that the decisions she made were not her fault.
If the game stayed true to it's original premise, then Clementine should have been developed where she did not need reassurance, but instead, the game opted for a few seconds of boring generic dialogue.
"The Walking Dead: Season 2" is by no means a bad game, but the journey was more enjoyable than the ending. The characters are memorable, despite their flaws, and watching Clementine grow gave an oddly strong sense of pride.
The story is worthwhile and should be an experience every gamer or fan of "The Walking Dead" franchise can enjoy.


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Sheer Glow Colour Balm Reviews
Nude by Nature Sheer Glow Colour Balm is a sheer tinted balm that enhances lips with a subtle hint of colour and natural shine. Conditions for a comfortable wear, it has an antioxidant rich formula and contains lip nourishing ingredients including, HA microspheres, mango seed butter, sweet almond oil, Kakadu plum and vitamin E. Available in four shades: 01 Coral, 02 Nude, 03 Pink and 04 Berry.
Exfoliating Cleanser
Elucent Anti Ageing Gentle Cleanser is packaged in a 140g sturdy plastic bottle with a pump top dispenser for easy dispensing and comes with a protective lid.
Easy application
This was another excellent quality brush from Nude by Nature, this time the finishing brush.
Good quality brush
This was a great quality mineral brush from Nude by Nature. It is nice to hold in the hand and makes it really easy to apply mineral powder foundation out of the pot.
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They had been married for over 35 years, both successful ophthalmologists who had entered retirement after selling their practice. The kids had grown and their house was just too big for them now, so they decided to downsize to a condominium.
After many days of searching, they toured a lovely place and were excited to make a deposit, but the husband first wanted to inspect the building from the outside before committing. As he rounded the building with his wife beside him, he looked up, struggling to find the unit they were interested from the ground.
"Which one is it dear?" he asked.
"The one on the right, third floor."
"I don't see it," he said.
His wife saw where he was looking.
"No sweetheart, not that one," she said directing him to the right side of the building, "It's the one over there, on the patient's left side."


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On February 4, 2011, one 1995 Nissan Truck was towed in to H&L Car Care LLC., as of the date, June 13, 2011, there has been no one to claim it. If anyone knows who this truck belongs to you have until July 13, 2011, to contact us at H&L Car Care LLC, and pay tow bill and storage fees.
6-22, 6-29, 7-6 & 7-13ch
gpn12 NOTICE TO WHOM IT MAY CONCERN:
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Play review: 'La Mancha' a dream
Sean Murray and his Cygnet Theatre invest durable musical with affecting depth
We live in a coldly rational age, where every task is tallied, every last hour is accounted for and (most galling of all) every critic is expected to have an explicable opinion about a play.
So if you ask about, say, Cygnet Theatre's production of "Man of La Mancha," I'm happy to try and tabulate the details of its expert acting, its spot-on singing, its clever sets, its ace band.
"Man of La Mancha"
Cygnet Theatre
When: 7:30 p.m. Wednesdays-Thursdays; 8 p.m. Fridays; 3 and 8 p.m. Saturdays; 2 and 7 p.m. Sundays. Through Aug. 26.
Where: 4040 Twiggs St., Old Town
Tickets: $39-$52 (discounts available)
Phone: (619) 337-1525
Online: cygnettheatre.com
But I'd really rather just steal from Sancho Panza, the devoted sidekick to the musical's starry-eyed, happily impractical knight Don Quixote.
Asked why he follows this hapless dreamer, Sancho (played with a lovable gusto by Bryan Barbarin) struggles to come up with a good reason. Then he shrugs and sings, simply: I really like him.
So, Cygnet's "Man of La Mancha"? I really like it.
The "knight errant" Quixote, that champion of the power of imagination over the tyranny of the realistic, might appreciate an assessment that listens to the heart as much as the head.
And anyway, it's not as if explanations (or apologies) are necessary for admiring and enjoying one of the more popular musicals of the past 50 years, even if "La Mancha" and its signature song "The Impossible Dream" risk being a little too familiar at this point.
The beauty of Cygnet's lyrical staging begins with the way Sean Murray, the theater's artistic director, so clearly loves and understands the material. No surprise, maybe: This is the third time Murray, who both directs and stars in the production, has played the central role in the 1965 work by writer Dale Wasserman, composer Mitch Leigh and lyricist Joe Darion.
Those turns in "La Mancha" span nearly 35 years, dating to Murray's school days at Poway High. He dedicates this production to John Guth, a close friend who played Sancho in the director's 2001 staging at North Coast Rep. (Guth died in 2006 at age 40.)
So much of "La Mancha" is wrapped up in the idea of mortality – both the failing of the body and the slow fading of high hopes and lofty ideals. But the piece is shot through with humor, too, and Murray captures it intuitively with his portrayal of the dented but undaunted Quixote, who forges ahead with a corkscrewed sword (a casualty of that famous duel with a windmill) and the call of a faulty trumpet.
"La Mancha" is structured as a play-within-a-play that draws on Miguel de Cervantes' 17th-century novel "Don Quixote," but it broadens the story to make Cervantes himself a character. Here, he's a prisoner of the Inquisition who bargains to save a precious manuscript from fellow inmates by agreeing to tell a story.
Murray's staging moves gracefully between the Quixote saga and the dungeon scenes, aided by Sean Fanning's richly textured set design that includes a drawbridge-like ladder leading to the prisoners' grim destiny above. (Michelle Caron lights the high doorway in a spookily blinding white.)
Beyond Murray and the unstoppable Barbarin, the show bursts with more strong performances, beginning with David Kirk Grant's assured turn as the Governor (or inmate-in-chief) and the inkeeper. Grant also impresses mightily with his flamenco-accented guitar-playing, as he and Lucas Coleman duet on the show's overture.
Erika Beth Phillips hits just the right notes of bruised hope and hard-earned grit as the put-upon Aldonza, whom Quixote puts upon a pedestal and rechristens Dulcinea. She also sings with gentle power on such numbers as "What Does He Want of Me?"
Jason Maddy is suitably imposing as the Duke and other characters; Kürt Norby is a comic gem as the impatient Padre; Katie Whalley has some knockout vocal moments as Antonia; and there's good work by Bryan Banville, Christian Daly, Linda Libby, Justin Warren Martin and Nathan Riley in various roles.
Music director Shane Simmons leads a six-piece band that captures both the breezy romance and the sweep of the score, with especially effective horn flourishes (mixed crisply in Ross Goldman and Matt Lescault-Wood's sound design). The unstoppable Jeanne Reith brings multilayered, whimsical detail to the costumes, and Colleen Kollar Smith choreographs with Iberian flair.
And when Murray's Quixote goes into "The Impossible Dream," you just might have to have armor over your heart not to be moved.
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While looking for a spot for a romantic weekend getaway around Valentine's day, I found and fell in love with this castle. And it's in the Tacoma area!
Finally, I can live out my dream of being Elizabeth Bennett, spending the afternoon touring the grounds, the early evening in the great hall, and the late evening being Lady Violet (of the game Clue) and solve the murder of Professor Plum!


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Beltdriven Timing Set - Belt Up
Switching To A Beltdriven Timing Set To Improve High-RPM Engine Performance Is Easier Than You Think
For years, beltdriven timing drives have been the accepted standard in NASCAR Nextel Cup racing. The same holds true in the Busch Series and Truck Series as well as other top touring racing series. The reason is that a belt system has several advantages over a traditional timing chain. First, and probably most important, the belt is capable of absorbing harmonics from the camshaft to help keep the valve timing under control. A belt also doesn't stretch like a timing chain over time, so there is no "slack," and it requires less energy to operate, meaning more horsepower makes it through the drivetrain. Finally, because the belt isn't splashing in oil like a timing chain, and the camshaft cog is infinitely adjustable, camshaft timing changes are much easier and quicker than on a chaindriven system.
Of course, the downside of a belt system has always been the cost. At several times the price of a timing chain set, this option has, in the past, been reserved for teams willing to spend big bucks for every last fraction of horsepower available. But that's changing as the cost of a quality camshaft beltdrive system is decreasing and many lower-level teams are realizing the worth of investing in such a system. One advantage of a beltdrive system is that the components are quite stable and durable. Even Cup teams, who are notorious for throwing away engine parts, normally only replace the drivebelt after a race and leave everything else in place.
CV Products is now offering a camshaft beltdrive kit under its Xceldyne brand that is one of the most affordable yet. With a list price of $853, the XTS Pro kit includes everything needed to set up your timing system. For $1,000, the kit is upgraded to the XTS Elite and includes a cam thrust bearing to replace the standard shim. The XTS kit is currently available only for the small-block Chevy, but there are plans to expand it to Mopar and Ford engines as well. One of the features of this system is it uses no idler pulley, which is common on other systems. This is intended to reduce additional drag and make the system simpler by reducing components. Instead of using an idler, the included belt is a snug fit with carbon in its construction to minimize the possibility of stretch. The teeth of the pulleys have been designed around the cogs of the belt so that mesh is exact and the camshaft timing is extremely precise.
CV says that its system for the Chevy small-block requires no block machining and can even be retrofit to an existing engine. To find out what is involved in installing a camshaft beltdrive on a race engine, we took Xceldyne's Pro kit to KT Racing Engines in Concord, North Carolina, and asked them to install it on one of their rebuilds. We could have chosen a new engine build, but we felt that trying to see if this system could work with a short-block that had already been built to work with a timing chain would be an even tougher test.
As you can see, we have plenty of clearance for proper oil drainback. If it is too tight (less than approximately 0.010 inch), you may need to remove a little material from the block with a hand grinder. There should also be some clearance between the back of the cover and the front of the front main cap to allow oil to drain back into the pan. If there isn't, you can cut a groove or take a small amount of material off the front of the cap.
Install the crankshaft seal with a little red Loctite to hold it in place, and then work the included O-ring into the groove in the back of the plate. Cut off the excess and place a dab of silicone sealer on the cover at the edge of the oil pan rail. There is no need for a gasket. If the timing cover rail on the block is gouged or nicked, you may wish to supplement the O-ring with a thin film of silicone.
Engine builder Craig Hibdon fastens the back plate assembly to the block with the 1/4-20 bolts provided. They are torqued to 10 lb-ft, and a drop of red Loctite is used for security.
The Pro system uses shims instead of a bearing to control camshaft thrust, which is fine. Just make sure to properly lubricate the shim with a moly or high-pressure lube before installation.
The crankshaft oil seal is held in place with three button-head screws. You can do this earlier, but it is just as easy once the back plate is on the block. Secure their location with some blue Loctite.
We only used five bolts in the locations you see here to hold the back cover in place. The others will be used to hold the front cover (with a few modifications) so that it can be removed without pulling all the bolts that hold the back cover to the block.
Bolt the adapter hat into place and torque to 28 lb-ft with red Loctite. You will need a tool such as this one to keep the cam from turning while you tighten the bolts. It is available from CV or other manufacturers of similar systems.
Lubricate and install the second copper thrust washer over the adapter hat.
Three shims are included to help you dial in camshaft endplay. CV provides one 0.005-inch shim and two 0.010's, which can give you anything between 0.005 and 0.025 in five-thousandths increments.
With a dial indicator on the end of the hat, use a screwdriver to move the camshaft back and forth to measure endplay. CV recommends a minimum of 0.006 endplay. Remember-as the engine breaks in, endplay will increase.
Once the endplay is correct, pull the thrust plate one final time and install the seal. Don't forget to apply a thin film of red Loctite before pressing it into place.
You don't want any oil leaking from the camshaft into the beltdrive area, so apply a small amount of silicone to the back side of the thrust plate as well as to both sides of any shims you use before bolting everything down for the final time.
The thrust plate is held in place with six nuts, which are torqued to 10 lb-ft.
Slide the lower pulley into place. You may have to press it onto the snout of the crank with CV's installation tool.
Install the Woodruff key into the hub of the cam thrust bearing assembly. To get the key seated evenly against the bottom of the slot, you may need to use a small punch or a brass drift and a small hammer.
Install the belt and camshaft pulley. Set the camshaft pulley on top of the crankshaft pulley with the belt around both. Make sure the timing marks (they have been marked with white in this photo) are aligned so that the mark on the crank pulley is centered between the two marks on the camshaft pulley. You may need to turn the camshaft so that the key will align with the keyway in the camshaft pulley so that it can slide into position over the camshaft thrust bearing assembly.
Install the Woodruff key into the hub of the cam thrust bearing assembly. To get the key seated evenly against the bottom of the slot, you may need to use a small punch or a brass drift and a small hammer.
Install the belt and camshaft pulley. Set the camshaft pulley on top of the crankshaft pulley with the belt around both. Make sure the timing marks (they have been marked with white in this photo) are aligned so that the mark on the crank pulley is centered between the two marks on the camshaft pulley. You may need to turn the camshaft so that the key will align with the keyway in the camshaft pulley so that it can slide into position over the camshaft thrust bearing assembly.
CV uses an ARP bolt with left-hand threads to secure the camshaft pulley to the camshaft thrust bearing assembly. Torque it to 70 lb-ft. You'll need to lock the crank down at the same time.
You can check your camshaft timing as you normally would with a timing chain set. Just make sure that the timing marks on the adjustable pulley are centered over the "0" before beginning.
Test-fit the timing cover. Drill out the holes where the bolts are already in place in the back cover so that the holes in the timing cover will fit over the bolts. Don't forget to chamfer the edges so you won't have any sealing problems.
Now you can secure the front cover with the remaining bolts. This photo shows that some holes have been drilled to clear the bolts holding on the back plate. We've left a couple of holes open on the right side of the cover to bolt a timing pointer to the engine at a later point in the assembly.


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Two years ago, we had the best time in Portland. I was eager to return. Frank's been back once or twice, but it never worked out for me to join him. Well, not until recently that is. Spirit ran a deal, like they often do, and I had just enough vacation time left so it was easy to pull the trigger for long weekend getaway. I was so looking forward to the trip! Of course, I started feeling sick a couple days before we were set to leave. All you need is plans, and germs inevitably strike. Nevertheless, I rested and was determined to be well for the trip. Unfortunately, the sickness had other plans. Still, I had every intention of making the most of it.
We flew out on Saturday morning, our flight was fantastic. It was on time, it wasn't full so we were able to move around a bit and the flight attendants were friendly and one in particular was a real comedian. After arriving in Portland, we sought out Alamo to pick up our rental car. I had booked it a few days prior for a hot rate on Hotwire. It would seem every other traveler had done the same, because we found the shuttle bus line about 40 people deep. That shuttle filled and we still had enough left behind to fill another bus. We were met with another long line at the rental counter, thankfully, the kiosk lines moved more quickly. We were able to retrieve our reservation that way, which saved quite a bit of time. From that point, it was a breeze and we were soon on our way, we had our pick from a row of vehicles and Frank chose a GMC Arcadia.
We were starved, I opened up my bookmarks on Yelp and saw that Tasty N Sons was nearest to us. I loaded up directions and we were off, or so we thought; instead, we found ourselves in a traffic jam. It was rather unexpected for a Saturday afternoon. At least, we caught a break by finding an open parking spot right outside the restaurant. There was no open seating so we left to wait yet again. We were seated just before brunch ended. We chose a bunch of small plates to share. Each was OK, but every dish was flawed in one way or another. It was rather disappointing.
Our home for the next few nights was a studio near Ladd's Addition. Yes, I booked an Airbnb based on its proximity to Apex Bar. We loved it so much last time, I knew we'd be spending more time there. After securing the reservation I was thrilled to learn not only was it close, but it was actually across the street. Kismet, baby! It was a kickass set up, it had everything we could possibly need. And the location? Superb! It was the perfect home base for our adventures.
We sort of struck out at Apex, though. The ciders I tried were good, but nothing exceptional. Frank wasn't digging the beers he chose either. So, we left for the neighboring Beer Mongers. Which we also loved last visit. There, I found a sour cider that was special and Frank took a liking to a Weiss beer.
Last trip, we found Tasty N Alder right before leaving for the airport, and it was fantastic. They had the best fish tacos and I've been dreaming of them since. So, when we started to feel a bit hungry we drove downtown for a fix. We knew there'd by a wait, we checked in and wandered around the block to pass the time. We sat at the counter near the kitchen, it was cool watching them work. We had a great charcuterie board, and chose a handful of other dishes, but nothing was particularly good. The fish tacos? Well, they were pretty gross. No joke. Talk about a bummer.
I had been pumping myself full of cold medicine all day to keep afloat, but I was waning fast. Frank was still hungry and determined to find some good eats. Veritable Quandry was Frank's favorite restaurant from previous visits so I looked that up, but it had closed. I threw in the towel. Frank took over and found an Argentine restaurant that sounded promising. Thankfully, Lechon was quite good. We had sweet corn and brisket empanadas and a glazed pork cheeks.
As much as I wanted to stay out and play. My body wouldn't have it. I was wiped out and pretty miserable. I drugged myself with cough syrup and went straight to bed. Unfortunately, neither Frank or I caught more than a few winks. I coughed. all. night. long.
We got an early start Sunday morning, we had plans to meet friends in Eugene at 11 o'clock. We grabbed breakfast at Pine State Biscuits before we hit the road. Frank loved their biscuits and gravy. The biscuits were pretty amazing. I tried the hashbrowns loaded with cheese, onions, ham and mushrooms. It was quite good, all except for the ham. It was oddly dry and hard.
The drive to Eugene was easy. We found a Buffalo Wild Wings to watch football. So, all was right in the world. Our friends met us there. We've been friends with Bill since high school and a few years ago he moved from Chicago to Bandon, OR to be with Anne. It was fun to catch up, after the games we had a bite at a bar near Putters. Then, we made a stop at Human Bean for a granita (just for you, mom) & espresso beans. We also checked out the Willamette River, and later, tagged along with them while they shopped at Costco. We've never been before. Bears! Oh my!
We had a late dinner at Pok Pok. Even close to closing there was still a wait for a table. We ordered the famous wings, eggplant salad, boar collar meat. ribs and a side of sticky rice. The marinade for the collar meat was great, but everything else fell a bit short. It seemed to be the theme for all of our favorites from last time.
Afterwards, Frank went to Apex for a beer and cigar. I was too tired to join him. I took a larger dose of cough syrup and had a fairly restful night.
It had been pretty rainy and cool, thus far, and the weather never improved. Each day, I'd hope to wake refreshed and feeling better, but relief never came. I had wanted to hike to Elowah Falls, but I just didn't have it in me. Instead, we drive the scenic byway and stopped at Lotourelle Falls since it was right off the roadside. The sights all along the Columbia River Gorge are stunning so we still enjoyed ourselves. I suggested we check out Thunder Island Brewery before heading back, and the view was lovely, but the beers were duds. I vowed to pick nothing else for the rest of the trip.
For lunch, Frank chose Guero's Tortas. Which were very good, the food truck trailer park also had a good gyro spot and some tasty draft beers. I was already wiped out. So, we napped back at the studio as another storm passed thru. The dreariness and cool air definitely made for ideal sleeping conditions. We watched Monday Night Football at Beer Mongers. Later, Frank chose Stammtisch for dinner, which was a gem. The beer was excellent, we also enjoyed potato pancakes, spatzle, sausages and pasta with leek fondue and brussel sprouts.
Again, I retired early. Hopeful I'd be well enough to enjoy our final day, but no such luck I felt worse than ever. It didn't stop us from one last breakfast at Pine State Biscuits.
After, Frank took me to Pittock Mansion. On a clear day you can see five volcanoes, this day the clouds hung low and only downtown could be seen.
We were in the mood for a snack so we sought out Gastro Mania for bacon wrapped grape leaves. They were mighty tasty! Frank enjoyed a gyro, as well.
Then, we wrapped up our trip at the Waterfront Park. I made a pitstop at Bean & Tree for an Oregonian Coffee since I was such a fan last time. You guessed it? It wasn't as good as I remembered.
We sat under a tree to keep dry and watched rainbows form over the Hawthorne bridge to pass the time. Before we knew it, it was time to return the rental and fly home from PDX. Despite the disappointing experiences, endless drizzle & chills, and even, having felt so crummy; we still managed to have a good time.
October 13, 2016
October 11, 2016
Down with the Sickness
I was sicker than ever once we got back home. My level of exhaustion reached new heights. Coughing fits were endless. I had some of the worst headaches I can recall. My blood pressure was sky high, likely, from all the cough and cold medicine. I never had an ear infection before, funny how it felt like sinus pressure just without all the nasal congestion and/or runny nose.
I finished antibiotics a couple days ago, I'm feeling way better, but not fully 100%. I'm not convinced my ear is back to normal. I still feel like it needs to pop. I'm pretty hoarse, but thankfully, the coughing fits have ended. Sleep comes easy and tiredness seems to have no end in sight. I'd like to think it's all behind us now, but I fear it's only begun. 'Tis the season, I suppose.
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"Slumdog Millionaire" child star Rubina Ali said Saturday that her home had burned down in a fire that raged through a crowded slum in the Indian city of Mumbai.
Most of the awards that she received for her role as a poverty-stricken child in the Oscar-winning film were destroyed in the blaze that erupted in the Garib Nagar slum late Friday, the 12-year-old said.
She said that she and other members of her family were watching television when they heard shouts of a fire and ran out of their tin-roofed shanty.
U.S. & World
"We just grabbed what we could and dashed out. The fire spread so fast we couldn't get back in," said Rafiq Ali, Rubina's father.
Rubina said she had lost all her awards and her collection of newspaper clippings and photographs from the success of the 2008 film.
"It's all gone. Even my best clothes, everything," a tearful-sounding Rubina said over the telephone.
The child star said the family was yet to move into a new apartment paid for by a trust set up by the film's director, Danny Boyle.
Rubina played the young Latika in "Slumdog Millionaire," the rags-to-riches blockbuster that won eight Oscars.
Police were investigating the cause of the fire, which left 21 people injured and 2,000 homeless.
Fires often break out in Mumbai's sprawling slums, usually sparked by electrical short circuits from the many thousands of illegal power connections.


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"Centering" Pregnancy at Lexington Women's Care
Lexington Women's Care, a Lexington Medical Center physician practice, offers a "Centering" program for moms-to-be. "Centering" allows expectant moms to be more involved in their care through health assessments, education and support in a group setting.
During two-hour sessions, women undergo regular health assessments with a physician or midwife, including belly checks and heart tones. then, the group discusses topics related to pregnancy and parenting.
Laern more in the WIS-TV news story below, featuring Lexington Women's Care OB/GYN Valerie Skinner leading a "Centering" class.
Topics at "Centering" sessions include pregnancy, how to prepare for childbirth and motherhood, baby care, breastfeeding, childproofing your house and baby milestones.
For more information about "Centering," Call Lexington Women's Care at (803) 936-8100.


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The Zensah Winner is….
Kelly from Part of life is Having a Good Ponytail! She is running a 1/2 marathon in San Antonio in November and I have been following her. She seems so sweet and I'm super excited for her to win. Don't worry, I'll try to rally up some more cool giveaways! :) Also, if you use the code, FreeShip at checkout at the Zensah site, they will give you free shipping which is pretty cool! Thanks to everyone who entered and I hope you can all experience cool Zensah stuff.
Anyways, so I've had this post written for a while… and if you are just finding this post, this is me bantering about taking race pictures, but it may seem kind of mean if you don't know me, I don't mean it that way! Now, the big difference for me and some others who run, is that in running a race, I run for fun, and because I enjoy it. Yes, I do race on occasion, but mostly, I'm just running for fun. I know, I know to some of you this post doesn't make sense because you are all racers and that is what you care about. For me, it's all about having fun. Anyways, after I run a race, people always ask me how I take such good race pictures. Well my friends, first off, I'm SUPER flattered, and I wanted to share some ideas with you. Now, some of you might think that this post is totally ridiculous since the point of racing isn't to get good race pictures, but if you are getting your picture taken and you want to plaster it all over facebook and your blog showing off your accomplishment, it might as well look good right? Well here are a sampling of my race pictures.
This was the finish line at the first and only marathon I've done, called San Diego crap festival. No pun intended. Well, I think at this point I was just happy to be DONE. So the smile was uber genuine. This wasn't a hard race photo to get. :)
I remember the guy I was running next too on my right (a friend Charlie) warned me the camera was coming up! I was really focusing this race and wanted to PR so badly, if you don't remember my anger at that race, for no reason, you can read about it here, but I was hurting right here, but since I knew the camera was coming I smiled very big. Charlie then yelled at me to keep going because I wasn't that tired if I could smile so big. :)
This was my VERY first half! Last October, in Long Beach. How things have changed. I really like this picture because I look like I'm fast! Picking up those feet really work!
Now, after looking at them, I realized there are some steps you can take to make sure that your race pictures kick butt, just like you kicked the race's butt.
The key to taking to taking good pictures is to find the photographers and SMILE big as you are running by. If you don't smile you are going to look like you are either in pain, constipated, or dying. All of which may be true, but that isn't the exact look you are going for and it will ruin your race picture. These pictures, if you choose to buy them aren't cheap either, so you might as well try to make it look the best you can. As soon as you pass by the photographer, wipe that smile off and go back to dying.
First off, make sure you do your hair. This sounds very silly, but you do your hair for everything else, so do it for the race, or wear a hat. I realized that my hair flying behind me looks much nicer than if it is in a knotty, yucky, moppy, sweaty bun thing. I always make sure I either wear a headband or pin my bangs back as well so they aren't sweaty and gross and flopping around in my face. It sounds dumb, but it makes a huge difference when you look back on your pictures.
Then, make sure to at least apply a little bit of makeup, unless you never wear makeup. I wear Bare Minerals so I brush on some powder since my I have a very red un-makeuped face to make sure everything is at least one color. Since I feel like I look like a baby bird without mascara, I also put on a little bit of waterproof mascara. You don't take pictures without make up normally, so why do you think ones when you are sweaty and with no make up will look good? Eh? It seems unnecessary, but it helps a TON. I know, these tips aren't for everyone, but hey, I'm just trying to help.
Next pick up your feet when you run by a photographer, almost over-exaggerating that you are running. If you don't, you'll look like a glorified power walker. I have some pictures like that, where my arms are swinging big, and my feet, not looking like they are moving at all. Yea, those don't make good profile pictures on facebook now do they, no one wants to say, oh I power walked that marathon like it was no bodies business, right?
Then we have the to wave or not to wave at the camera question. There are many pictures of wavers, sometimes you lose your mind when your running, and when you pass by a camera you wave. Now, I've done this before and the pictures turn our weird. You can either look like you are saying 'stop' with your hand up, or it looks like you don't know how to run, and it just screws up your whole "form" thing, if that's what your going for.
As for clothes, when you race, you should obviously wear something that is super comfortable and that you've won before. Bright colors are fun and make you show up way better than if you wear black, everyone wears black. Personally, I know that wearing pink is my thing, if you couldn't tell. :) I love wearing pink, which is weird because when I was little I HATED pink. Race days usually equal a bright color that I'm super confident in and I know what chafes. :(
Then we have the number, this is key if you want to see your professional pictures because that's how you'll be tagged. Now, for me, I know my arms and legs are pretty skeletal. These are pluses for me. You know all that fast food I eat? That makes my stomach not so skeletal. This means photographs show that not skeletal area, especially in spandex. The number has a second purpose, you can pin it right over where your shorts might dig in or you might catch a little glimpse of all that fast food you have been inhaling (for me). Genius, I tell you. I pin mine a little lower, right over that little trouble spot and wha-la it disappears! That is the most clutch thing ever, and it makes you feel way better too. Well me at least. I also always crumple my number before every race, so that it doesn't get trapped in the wind and takes the form of my body. Learned that back in the cross country days.
Do you guys have any good tips to make sure your race pictures come out good? I know when I ran San Fran with Aron, we worked so hard at getting some great race pictures! :) Smile and HAVE FUN! That's what running and racing is all about anyways!!


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Or to speak to a representative, call:800-999-1030
We have a full line of products tailored to meet your needs coupled with programs specifically designed for teachers.
Find out why Horace Mann is right for you.
As part of Teacher Appreciation Week, May 6-10, Horace Mann will be giving away up to $10,000 in DonorsChoose.org funding. All you need to do is post a project on DonorsChoose.org and click the button below to enter for a chance to win.
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Educators can enter as many times as they like between now and May 10. We will draw a total of 40 winners throughout Teacher Appreciation Week, so there will be several chances to win.
And as another opportunity to save you money, we'd like to offer a no-obligation auto insurance quote. Our auto coverage comes with special benefits, features and discounts for educators as well as association members.
Feel free to contact your local Horace Mann representative to learn more.
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This latest edition includes comprehensive updates to a range of industry facts and figures, along with brand new content and a completely redesigned look that makes the book even simpler to read. Reviewed by professionals in all areas of the oil and gas industry along with related government regulators, the eighth edition of Our Petroleum Challenge is current, comprehensive and, most importantly, readable.
As a primer textbook on the oil and gas industry, Our Petroleum Challenge is ideal for anyone who wants to learn about the complex chain of companies, technologies and processes that transform Canada's oil and gas resources into the energy products that fuel our lives.
We recognize that the oil and gas industry is a technical and often literally distant industry that can seem inaccessible even while issues like oil sands development and hydraulic fracturing make daily news. That's why we believe accessible energy knowledge is essential for all Canadians, from business people working alongside the oil and gas industry to teachers engaged in lifelong learning to students planning a career in energy.
It's the only book you really need.


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It wasn't until surfer Scott Stephens punched the shark on the side of its head that it relented and let go, seconds after biting him and pulling him underwater near Eureka, Calif.
Stephens sat upright at a hospital press conference Wednesday, smiling and joking as he recounted the harrowing attack that landed him in the hospital a day earlier.
With family and doctors in attendance, the 25-year-old Manila resident and avid surfer told reporters that he was lucky to be around to talk about the incident. A group of surfers rushed to his aid after he made it to shore.
The attack, which happened off the North Jetty around noon, left Stephens with seven or eight deep lacerations, surgeon John Van Speybroeck said. The wounds did not reach any vital organs or his abdominal cavity, leaving Stephens with less a serious — but painful — recovery.


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Friday, July 20, 2012
Post author: Zo
Giants might well see Jonathan Sanchez again this year. He is now a Rockie. And for you nostalgia buffs, here is something worth reading.
1 comment:
- Brother Bob said...
I was the alleged J Sanchez expert but honestly I couldn't give a crap about him now. I feel sorry for him I suppose. Maybe he'll be remembered in KC as the wrong end of one of the worst trades ever. Good for the Giants though so fuck KC.
Great article, Zo. The author's mother sounds great.
"In the '70s, the Giants played on AstroTurf. On AstroTurf. People had to brave the elements, sit in a concrete latrine, and convulse to keep their bodies warm in a minus-50-degree wind chill. And they did it to watch a team lose on AstroTurf." Future people will simply not believe us when we lamely try to tell them just how awful Candlestick could be.
- Sat Jul 21, 10:22:00 AM PDT
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Billabong Air & Style Innsbruck-Tirol 2012 - Round 2
AIR & STYLE - since 1993 - the world's premier stadium snowboarding competition - where the season's moments are made. The Billabong Air & Style Innsbruck-Tirol 2012 consists of twoshow more parts: the Qualification, and the Main Contest. Twelve riders compete in the Qualification, consisting of two runs each, and receive a cumulative score from those two runs. The four riders with the highest cumulative scores qualify to compete in the Main Contest. The Main Contest runs in a head to head, single elimination format, with each rider getting three runs per round. The highest scoring run is the only score that counts toward winning the round. The challenging rider goes first in the first two runs of each round, but the rider holding the highest score for the round so far, goes first for the third run of the round. The head to head format leads to the final four riders competing in the Super Final, where these four riders compete for 1st through 4th place.show less
NewsAll News
- 6
febPeetu and Seppe win at the Billabong Air & Style
Peetu Piiroinen (FIN) wins the 6Star Billabong Air&Style with steady Backside...
Saturday Feb 04, 2012
- 17:30-17:45 Contest starts
- 17:45-18:35 Qualification
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- 20:30-21:25 Main Contest Round 2
- 21:25-21:55 Main Contest Super Finals
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- 22:00-23:00 Beatsteaks Live
All the times are relative to your computer clock (GMT+0200).
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Handcrafted Enchanting Birds Circular Wooden Coasters Set Of 4
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Every RANGRAGE Product is handcrafted individually, which makes them unique. Due to the intricate nature of craftsmanship, there may be slight variations in the colors of the image you see on your monitor and the actual product.


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Michigan State downs Wisconsin 76-66
Badgers drop to 3-11 in Big Ten women's basketball
MADISON — Michigan State had six players score in double figures as the Spartans defeated the Wisconsin Badgers, 76-66, in a Big Ten women's basketball game at the Kohl Center in Madison Thursday night.
Becca Mills led a balanced scoring attack with 15 points. Tori Jankoska added 14, Annalise Pickrel 12, Aerial Powers 11 and Branndais Agee and Jasmine Hines each had 10 for the Spartans.
Taylor Wurtz and Michaela Johnson had 15 points apiece to lead Wisconsin. Jackie Gulzcynski added 11 points and seven rebounds.
Michigan State moves its record to 18-8 overall and 10-3 in the Big Ten. Wisconsin drops to 10-16 overall and 3-11 in the Big Ten.


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Comprehensive safety
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Frequent Links
Tom Hooper
Unknown extension tag "indicator"
|Tom Hooper
A man in a grey suit with a blue shirt looks down to his right while smiling.
Hooper at the 2010 Toronto International Film Festival
Thomas George Hooper
5 October 1972
London, England
|British, Australian
Highgate School
Westminster School
|Alma mater
|University College, Oxford
|Director, producer, writer
|Years active
Thomas George "Tom" Hooper (born 5 October 1972)[1] is a British film and television director of English and Australian background.[n 1] Hooper began making short films at the age of 13, and had his first professional short, Painted Faces, broadcast on Channel 4 in 1992. At Oxford University Hooper directed plays and television commercials. After graduating, he directed episodes of Quayside, Byker Grove, EastEnders and Cold Feet.
Into the 2000s, Hooper directed the major BBC costume dramas Love in a Cold Climate (2001) and Daniel Deronda (2002), and was selected to helm the 2003 revival of ITV's Prime Suspect series, starring Helen Mirren. Hooper made his feature film debut with Red Dust (2004), a British drama starring Hilary Swank and Chiwetel Ejiofor, before directing Helen Mirren again in the Company Pictures/HBO Films historical drama Elizabeth I (2005). He continued working for HBO on the television film Longford (2006) and in John Adams (2008), a seven-part serial on the life of the American president. Hooper returned to features with The Damned United (2009), a fact-based film about the English football manager Brian Clough (played by Michael Sheen). The following year saw the release of the historical drama The King's Speech (2010), starring Colin Firth and Geoffrey Rush, which was met with critical acclaim. Hooper's next film was Les Misérables (2012), which featured an all-star cast led by Hugh Jackman and Russell Crowe.
Hooper's work was nominated for an Emmy Award for Outstanding Directing for Prime Suspect and John Adams, won one for Elizabeth I, and was nominated for the British Academy (BAFTA) TV Craft Award for Best Director for Longford. The King's Speech won multiple awards, including Best Director wins for Hooper from the Directors Guild of America and the Academy Awards, and a Best Director nomination from BAFTA.
Early life
Tom Hooper was born in 1972 in London, England, the son of Meredith Jean (Rooney) and Richard Hooper.[1][4] Meredith was an Australian author and academic and Richard was an English media businessman. Hooper was educated at Highgate School and Westminster School.[5] His initial interest in drama was triggered by his English and drama teacher at Highgate, former Royal Shakespeare Company actor Roger Mortimer, who produced an annual school play.[6]
At the age of 12, Hooper read a book entitled How to Make Film and Television and decided he wanted to become a director.[5][6] For the next year Hooper researched filmmaking from publications such as On Camera by Harris Watts.[6] Aged 13, he made his first film, entitled Runaway Dog, using a clockwork 16mm Bolex camera his uncle had given to him.[5] Hooper said: "The clockwork would run out after thirty seconds, so the maximum shot length was thirty seconds. I could only afford a hundred feet of Kodachrome reversal film, which cost about twenty-five [pounds], and you had to send off for two weeks to be processed. I could only make silent movies, because sound was too expensive and complicated."[7] He slowed down the frame rate of the camera so he could maximise what little film stock he had.[6] Hooper classified the short, about a dog which kept running away from its owner, as a comedy, and filmed it on location in Oxfordshire.[8]
When Hooper was 14, his film Bomber Jacket came runner-up in a BBC younger filmmakers' competition.[7] The short starred Hooper's brother as a boy who discovers a bomber jacket and a photograph hidden in a cupboard and learns his grandfather died in World War II.[2] Another of Hooper's short films, entitled Countryside, depicts a nuclear holocaust.[n 2][7]
Hooper finished school aged 16, then wrote the script for his first professional short film, entitled Painted Faces. He spent the next two years raising capital for the short by courting advertisement directors, whose financial dominance during the late 1980s was noticed by Hooper. Director Paul Weiland invested in the short, which provided Hooper with the equipment he needed. After two years of financing and production, Painted Faces was completed. Hooper wrote, produced, directed and edited it.[6] It was sold to Channel 4 and broadcast on the channel's First Frame strand in 1992, had a screening at the 35th London Film Festival and had a limited theatrical release.[5][6]
After taking a gap year to finance Painted Faces, Hooper read English at University College, Oxford.[5][10] He joined the Oxford University Dramatic Society, where he directed Kate Beckinsale in A View From the Bridge and Emily Mortimer in The Trial. Hooper also had his first paid directing work, earning £200 for a corporate Christmas video, and he directed his first television advertisements, including one for Sega featuring Right Said Fred.[6][11] He continues to direct advertisements alongside television and film projects. In 1996 he joined the commercial production company John S. Clarke Productions and in 2001 he signed with Infinity Productions.[12][13][n 3]
BBC and ITV productions
After graduating from Oxford, Hooper directed further television commercials, intending to break into the film industry the same way Ridley Scott, Tony Scott and Hugh Hudson did.[5][17] He was introduced by his father to the television producer Matthew Robinson, who mentored Hooper and gave him his first television directing work.[5][6] For Robinson, Hooper directed episodes of the short-lived Tyne Tees Television soap opera Quayside in 1997, four episodes of the Children's BBC television series Byker Grove in the same year, and his first episodes of the BBC One soap opera EastEnders in 1998.[5][18]
Hooper directed several EastEnders episodes between 1998 and 2000, two of which were hour-long specials that represented the soap when it won the British Academy Television Award for Best Soap Opera in 2000 and 2001;[5] the first was the episode in which Carol Jackson (Lindsey Coulson) learns her daughter Bianca (Patsy Palmer) had an affair with her fiancé Dan Sullivan (Craig Fairbrass). The Jackson episode marked the beginning of a week of episodes that lead to Palmer's departure from the soap, and Robinson had hired Hooper to direct the key episodes of that storyline.[19] Hooper worked 10-hour days on EastEnders, and learned to direct with speed.[11] He was influenced in his early career by the cinematic style of American TV series such as ER, NYPD Blue and Homicide: Life on the Street and tried to work that style into his EastEnders episodes; one scene featuring Grant Mitchell (Ross Kemp) involved a crane shot, which Hooper believes made him infamous among the EastEnders production crew.[20]
In 1999, Hooper directed two episodes of Granada Television's comedy-drama television series Cold Feet, which marked his move to bigger-budget productions.[21] There was initially concern at Granada that Hooper might be an unsuitable director for the series given his background in drama.[5]
In 2000, Hooper directed his first of two costume dramas for the BBC; Love in a Cold Climate was based on Nancy Mitford's novels The Pursuit of Love and Love in a Cold Climate. Hooper, the writer Deborah Moggach, and the producer Kate Harwood researched the period details of the production by interviewing Nancy's sister Deborah.[22] In 2002, Hooper directed Daniel Deronda, adapted from George Eliot's novel. Filming ran for 11 weeks from May to August on locations in England, Scotland and Malta.[23] Hooper said of the production, "The thing I like about this tale is that it's not at all your conventional costume drama; it's far more complex and looks at aspects of love, loss and religion."[24] The Guardian 's Mark Lawson said of Hooper's two costume dramas, "he brought verve and intelligence to television's most conservative form".[25]
Hooper returned to Granada the next year to direct the revival of Prime Suspect, entitled The Last Witness. The two-part serial was the first Prime Suspect instalment to be made since 1995, when star Helen Mirren quit. Hooper initially declined to direct the production because he believed the series was tired. Granada's head of drama Andy Harries introduced Hooper to Mirren, who persuaded him to take the job by promising that he could make the serial his own way.[5][21] The two-part serial was broadcast on the ITV network in November 2003. Hooper's direction received praise from Andrew Billen in the New Statesman: "Tom Hooper proved an outstanding director, imposing a bleak, overlit hyper-realism on the search for a killer in a hospital, isolating Mirren in rows of empty chairs and playing on the eyewitness/optical visual metaphors."[26] The serial was also broadcast on PBS in the United States. Hooper received nominations for the British Academy Television Award for Best Drama Serial and the Primetime Emmy Award for Outstanding Directing for a Miniseries, Movie or Dramatic Special for his work on Prime Suspect.[27][28]
Film debut and HBO works
Hooper made his debut as a feature film director with the South African Truth and Reconciliation Commission drama Red Dust (2004), which stars Hilary Swank, Chiwetel Ejiofor and Jamie Bartlett. The film was not widely seen, which Hooper attributed to media coverage of torture during the Iraq War: "When I started making it you could watch the movie with a wonderful sense of 'we'd never do it in our own country…they're the horrible people but it's not us.' By the time the film came out (there were) these revelations that the Americans were torturing, the British were torturing. The film became a lot more uncomfortable for the very audiences it was designed to target. I have learned that sadly the theatrical audience does not run to see films that are openly issue led."[21] The premiere of the film in the United Kingdom came on BBC Two in 2005, making it eligible for the BAFTA Television Awards; it was nominated in the Best Single Drama category at the 2006 ceremony.[29]
In 2005, Hooper was asked by Helen Mirren to direct the Company Pictures/HBO Films two-part serial Elizabeth I, in which she was starring.[30] The serial won Hooper his first Emmy Award, for Outstanding Directing for a Miniseries, Movie or Dramatic Special.[5] In January 2006, Hooper commenced filming the Granada/HBO television film Longford.[31] The film dramatises the failed efforts of Lord Longford (played by Jim Broadbent) to secure the release from prison of Moors murderer Myra Hindley (played by Samantha Morton). Hooper first met with the writer Peter Morgan about the production in 2005 and the film was broadcast on Channel 4 in October 2006.[32] Seb Morton-Clark for the Financial Times called Longford one of the most accomplished television dramas of 2006, and praised the writer and director: "Morgan and director Tom Hooper wove a seamless narrative about obsession – and not just that of the misguided philanthropist for the incarcerated Hindley or even that that existed between the sadistic lovers themselves. More significantly, by using chunks of original television footage, they painted a stark picture of the zealotry of a vengeful nation and its press over the supposed embodiment of evil."[33] Hooper's continued successes led him to be ranked at number four in the Directors category of Broadcast magazine's annual Hot 100.[34] The following year he was nominated for the British Academy Television Craft Award for Best Director for Longford.[35]
Elizabeth I and Longford led directly to Hooper being selected by Tom Hanks to direct the epic miniseries John Adams for Playtone and HBO. Hooper had been working on a biographical film with Joan Didion about Katharine Graham, publisher of The Washington Post, since 2006 when he was asked by Hanks to helm the programme.[36][n 4] The miniseries, starring Paul Giamatti as John Adams, was based on David McCullough's Adams biography and was Hooper's first wholly American production.[38] He was surprised to learn that the American Revolutionary War was not a well-documented period in film and television; Abigail Adams actress Laura Linney told him that, for her generation, the musical 1776 was the most well-known depiction of the era.[39] He worked on the miniseries for a total of 16 months; principal photography lasted 110 days on locations in the United States, France, England and Hungary and he controlled a $100 million budget.[40] The Boston Globe 's Matthew Gilbert complimented Hooper's style of direction in the first two episodes "Join or Die" and "Independence":
Director Tom Hooper lets his actors shine, as he did so marvelously in Helen Mirren's Elizabeth I and the child-killer drama Longford, but he complements them, too, with this kind of immediate point of view. And when he does give us panoramic shots from afar – of the Adams farm in Braintree, for example – they're askew, to keep us out of the classroom mode. At the end of episode 2 [...] Hooper showcases all his directorial strength with one bold choice. When the long-fretting Congress finally decides to break with Britain, he refrains from using any visual or aural tweaks. Upon the announcement, "The resolution carries," the scene remains perfectly silent for one long moment. The terror of responsibility hangs heavily in the room, while a victorious soundtrack surely would have chased it away.[41]
John Adams received 23 Emmy Award nominations, including another Outstanding Direction nomination for Hooper, and won 13, the highest number for any nominee in a single year.[42] He was also nominated for the Directors Guild of America Award for Outstanding Directorial Achievement.[43] At the beginning of 2009, he was profiled for The Observer 's film Hotlist.[44]
Independent feature films
The wake of John Adams' Emmy wins brought offers to Hooper from studios to direct spy and comic book films, which he declined.[45] In November 2007, he signed on to direct The Damned United, reuniting him with Peter Morgan and Andy Harries. The film was an adaptation of David Peace's novel The Damned Utd, a fictional version of the 44 turbulent days English football manager Brian Clough spent as manager of Leeds United. It was originally developed by Stephen Frears for Michael Sheen to play Clough. Frears quit the project after he was unable to translate the book to film.[46] Hooper received a copy of the script while shooting John Adams in Hungary and noticed a similarity between the "egotistical, flawed, brilliant" Adams and the "egotistical, flawed, brilliant" Clough.[47] He was not put off by joining the project later, as Morgan's script was in only its first draft.[21] During pre-production, Hooper engaged in meticulous research, particularly on the locations and the football grounds of the era. He cast Timothy Spall as Clough's assistant Peter Taylor, Colm Meaney as Don Revie and Jim Broadbent as Derby County chairman Sam Longson.[48] During editing, it was decided to make the tone of the film lighter in order to attract audiences and to appease the real people depicted in the film. The Damned United was released in 2009.[47][49]
Work on Hooper's next film, The King's Speech, began in the same year. Hooper explained: "It was a stage play, and my mother who's Australian was invited to a fringe [theatre] reading in London because she's part of the Australian community. The play's about the relationship between King George the Sixth and his Australian speech therapist. She came back and said 'you've got to read this play,' and I read it and it was brilliant ...".[21] Hooper cast Colin Firth as George VI and Geoffrey Rush as Lionel Logue and spent three weeks with the actors reading the script and rehearsing.[50] Principal photography took place on location around the UK from November 2009 to January 2010.[51] During editing, Hooper continued to consult with Firth and Rush by sending them cuts of the film and listening to their feedback.[50]
Hooper completed the final cut of the film at the end of August 2010 and presented it a few days later at the Telluride Film Festival.[52] The film won the People's Choice Award at the Toronto International Film Festival and Hooper won the Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures.[53][54] In February 2011, he was presented with the Academy Award for Best Director, though lost the BAFTA Award for Best Direction to David Fincher.[55][56] In comparing the two films, Variety 's Adam Dawtrey wrote, "Hooper's 2009 film The Damned United didn't register among awards selectors, but King's Speech is a much more personal project. His Anglo-Australian parentage reflects the culture clash at the heart of the movie, and it pays off with beautifully crafted, crowd-pleasing drama."[57]
Studio films and development projects
Following the success of The King's Speech during the awards season, Hooper joined the 15-person board of governors at the British Film Institute, was invited to join the directors branch of the Academy of Motion Picture Arts and Sciences, and was ranked at number 19 in The Times ' British Film Power 100.[58][59][60]
He was offered the chance to direct Iron Man 3 for Marvel Studios but declined and instead signed on to direct Les Misérables for Working Title Films, which he had first heard about while discussing a different project with screenwriter William Nicholson in 2010. Hooper had not seen the musical, so watched a performance of it in London's West End.[61][62] Adapted from the musical, the film starred Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Helena Bonham Carter, Sacha Baron Cohen, and Eddie Redmayne. As the film required the actors to sing and dance, they were auditioned in front of Hooper, producers and composers.[62] The role of Fantine was hugely contested; Hooper said, "It was like half a dozen of the biggest female movie stars on the planet wanted to play the role".[63]
Filming started in February 2012.[64] Hooper investigated filming the feature in 3D, and performed some camera tests before deciding to film it with traditional 2D methods. He stated "[...] I slightly worry with 3D that some people will physically struggle with it. If you have a certain type of eyesight it can be more demanding than watching a normal movie."[65] Unlike other musical films, Les Misérables features the actors singing live on camera, rather than miming to backing vocals. Hooper told the Los Angeles Times that he thought there was a "slightly strange falseness" when he saw musical films where the actors sang to recordings. The actors wore wireless earpieces on set so they could sing to accompanying piano music. Hooper believed this method allowed the actors to have emotional control over their songs: "When Annie [Hathaway, who plays Fantine] is singing 'I Dreamed a Dream,' if she needs to take a tenth of a second to have a thought before she sings it, or to have an emotion before she sings a line, she can take it."[66] The actors also performed their songs in recitative style, which Hooper likened to being immersed in a 3D film.[62]
The final cut of the film was completed on 21 November 2012, ahead of the film's first screening on 23 November. The Hollywood Reporter named the film a contender for the 85th Academy Awards.[67] It was released in North America on 25 December 2012.[68]
In March 2009, Hooper met with Nelson Mandela in preparation for directing a film adaptation of Mandela's autobiography Long Walk to Freedom. Producer Anant Singh had been impressed with his direction of Red Dust.[47][69] Hooper did not expect to begin work on the film until 2012 due to the availability of his intended cast, however, by that time he was no longer part of the project.[70][71] He has also expressed an interest in directing the next feature for Bedlam Productions, the studio of The King's Speech; The Lady Who Went Too Far will be written by David Seidler and produced by Gareth Unwin, and based on the Lady Hester Stanhope biography Star of the Morning.[72]
Hooper was the President of the Jury at the 2013 Shanghai International Film Festival.
Directing style
Hooper uses camera styles "that encode the DNA of the storytelling in some way" and will reuse and develop filming styles in successive productions.[73] Hooper identifies research as being key to his process of directing period dramas such as John Adams in order to make the scenes authentic.[3] For The Damned United, Hooper and director of photography Ben Smithard researched the look of the late 1960s and early 1970s through football photography books.[74] Hooper has also been influenced by cinematographer Larry Smith, who worked with Stanley Kubrick and advised Hooper of techniques used by Kubrick.[75] Hooper and Smith have worked together on Cold Feet, Love in a Cold Climate, Prime Suspect, Red Dust and Elizabeth I.
Hooper also uses uncommon framing techniques to emphasise story; in John Adams, he wanted to imply American independence seemed unlikely during the Revolutionary War, so he used "a very rough camera style—almost all hand held, wide lenses close to the actors, lots of movement, many cameras shooting at once so there was often not a settled master "point of view", and lots of unmatching dutch tilts so the horizon lines of the frame were often being thrown off."[73] The America-set scenes were contrasted by the scenes set in France, in which more traditional filming techniques were employed to evoke a feel of entrenched values.[73] Similarly, in The Damned United, Hooper began to experiment with using wide-angle lenses and putting actors in the extreme edges of the frame. He was influenced by the unusual framing from social photography of the 1970s, and he and Ben Smithard decided to adopt the framing style while scouting locations.[74] Hooper used the same style in The King's Speech, particularly in the scene where Bertie and Logue meet in Logue's consulting room; Colin Firth is framed to the extreme left of the picture, leaving most of the shot dominated by the rough wall behind Firth.[73][76]
Another frequently used technique is Hooper's tendency to use a variety of focal length camera lenses to distort the resulting picture.[77] In The Damned United he used a 10mm lens, notably in the scene where Clough stays inside during the Derby–Leeds match. Hooper operated the camera in this scene himself.[74] In The King's Speech, Hooper used "typically 14mm, 18mm, 21mm, 25mm and 27mm" lenses and put the camera close to the actors' faces.[77] Hooper said the use of this method in the first consulting room scene served to "suggest the awkardness and tension of Logue and Bertie's first meeting".[73]
|Television series
|Byker Grove
| 4 episodes of television series:
|Episodes of television series
|Cold Feet
| 2 episodes of television series:
|Love in a Cold Climate
|2-part television serial
|Daniel Deronda
|3-part television serial
|Prime Suspect 6: The Last Witness
|2-part television serial
|Red Dust
|Feature film
|Elizabeth I
|2-part television serial
|Television film
|Damned United, TheThe Damned United
|Feature film
|King's Speech, TheThe King's Speech
|Feature film
|Les Misérables
|Feature film
|The Danish Girl
|Feature film
Filmography by awards
Feature films
|Academy Award Nominations
|Academy Award Wins
|Golden Globe Nominations
|Golden Globe Wins
|BAFTA Nominations
|BAFTA Wins
|Red Dust
|Damned United, TheThe Damned United
|King's Speech, TheThe King's Speech
|Les Misérables
Awards and nominations
See also
- List of Academy Award winners and nominees from Commonwealth countries
- List of Best Director winners by age
- List of directorial debuts
- List of EastEnders crew members
- List of English Academy Award nominees and winners
- List of University of Oxford people
- ^ Hooper was born and raised in England and is the son of an English man and an Australian woman. He holds dual citizenship of the United Kingdom and Australia.[2] Hooper self-identified in 2010 as "half-Australian and half-English and living in London".[3]
- ^ The order of Hooper's early short films differs according to various sources; Fendelman (2011)[8] states that Bomber Jacket was his second short, and Simmons (2011)[7] states it was his third. Hooper is himself confused about the order in his audio commentary for The King's Speech DVD.[9]
- ^ Notable advertising campaigns directed by Hooper include 2006's Rooftop Tennis for Sony Ericsson's mobile phone range,[5][14] and Dive, a spot for the 2011 Captain Morgan rum campaign To Life, Love and Loot. [15][16]
- ^ Hooper was subsequently replaced by Robert Benton on the Graham project.[37]
- ^ a b Births, Marriages & Deaths Index of England & Wales, 1916–2005. 5d: 2485.
- ^ a b Gritten, David (24 December 2010). "King who came from nowhere". The Daily Telegraph (Telegraph Media Group): p. 20. URL retrieved 2 March 2011.
- ^ a b Thompson, Anne (22 November 2010). "Oscar Watch Q &A: Tom Hooper Talks Long Road to King's Speech". Thompson on Hollywood. URL retrieved on 6 July 2011 (archived by WebCite on 6 July 2011).
- ^ http://www.encyclopedia.com/doc/1G2-3445400038.html
- ^ a b c d e f g h i j k l m Brown, Maggie (16 October 2006). "Prime candidate". The Guardian (Guardian News & Media): p. 6 (MediaGuardian supplement). URL retrieved 25 January 2008.
- ^ a b c d e f g h Hulse, Tim (6 April 2011). "What I've Learned: Tom Hooper". babusinesslife.com (Business Life). URL retrieved on 16 July 2011 (archived by WebCite on 20 August 2011).
- ^ a b c d Simmons, Alan (24 January 2011). "Tom Hooper On Done In 60 Seconds, The King's Speech And James Bond". FilmShaft. URL retrieved on 24 January 2011 (archived by WebCite on 24 January 2011).
- ^ a b Fendelman, Adam (24 January 2011). "Interview: 'The King's Speech' Director Tom Hooper on Colin Firth's Masterful Stutter". HollywoodChicago.com. URL retrieved on 25 January 2011 (archived by WebCite on 25 January 2011).
- ^ Hooper, Tom. (2011). Audio commentary for "The King's Speech". [DVD]. Alliance Films (UK). Event occurs at 1:51:00.
- ^ Harlow, John (16 March 2008). "Briton Tom Hooper in charge of the TV war of independence". The Sunday Times (Times Newspapers): p. 1 (Business section). URL retrieved 14 December 2010.
- ^ a b Burrell, Ian (26 February 2009). "Tackling Old Big 'Ead". The Independent (Independent News & Media): p. 14. URL retrieved 10 October 2010.
- ^ Staff (3 May 1996). "John S. Clarke productions signs 23-year-old Hooper and doubles its directors". Campaign (Haymarket Business Publications): p. 41.
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- ^ Gans, Andrew (31 January 2009). "Directors Guild of America Awards Presented 31 Jan. in Los Angeles". Playbill.com (Playbill, Inc). Retrieved 5 October 2010 (archived by WebCite on 3 January 2011).
- ^ Solomons, Jason (4 January 2009). "'My films seem to be about men's struggle with failure'". The Observer (Guardian News & Media): p. 7 (Observer Review supplement). URL retrieved 16 October 2010.
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- ^ Solomons, Jason (11 November 2007). "Trailer Trash: Not Match of the Day". The Observer (Guardian News & Media): p. 15 (Observer Review supplement). URL retrieved 7 October 2010.
- ^ a b c Hooper, Tom. Television interview with Stephen Sackur. Hardtalk. BBC News 24. 26 March 2009.
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External links
|Wikimedia Commons has media related to Tom Hooper.
- Tom Hooper at the Internet Movie Database
- Hooper's Academy Award for Best Director acceptance speech (video)
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