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Topic: Artistic License (Read 17596 times)
Sr. Member
Posts: 670
Re: Artistic License
Reply #40 on:
March 27, 2012, 05:54:30 AM »
Quote from: John Camp on March 26, 2012, 10:45:42 PM
I'd argue, therefore, that photos that are manipulated in ways that are not apparent are inherently dishonest, and that serious art is rarely dishonest. Understand that I'm talking about the photo itself, the physical object, not the scene that is being photographed. I'd also suggest that photographs in which the manipulation is not apparent, and that are later discovered to have been manipulated ("Photoshopped") often lose much of their power -- because the power of photos comes from the truth of precise reproduction. The power of an "artist" compared to that is relatively minor. And finally, I'd note, as somebody did above, that there are lots of excellent uses for photos, and most of them have nothing to do with art.
Interesting. Covert manipulation is dishonest, on your definition, in a quite specific way, because it breaches a near-universal expectation of "precise reproduction". I have a lot of sympathy with that (although I am not sure I would use the word "dishonest") and I made much the same point in an earlier post. However, I think most viewers of art photography these days are very aware of the possibility of manipulation - hence all the reported questions about whether things have been "photoshopped" (or, for many of us, "lightroomed"). So it is not so much a matter of honest or dishonest, more one of recognizing that there will be uncertainty in people's response to the image, and adopting one of the various available ways of dealing with it, either within the image or by way of "artist statements" outside it. You can't avoid the uncertainty, it will be there whatever you do or don't do in Photoshop. Also, when you go on to say that "serious art is rarely dishonest" I don't see that you are using "dishonest" in the same sense as you do in relation to photography. Surely other forms of serious art are not tied to precise reproduction and may - often do - breach expectations as a deliberate strategy. How would music or painting be dishonest? Surely only if the artist misrepresented his or her vision or emotion - and might not a photographer be dishonest in that sense if s(he)
did not
manipulate an image? To again repeat an earlier point, the problem for photographers is that many of the other "excellent uses for photos" are closer to history than they are to art - but I don't think it follows that those who aspire to art have to adopt the constraints that apply to history. What they have to do is recognize and intelligently respond to the potential confusion. In other arts this line of analysis is called "reader (or viewer) response theory". The wikipedia article is interesting.
Ken Cameron
Sr. Member
Posts: 3906
Re: Artistic License
Reply #41 on:
March 27, 2012, 08:38:14 PM »
Quote from: John Camp on March 25, 2012, 01:48:41 PM
... the finest reproductions of reality ... The inherent truth in photography is precise reproduction, though with recognized limitations created by lenses, sensors, films, and so on: but the *goal* has always been precise reproduction.
In context, I take it you mean - "but the *goal* has always been precise reproduction [of reality]". If that's the case, I think the wording creates confusion rather than clarity:
We don't duplicate reality - that isn't a limitation due to lens or sensors or..., it's a limitation due to the nature of our existence.
We do create representations
of various kinds
within reality.
"A photograph is a sign carried by the light reflected off the objects it represents."
As a record of reflected light, photographs
can be
remarkably precise representations.
Sr. Member
Posts: 3906
Re: Artistic License
Reply #42 on:
March 27, 2012, 08:47:00 PM »
Quote from: dchew on March 26, 2012, 06:47:57 AM
It was amusing that the general public tends to associate manipulation with Photoshop.
Is that different than the way some British people association vacuum cleaning with Hoover?
Just as
to hoover
was once a convenient new verb, now
to photoshop
is a convenient (not very) new verb.
Last Edit: March 27, 2012, 08:56:56 PM by Isaac
Sr. Member
Posts: 3906
Re: Artistic License
Reply #43 on:
March 27, 2012, 09:09:27 PM »
Quote from: Tony Jay on March 26, 2012, 07:17:27 AM
Probably the point that I am leaning to is that no photographic image is real or truth in the absolute sense ... but in absolute terms these images are a greatly impoverished version of that reality ...
Photographic images are real! They are real representations :-)
Sr. Member
Posts: 3906
Re: Artistic License
Reply #44 on:
March 27, 2012, 09:26:50 PM »
Quote from: kencameron on March 26, 2012, 05:59:04 AM
The public expectations have something in common with those which apply to historians rather than artists. ... An instant of space/time is miraculously preserved from mutability.
Well, we could at least say -- something of that moment is recorded -- and to that degree "photographs are documentary in nature" in origin.
Tony Jay
Sr. Member
Posts: 2328
Re: Artistic License
Reply #45 on:
March 28, 2012, 02:33:51 AM »
I agree the image is real but it is not in absolute terms reality when compared to the scene.
In your words it is a representation of the scene but an extremely limited one on lots of levels.
A lot of the post-processing work I do is to try and reinfuse the image with what I did see and feel at the time of shooting precisely because the image itself could not capture everything that was present at the moment of capture.
Tony Jay
C Debelmas
Posts: 9
Re: Artistic License
Reply #46 on:
March 28, 2012, 02:50:38 AM »
Let's imagine that we are in a different world where cameras are designed and used for the only purpose of documenting the real world, of copying it (to the best of the operator's skill).
Let's imagine that Alain Briot, for his next article, introduces himself as an artist. Explicitly. Without any reference to photography (at least at this stage of his article).
Let's imagine that his article is about a new art form, whatever its name, whereby he is able to create pieces of art that he calls "pictures".
Then Alain would explain why he has produced those "pictures", which message he wished to put forward, etc.
We can imagine that he would give insights on his artistic background, his life, both aspects providing in one way or another other clues to understand his work.
Then, but only then, he would explain that he had adopted a new approach, very different from painting, which is based on a very different (abnormal) use of cameras. Instead of using a camera to copy the real world, which is nowadays the normal use of cameras, he discovered that by appropriately processing (with specific tools that he prefers to keep secret) photographs taken with a camera, he was able to produce those pictures which eventually were the best way to express what he, as an artist, wanted to tell to his audience (and by the way those pictures were not intended to be a copy of the real world, which is usually the case for normal photographs). He would also add that he was prepared to face criticisms on his abnormal use of cameras, to be misunderstood by the artists community and despised by the photographers community, but that he would expect that, with time, people would understand and accept this new form of artistic expression.
Sr. Member
Posts: 3906
Re: Artistic License
Reply #47 on:
March 28, 2012, 01:33:51 PM »
Quote from: Tony Jay on March 28, 2012, 02:33:51 AM
In your words it is a representation of the scene but an extremely limited one on lots of levels.
If it wasn't "limited" it would be a duplicate not a representation :-)
Quote from: Tony Jay on March 28, 2012, 02:33:51 AM
A lot of the post-processing work I do is to try and reinfuse the image with what I did see and feel at the time of shooting precisely because the image itself could not capture everything that was present at the moment of capture.
Do you know much about human visual processing?
The relevant difference between the passive record of reflected light and the active directed process of vision is not that "the image itself could not capture everything that was present".
The relevant difference is that the passive record of reflected light
does include
lots and lots and lots of stuff "that was present at the moment of capture", which you didn't care about at the time and don't care about now - and your active directed vision wasn't even looking at that stuff.
Tony Jay
Sr. Member
Posts: 2328
Re: Artistic License
Reply #48 on:
March 28, 2012, 06:27:30 PM »
Yes, I do understand a fair bit about visual processing.
Medical degree and other degrees in biological sciences so not a newbie there.
Your points don't at all detract from the point that I am making and may in fact partly validate it.
None of us are writing didactic essays covering every possible nuance of what we are communicating.
My point still stands that a photographic image, of necessity, is an impoverished representation of reality.
Tony Jay
Sr. Member
Posts: 3906
Re: Artistic License
Reply #49 on:
March 28, 2012, 06:35:27 PM »
Quote from: Tony Jay on March 28, 2012, 06:27:30 PM
My point still stands that a photographic image, of necessity, is an impoverished representation of reality.
How does your point help you make photographs where the attention of someone looking at the photograph goes to those same things that gained your attention at the scene?
Sr. Member
Posts: 3906
Re: Artistic License
Reply #50 on:
March 28, 2012, 06:41:34 PM »
Quote from: C Debelmas on March 28, 2012, 02:50:38 AM
Let's imagine that Alain Briot, for his next article, introduces himself as an artist.
I'm afraid that whatever comments I make
about the essay
will be misinterpreted and misunderstand to be criticisms of Alain Briot. So let's be clear - it's fine with me that collectors purchase his work and enable him to make a living doing what he love's. I have no axe to grind there. None.
The difficulty is that the essay is written in a very personal way and any disagreement with
what was written
will seem to reflect as criticism on the writer. So remember - my intention is to comment on
what was written
, not to attack the writer.
In fact, I prefer to believe that I've simply misunderstood parts of the essay:
Artistic License --
"As a fine artist I have little interest in documenting reality as it is around me. I see reality everyday and the last thing I want to do is to create reality-like images to hang on my walls. If I want reality all I need to do is look out of the window. Therefore, when I create art my goal is to create something other than reality. My goal is to express myself without much concern for whether or not what I am depicting in my photographs is real or not real."
I suppose we should read that as rhetorical hyberbole.
Otherwise it seems to express such dismal lack of interest in the landscape, that we should expect the landscape images to express nothing more than ennui.
Artistic License --
"Personally, my goal is to express myself and provide my audience with images that convey a vision of nature not available elsewhere. In that regard I may be distancing myself from the main direction taken by landscape photography and getting closer to non-photographic art medium such as painting."
What about that goal would not be appropriate (for want of better cliché) to Ansel Adams?
"... Gütschow starts like a painter with a blank canvas."
Artistic License --
"Using meaning as a qualifier for fine art is even more superficial than using content. What is meaningful to some is meaningless to others."
Written words are meaningless to some - those unfortunate enough to be illiterate.
Numbers are meaningless to some - those unfortunate enough to be innumerate.
Tony Jay
Sr. Member
Posts: 2328
Re: Artistic License
Reply #51 on:
March 28, 2012, 07:13:17 PM »
The point is that the raw image does not necessarily encompass everything that I wish to communicate. Because I was there I have a feel for the place where I was shooting. As good as the camera is and as informed as my shooting technique is (admittedly there is always room for improvement here) the simple fact is that an image that comes out of the camera is always much less than my experience of the location.
I do not change skies or add things to my images.
However the way that I handle tone and contrast, colour, regional manipulations, and even cropping in post-processing can dramatically change the feel of the image hopefully to more fully reflect what I felt and saw.
It is not true to assume that all the elements of my composition in camera will be appreciated or noticed by others.
It is likely that should one allow several Lr or PS savvy individuals who were present during ones shoot to post-process the same image that they would come up with a final results that were radically different from mine.
They would process the image to reflect what they saw and felt.
The base image may still be recognizable in each result yet reflect markedly different experiences and evoke very different responses in viewers of these images.
In a rich landscape composition it is always possible that on reflection certain elements become apparent that may have escaped attention at the time of shooting. By itself though that fact will not change what I have said above.
It is possible that we are talking past each other to a degree and that we share much more in common on the issue.
Tony Jay
Sr. Member
Posts: 670
Re: Artistic License
Reply #52 on:
March 28, 2012, 07:14:33 PM »
Quote from: Isaac on March 28, 2012, 01:33:51 PM
The relevant difference is that the passive record of reflected light
does include
lots and lots and lots of stuff "that was present at the moment of capture", which you didn't care about at the time and don't care about now - and your active directed vision wasn't even looking at that stuff.
I am not sure how much real disagreement there is at this point. Speaking personally, post-processing is sometimes about making the print or on-screen image effectively convey the elements which I noticed when I took the picture and which made me decide it was worth the trouble of pressing the button. At the most basic level, the raw file on my screen may fall short of conveying the detail I perceived in the sky and the shadows. Four cheers for LR4. Or, moving into more controversial territory, I may now notice in the raw file elements - stray branches, coke cans, signs of human intrusion in an otherwise pristine wilderness - which I didn't notice at the time, because my "directed active vision" was elsewhere and which, in the print etc, would distract from what I did notice and now want to convey. Then, "Edit in Adobe Photoshop CS5" and a dilemma around "artistic licence" - but is it an aesthetic dilemma or an ethical dilemma - or both - is there a difference? At other times I may find in the raw file something totally unrelated to anything I noticed at the time, and decide that is what I now want to convey. Heavy cropping sometimes takes me in that direction and if it takes me far enough then I may end up a long way outside the domain of reproducing a particular scene, and in a place where issues about artistic license do not arise - at least for me.
Ken Cameron
Sr. Member
Posts: 1487
Re: Artistic License
Reply #53 on:
March 29, 2012, 12:45:05 AM »
Quote from: Isaac on March 28, 2012, 06:41:34 PM
In fact, I prefer to believe that I've simply misunderstood parts of the essay:
Artistic License --
"As a fine artist I have little interest in documenting reality as it is around me. I see reality everyday and the last thing I want to do is to create reality-like images to hang on my walls. If I want reality all I need to do is look out of the window. Therefore, when I create art my goal is to create something other than reality. My goal is to express myself without much concern for whether or not what I am depicting in my photographs is real or not real."
No, I don't think so. The above says a lot about the person who wrote it.
Principally, what the writer failed to grasp is that nobody else looks out their windows every day except them.
Thus what may be common place and ordinary to them may be startling and exceptional to someone else.
Even a photo as mundane as that of the street and house you live in may be startling and amazing to someone that has spent their whole life in a place like NYC.
For artists that need to sell their work to make a living, what becomes important to them is tuning their output to match the desires and likes of those looking to buy. The follow on question from that is how does the photographic work required to produce an income that infect their personal endevours and choices? Do they evolve into something where the two become the same or do they always remain separate but infected each way?
Sr. Member
Posts: 1934
Re: Artistic License
Reply #54 on:
March 29, 2012, 11:48:26 AM »
I enjoyed the essay and also the thread. Great comments on all parts!
What seems to be a core distinction is the role of perceived reality compared to figurative representations which is the defining quality of a photograph, or any image for that matter.
If anyone is interested in this kind of topic, albeit on a slightly different track, I encourage the reading of Michel Foucaults
This Is Not a Pipe
Sr. Member
Posts: 3906
Re: Artistic License
Reply #55 on:
March 29, 2012, 02:35:13 PM »
Quote from: John Camp on March 25, 2012, 01:48:41 PM
The inherent truth in photography is precise reproduction, though with recognized limitations created by lenses, sensors, films, and so on: but the *goal* has always been precise reproduction.
Quote from: David Sutton on March 25, 2012, 06:39:16 PM
I see no evidence for this. From at least the 1860's many well known photographs were composites.
Photography has been so multifarious that I think both those claims can be seen as more-or-less correct:
otoh --
"The mid-1850s marked a turning point in the practice and definition of photography. Until this time, photographic societies had been dominated by aristocrats, gentlemen, educated and successful businessmen, artists and photographers who had trained as artists ... who shunned commercial photographers. Increasingly, however, photographers came from less-educated ranks, and the new professionals transformed photography both technologically and in terms of the values they and their audience hoped and expected to find in photographs. One feature of the change in practice they brought about can be seen quite clearly in their preference for highly articulated, well-resolved pictures in which the suggestiveness and the relative absence of finish so much favoured by devotees of the picturesque was replaced by an absolute precision of delineation through all represented planes. ..." p180
"By the mid-1860s, photography had entered into popular culture, characterized as a utilitarian medium, primarily useful for purposes of documentation because of its contingency upon nature and natural processes. ..." p181
"Thus the photographer's achievement [1860's popular culture] does not involve the sensitivity of an artist's eye or the use of an artist's imagination or the intelligent choice of the right depictive conventions; rather it rests on the technical capacity to record a sight that is understood to be a natural image of nature." p183
Territorial Photography, Joel Snyder.
otoh --
[1857-59] "Le Gray innovated by successively printing parts of two negatives onto the same proof:
a landscape and the sky of his choice, photographed elsewhere
. He applied this technique to his marines in particular, taking advantage of the flat horizon line that eased the joining of two negatives, thereby emphasizing the horizon's presence and strengthening the force of the resultant image. The effect is stunning... The critics sang his praises, and his photographs of the sea were often exhibited and sought after." p50 [My emphasis]
Reproducing Reality: Landscape photography of the 1850s and 1860s in relation to the paintings of Gustave Courbet, Dominique de Font-Réaulx.
Quote from: John Camp on March 26, 2012, 10:45:42 PM
...most of these machines being cellphones ...I think it's fair to say that the overwhelming majority ... have an expectation of a scene manipulated only by the machine...
photo editing and
apps for iPhones
seem very popular.
Last Edit: March 29, 2012, 02:56:02 PM by Isaac
Sr. Member
Posts: 3906
Re: Artistic License
Reply #56 on:
March 29, 2012, 05:32:05 PM »
Quote from: Tony Jay on March 28, 2012, 07:13:17 PM
It is possible that we are talking past each other to a degree...
Yes, I've not been trying to suggest that representations are not "limited" - I've been trying to suggest that emphasising the "limited" nature of representations leaves us blind to gorillas in the room.
One of those gorillas is the state we bring to "the moment of capture" - hungry, tired, sad, giddy, curious, trying to answer a specific question...
If it was possible to step into "the same moment of capture" with different feelings then I don't think it would be surprising if we came away with quite a different "feel for the place" each time but the same passive record of reflected light.
And then there's
the selective attention gorilla
Sr. Member
Posts: 391
Re: Artistic License
Reply #57 on:
March 29, 2012, 05:46:04 PM »
Quote from: Isaac on March 29, 2012, 05:32:05 PM
And then there's
the selective attention gorilla
What a fascinating exercise. I missed the gorilla even though I knew it would be there.
Thanks for the link,
Tony Jay
Sr. Member
Posts: 2328
Re: Artistic License
Reply #58 on:
March 29, 2012, 07:39:50 PM »
This thread is much like a Borg-MacEnroe tennis match.
Never boring and certainly never predictable.
Tony Jay
John Camp
Sr. Member
Posts: 1312
Re: Artistic License
Reply #59 on:
March 30, 2012, 12:58:42 AM »
I probably shouldn't do this, but having dragged Ansel Adams into the discussion, I will take the next logical step and drag in Jesus Christ. And I do this simply as a thought problem for those interested in photography.
Jesus is a big deal; even as the world grows more secular, his image still has a lot of power. This has been expressed for some two thousand years in paintings, right up to the modern era (see Salvador Dali.) Everybody knows that those paintings do not represent an effort to reproduce the actual image of Jesus as a person, yet they were produced for centuries, and often with great feeling and artistic integrity.
There have been few attempts to portray Jesus' crucifixion in photography (although there have been a few.) Most of those attempts have drawn nothing but ridicule. (We don't count motion picture photography here, for reasons that would be tiresome to get into, and somewhat beside the point.)
But why do paintings of the crucifixion often draw reverence, while photographs draw ridicule? Again, I think we have to consider what the overwhelming majority of people consider the central tenet of the photograph: that it is a representation of reality. And taking a photograph of an actor or a model in an effort to elicit reverence or some other reaction just seems foolish. (Piss Christ doesn't count as an image of the crucifixion; it's a photo of an object that depicts the crucifixion, which is a different matter.)
Even as serious, empirical, secular photographers (most of you), don't you think there is a difference between a painting of the crucifixion and a photograph? Of course you do. The intriguing question is, why do you think that?
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Recipe by Elizabeth Sarah
"This easy bread is excellent with anything from meatloaf, to soups, to chicken. Tastes wonderful, but is pretty crumbly."
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1 3/4 cups
all-purpose flour
1/4 cup
white sugar
2 1/2 teaspoons
baking powder
3/4 teaspoon
1 cup
shredded Cheddar cheese
egg, beaten
3/4 cup
1/3 cup
vegetable oil
I thought this was a great simple quick bread recipe. I followed other reviewers suggestions and used 1 cup of milk and 1 1/2 cups of cheese. I also added a package of italian dressing mix and decreased the salt to about 1/4 teaspoon. I thought it was great. My bread didn't crumble like other reviews had trouble with. The crust was crisp, but the bread was soft and fluffy. I will keep this recipe on hand the next time I was some fresh bread in a hurry.
This was ok. I used 1 cup of milk so the bread would be less crumbly. I suggest using sharp shredded cheddar because the mild cheddar wasn't strong enough to add flavor to the bread.
232 Ratings
I made this bread to go with some potato soup, and it was the perfect accompanyment. I took the advise of some other reviewers and increased the amount of cheese to 1 1/2 cups and the milk to 1 cup. I also sprinkled some garlic powder and a touch of cayenne into the batter. 1/4 cup of sugar seemed like a lot for a savory bread so I cut it to 2 tablespoons. Next time I'll cut it to 1 since it was still a little too sweet. After baking for 20 minutes, I sprinkled about another 1/2 cup of cheese on the top of the loaf, then continued baking. We all enjoyed this very much with our soup. Thanks for the recipe!
I made this recipe twice using a parmesan-mozzarella mix instead of Cheddar, and it turned out great! Then, I decided to try a carrot variety by replacing the cheese with 1 cup finely grated carrot, doubling the amount of salt and adding 1 teaspoon spices (cinnamon, nutmeg, whatever you like) and it was AWESOME! A big hit with my family and friends!
This is "good." My daughter in particular liked this bread but it was a little too dense for my tastes. Per other recommendations, I used 1c milk, 1 1/4c sharp cheddar cheese, added 1/2 tsp of garlic powder and added some Italian seasonings (apprx 1 tsp). I also added 1/4c parmesan cheese. It took a little longer to bake - the top started to brown b4 the middle was done so after 30 min, I reduced the oven temp to 375 and baked for an additional 10 minutes. The bread had a great crust while the middle was nice and soft. Although it was good, like I said, just a little too dense for me. If you like cornbread type breads, you'd probally enjoy this recipe. My daughter and boyfriend sure did!
This bread was a hit with both me and my husband. I've had requests to make some and send it to work for his co-workers. A little on the sweet side...you might decrease the amount of sugar by one or two tablespoons.
I gave it 5 stars all around. It is a good recipe for what it is, a quick bread. Next time I might double the recipe or use a smaller loaf pan. The bread was kind of short. Still, very good and very fast. Thanks Inari!
Was easy to assemble but overall, not a stand out recipe. Try adding a little garlic or onion powder to give the bread a less baking soda/powdery taste.
* Percent Daily Values are based on a 2,000 calorie diet.
Quick and Easy Cheese Bread
Serving Size: 1/12 of a recipe
Servings Per Recipe: 12
Amount Per Serving
Calories: 188
Calories from Fat: 91
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Movies We Like
Handpicked By The Amoeba Staff
Films selected and reviewed by discerning movie buffs, television junkies, and documentary diehards (a.k.a. our staff).
Stranger by the La
Talking about sex on film and why he … View
Hideous Kinky
Let me just lay it out there: not onl… View
Eyes on the Prize
The greatest documentary series in PB… View
The Doors
It's called The Doors but director Oliver Stone's hyper-bonkers bio of the band should have just been called Jim Morrison. Because the real show here is Val Kilmer's brilliant performance as the self-destructive lead singer, while the rest of the guys--Ray Manzarek (Kyle MacLachlan), Robby Krieger (Frank Whaley) and John Densmore (Kevin Dillon)--spend most of the movie standing around scolding Jim and telling him to grow up. As usual, Stone hits his points with a sledge hammer, and Doorsaphiles may take issue with the actual facts. I mean, was Jim's LSD-inspired obsession with an Indian shaman a Morrison or a Stone concoction? But that's neither here nor there; like Stone's greatest film, JFK (also released in '91), in the end the actual facts don't matter. What does matter is the incredible filmmaking skills on show here. From the camera work to the editing to the use of sound, Stone is in his element with his usual all-star crew at their most dizzying and superfluous. If Morrison was one of music's most self-indulgent windbags--some love The Doors while others call them overrated--Stone is in a similar boat. The guy has won a couple Oscars and penned a couple kinda-classics (Midnight Express, Scarface) but often gets eye rolls when his name is mentioned. And that proves to be part of the beauty here; the excess of Morrison's short life is perfect for Stone's excess on film.
Though living members of The Doors at different points of production were consulted, in the end they all publicly disavowed the final movie, claiming Stone ignored their suggestions. So in Stone's world, the story of The Doors goes something like this. Transplanted from a nice all-American, middle class childhood, Jim was a groovy, shirtless UCLA film student, influenced by Literature 101 (The Beats, Nietzsche, Rimbaud, etc.), making ridiculous overly arty student films. After discussing his coolness with a classmate, Manzarek, they decide to form a band. They add the less hip, but apparently talented Krieger and Densmore to the band and pretty quickly start to gain a rep on the Sunset Strip club scene for their rulebreaking improvised style. Jim, in full swagger, also stalks and then seduces a young flower child, Pamela Courson (Meg Ryan), and she becomes his old lady. The band navigates the swirling waters of the swinging sixties rock scene, having hit records, meeting Andy Warhol (Crispin Glover), dealing with police arrests and a general far-outness. Meanwhile the more successful they get, the more Jim alienates Pam and his band with his excessive egomania and drug and alcohol abuse, until he finally overdoses in Paris at the age of twenty seven, just after the publication of his poetry book.Continue Reading
Runaway Train
On a first peek the Golan/Globus produced Runaway Train looks like it could be a standard prison-break action flick, but further along the viewer realizes it's much more.Though it has slam-bang action and some spectacular stunt work, it's actually some kind of thought-provoking, oddly foreign feeling (meaning perhaps, intellectual) character study. Israeli cousins Menahem Golan and Yoram Globus' company Cannon Films made its name in the '80s with loud action movies like the Missing in Action flicks, the Sly Stallone steroidy Cobra, Breakin' (and its sequel Breakin' 2: Electric Boogaloo) and the unwarranted sequels to Death Wish (including the so-bad-it's-good Death Wish 3). On paper Runaway Train should have been just more adrenaline-sploitation, but the back story alone led it in a direction that made it totally unique. It's based on a screenplay by Japanese filmmaking legend Akira Kurosawa (and his long time collaborators Hideo Oguni and Ryuzo Kikushima), who had been hoping to make it back in the late '60s. Instead veteran Russian director Andrey Konchalovskiy took it over, while Kurosawa got a "based on a screenplay by" credit and the final script credits went to the odd threesome of Djordje Milicevic (a Serb), Paul Zindel (famous for writing the play The Effect of Gamma Rays on Man-in-the-Moon Marigolds) and the very interesting Edward Bunker, who turned his own criminal life into a successful writing and acting career. (Books he wrote were adapted into the underrated movies Straight Time and Animal Factory, and as an actor he appeared in many films including Runaway Train. Most famously he played Mr. Blue in Reservoir Dogs. What a long strange trip it's been, indeed.)
In a nasty, damp Alaskan prison, superstar criminal bank robber (Jon Voight) has won his state appeal. Warden Ranken (John P. Ryan) is forced to remove him from solitary confinement, where his cell was welded shut. He's a legendary badass and the prisoners are excited to have him back in the population, especially his brother, Jonah (Bunker) and a young boxer, Buck McGeehy (Eric Roberts) who's in on a statutory rape conviction and who takes hero worship to a new level. Manny wants to escape with his bro but when Ranken sends a killer after Manny, Jonah ends up getting messed up bad. So by default Manny hooks up with the annoying Buck instead. The two escape through a drain pipe and then make an impossible trek through a freezing Alaskan wasteland and eventually hop a freight train...home free. Somehow the train conductor dies and the train becomes a runaway, barreling through another train and making a deadly derailment the only possible option for the befuddled group of train dispatchers (C.K Carter, Kenneth McMillan and Kyle T. Heffner, the nerd from Flashdance). It turns out the train does have another passenger, a railroad worker named Sara (Rebecca De Mornay, a few years after her breakthrough in Risky Business, still looking for the role that should have taken her to the next level--something that unfortunately never quite happened for this talented actress).Continue Reading
The Split
Produced by Robert Chartoff and Irwin Winkler (Rocky, Raging Bull, etc.), The Split is a lost relic. Besides being the first film to ever receive an "R" rating by the ratings board, it's a nifty heist film with a great cast full of fascinating credentials. Because it stars football star turned actor Jim Brown (and has Diahann Carroll as his ex-wife and a funky-lite Quincy Jones score), it's often lumped in as an early blaxploitation flick. It's not. Directed by a Scotsman, Gordon Flemyng, (who did a lot of '60s Dr. Who) and written by the great crime writer Donald Westlake (credited in the script under his equally known alias Richard Stark), this is the guy who wrote the books that became Point Blank (and later Payback), as well as The Hot Rock and The Outfit, and later wrote the script for The Grifters. So The Split could have easily been a vehicle for Lee Marvin, Rock Hudson, James Coburn or any other leading man of the era. It just so happens that Brown took the role. It's a gritty little crime flick. It barely even qualifies as crooksploitation. Yes, it's an imperfect film (chunkily directed), but it's still entertaining with some nice '68 Los Angeles locations and some wild twists.
Fresh out of the slammer McClain (Brown) is recruited by Gladys (Julie Harris) to pull a big heist at the Los Angeles Coliseum (shades of the race track robbery in Stanley Kubrick's The Killing). McClain gathers an all-star cool cast to take part in the caper: tough guy Ernest Borgnine, escape artist/racist Warren Oates (a little less oily than he was a year earlier in In The Heat of the Night), limo driver Jack Klugman and creepy hit-man Donald Sutherland (still two tears before MASH made him a star). In a very complicated robbery and clever escape, the gang gets away with over a half-million bucks. But it's after the heist when the real drama starts. It's what happens to the loot before "the split" that cause the usual problems of greed and suspicion. First, the ex-wife has a sadistic, rapey landlord (James Whitmore) who kills her and steals the money, and then a crooked cop, Walter Brill (the great Gene Hackman pre-testing for Popeye Doyle) gets involved. The film becomes a stand-off for the money between McClain, Gladys, the gang and Brill.Continue Reading
The Red House
Public domain film titles can be a great source of discovery for classic film buffs. There are some really weird movies that have made their way into Amoeba's DVD stock from companies such as Alpha Video which specialize in the obscure, the really terrible, and sometimes, a lost gem or two. But the experience of watching, even a good film, from a public domain copy can be pretty iffy. For one, their cover art is generally terrible. Poorly photoshopped images, terrible title fonts: on the whole, they are generally an affront to graphic design and good taste. This is why I had stayed away from The Red House, a not terribly well-known Delmer Daves noir starring Edward G. Robinson, made in 1947. Even when I finally relented, in search of more obscure noir thrills, the public domain copy I found looked and sounded awful. Whatever the filmmakers intended I could not see what it was because the sound and image were of such poor quality it was practically unwatchable.
But then a company I'd never heard of called HD Cinema Classics released a DVD/Blu-Ray combo of The Red House and once seen it was like a completely different film. What, in earlier editions, looked muddy and incoherent was now restored to its eerily gorgeous self. It's a beautiful and dark, dark, dark film and deserves high placement in the noir canon. This is a film that belongs in the same cinematic world of spooky, mysterious enchantment of The Night of the Hunter and Twin Peaks and, though it might be a stretch, The Innocents.Continue Reading
Facing Ali
The canon of films (both documentary and dramatic) about the legendary boxer Muhammad Ali continues to grow and has to be richer than that of any other athlete in history. It helps that Ali had such a fascinating, controversial and (eventually) revered life. The list would start with Ali playing himself in the 1977 film The Greatest. Then, a curiosity: the TV movie Freedom Road, which Ali starred in as an ex-slave who became a senator. Ali even provided his own voice for the short-lived Saturday morning cartoon series I Am the Greatest: The Adventures of Muhammad Ali. Will Smith played him in the underrated Michael Mann bio Ali. And on TV, Terrence Howard took his swing in King of the World, as did David Ramsey (a college classmate of mine) in Ali: An American Hero. Actors also pop up playing him in supporting roles in Don King: Only in America and Phantom Punch, while he is only talked about in the more recent Stephen Fears film Muhammad Ali's Greatest Fight (as his fight with the United States over his draft status for the Vietnam war is decided by the Supreme Court). The documentary front has too many films to list, going at least as far back as 1970 with AKA Cassius Clay. Other highlights include Muhammad Ali: The Whole Story, Muhammad Ali: Through the Eyes of the World and The Trials of Muhammad Ali from earlier this year. And of course, the greatest of all is still the Academy Award-winning When We Were Kings. And just about every documentary on the civil rights and anti-Vietnam War movements usually has a chapter on the guy.
Finding a different angle on telling the whole Ali story is Facing Ali from 2009. Director Pete McCormack interviews Ali's boxing opponents and surprisingly creates about as all-encompassing a documentary as there has been on the man. Whereas When We Were Kings really centers on the Ali/ George Foreman "Rumble In The Jungle" bout and veers off occasionally for backstory, Facing Ali moves back and forth on the timeline and manages to include all his historical highlights: winning the gold in the 1960 Olympics, the mega upset against Sonny Liston, joining the Nation of Islam, changing his name from Cassius Clay and infuriating the white press and boxing establishment, and of course, his heroic battle against the Vietnam draft (which put his career on hold for many years during his peak). But where the movie goes that can really excite a budding Ali-phile are the details of the non-historic fights, especially after his return in the '70s when he re-won and then lost the title of champ and then won it back.Continue Reading
Max Ophuls's reputation as one of the greatest of all film directors seems principally based on the films he did in Europe such as The Earrings of Madame De... (1953) and Lola Montes (1955), about which Andrew Sarris famously proclaimed "the greatest film of all time." But before he got to those he was a temporary exile in Hollywood along with many of the greatest film directors of the 20th century, all European, all having fled from war-torn Europe. Some thrived in their new exotic environs (Billy Wilder, Fritz Lang), while some never quite regained their former stride (let's at least think about including Jean Renoir here).
In Hollywood Max Ophuls made some of the most sophisticated thrillers of the late 1940s and yet, because they dealt with American women, were snubbed as "women's pictures" at the time. Both Ophuls's Caught and The Reckless Moment were released in 1949, ending the decade on a high note for nuanced portrayals of women attempting to navigate a darkened moral universe made unavoidable by the post-war era even as the coming Atomic Age onslaught of The Donna Reed Show was about to begin.Continue Reading
Escape from the Planet of the Apes
Once you can get past the absurdity of the set-up of Escape from the Planet of the Apes, the movie turns out to be the best of the sequels to the original brilliant sci-fi film Planet of the Apes. To recap, in that first film, an American astronaut, Taylor (Charlton Heston) traveled through space and returned to earth deep into the planet's future where apes ruled and humans were just stinky wild mutes. In the less exciting but still watchable first sequel, Beneath The Planet of Apes, another astronaut, Brent (James Franciscus) follows Taylor into the future as ape hostility towards man is growing. Brent and Taylor finally meet up in an underground city where humanoids worship an atom bomb. Eventually apes attack and a dying Heston sets off the bomb, destroying earth and seemingly putting an end to the franchise. But, like Rocky III, the third film found a fresh take on the story and turns out to have a lot of fun on its own terms.
In this one, to the shock of the world, three apes in space suits land on present-day Earth (a very groovy early 1970s) in Taylor's spacecraft. It turns out it's archaeologist Cornelius (Roddy McDowall) and his wife, animal (human) psychologist Zira (Kim Hunter), the two apes who risked their careers to help Taylor in the first film, along with the brilliant Dr. Milo (Rebel Without a Cause's Sal Mineo). (Okay, so get over the set-up.) The three apes somehow salvaged Taylor's ship from the bottom of a lake, managed to re-blast-off, and while watching the earth's destruction from the sky, were sent into a time warp back to modern day. Silly. But now the fun starts....Continue Reading
Act of Violence
It's always been puzzling to me why this almost unbearably bleak noir hasn't made it to the forefront of the pack of truly exemplary films noir in critical circles. If we are to use the canonical criteria for noir of noted local author, former peeping tom, and current all-around creep, James Ellroy, as best summed up by a two-word description, "you're fucked," then noirs don't come much more noir-ish than Act of Violence. We hear a lot about noir embodying the postwar anxieties of the United States. Well, Act of Violence lets those icky feelings boil to the top and builds its plot around a hornet's nest of postwar guilt, fear and anxiety.
Van Heflin plays Frank Enley, a WW2 veteran living an idyllic life in a small California town. He's a family man, and a pillar of the community. The film opens with a crowd gathered to cheer him for his latest real estate development and he is described as having proved himself in battle, as well as in business, an all-around great guy. He bounces his little son on his shoulders while listening to his tribute with his wife. But this blissful scene is contrasted with the severe image of Robert Ryan, dressed in a trench coat and fedora in some New York slum, brandishing a gun, and lurching towards a Greyhound bus leaving for California.Continue Reading
Stranger by the Lake
Talking about sex on film and why he felt it didn't work Orson Welles once said, "Ecstasy isn't really part of the scene we can do on celluloid." I wonder what he would have made of Stranger by the Lake, a film that is about almost nothing but sex. Okay, you might say it's about the search for connection, and the complicated nature of human relationships, and it's kind of a murder mystery as well but everyone is naked almost the entire time. I don't think I've ever seen so many uncircumcised penises (it's French..) in a movie before. As a thriller, it works well enough. The nudity is distracting to a point but it works in tandem with the languid pacing and serenity of the visuals. This is, in some sense, a nature film.
The film takes place at a cruising spot near a lake in France. Men come to sunbathe nude, and to go into the woods nearby to have anonymous sex. It's a world unto itself with its own peculiar rules and set of codes. Real life doesn't seem to intrude but that's an illusion because the dangers of the real world are ominously close. Franck (Pierre Deladonchamps) is a regular who is more drawn to this spot than he wants to admit. He likes disappearing into the woods. He strips, he swims, he sunbathes, he cruises, and the scenes have an unobtrusive medium-shot matter-of-fact-ness about them. They look like anthropologists doing fieldwork on gay subcultures could have shot them.Continue Reading
Super Duper Alice Cooper
Finally a quintessential documentary on Alice Cooper, rock's original shock master, titled appropriately enough, Super Duper Alice Cooper. Unlike the usual quickie music doc (Behind The Music, etc.), this is a film edited with style and a totally engaging visual flare similar to the wonderful Robert Evans doc The Kid Stays in the Picture, with those three-dimensional cut outs and old-timey film footage mixed in to help tell the story. And Cooper himself, an engaging story teller, narrates. Of course I'm the target audience; I had a couple of his records as a kid, I went to an Alice Cooper concert in Detroit when I was in middle school and I have nostalgic pangs that get me a little giddy when I see those '70s clips. But I'm also thrilled to report that I watched this with a woman who was born long after Cooper's heyday who had little previous knowledge about him or interest, and she thoroughly enjoyed the movie, too. Again, stylishly and narratively it can satisfy the old-school fan and intrigue a newbie.
As told by the film, Cooper's story is the usual "sickly kid dreams of more and beats the odds" ode. Born Vincent Furnier in Detroit, Cooper's pastor father and mother moved him out West to Phoenix to help his extreme asthma. He grew up a churchgoing all-American type, but like many kids in the '60s inspired by The Beatles, their music (and spoofing the Fab Four at a school talent show) led to him and his buds forming a band. Even as a bunch of suburban squares they found some success in their hometown under the name The Spiders; later encouraged by a message from a ouija board they changed the name of the band to Alice Cooper (slowly Vincent would actually take on the name himself and later legally change it when he dumped his bandmates) and set out for hippie filled Los Angeles. In California they fell under the tutelage of super weirdo Frank Zappa and became the brother act to his all-girl band The GTO's. Besides giving pointers on partying, the fashionable ladies also helped them update their look (with thrift store women's Ice Capades costumes). Though they signed with manager Shep Gordon (a pot dealer, for whom managing music was just a side gig) they didn't find the success they craved and were even jeered at for their growing onstage theatrics. The band took off for middle America, playing small gigs until they finally settled in Detroit, a working class city that liked to rock and appreciated a hard-hitting band with a strong work ethic. Playing alongside bands like The MC5 and The Stooges, it has been said that this garage rock scene was the beginning of Punk Music (and Johnny Lydon AKA Rotten, adds his voice to the narration later, giving credence to this by admitting what a big influence Cooper was on his band, The Sex Pistols). The Alice Cooper act grew more and more outrageous and when they got to open for John Lennon at a music festival in Toronto, an incident that led to a chicken being murdered made them famous. They eventually broke big with hits "I'm Eighteen and then "School's Out", but Cooper fell deeper into a dark hole of alcoholism and celebrity trappings. Finally he dumped his high school pals and went solo, where his shows became a sorta vaudeville horror act, complete with a boa constrictor, a guillotine and dancers. (He married a young pretty one.)Continue Reading


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DMP Templates
- Funder Specific Templates: A • D • E • F • H • G • I • N • O • S • U • V
- Tools & Guides
- Examples
Requirements for Data Management and Sharing
Plan to manage your data in a way that makes meeting the eventual requirements for data management and sharing easier. Thinking about how you will collect, organize, manage, store, secure, back up, preserve, and share your data makes it easier to meet future data sharing requirements.
Funder Requirements
AHA (American Heart Association)
Alfred P. Sloan Foundation
- Alfred P. Sloan Foundation grant proposals-Specifically, in the Information Products appendix
DOE (Dept. of Energy)
The DOE requires that requests for funding contain a data management plan (DMP).
- DOE-Department of Energy Statement on Digital Data Management, Data Management Resources
- The following Office of Science Program Offices have additional requirements:
Gordon & Betty Moore Foundation
IES (Institute of Education Sciences (US Dept of Education (ED))
IMLS (Institute of Museum and Library Sciences)
The NASA requires investigators, other than instrument development programs, to submit a data management plan with their proposals in accordance with their plan for increasing access to results of federally funded research.
- NASA Data Management Plan FAQ for ROSES-2015.
- NASA Earth Sciences
- NASA Data Management Plan Template is COMING SOON!
NEH (National Endowment for the Humanities Office of Digital Humanities)
The NIH requires investigators seeking $500,000 or more of direct costs in a year to include a description of how research data will be shared or why sharing is impossible, to comply with the agency's data sharing policy.
- NIH Data Management and Sharing Frequently Asked Questions.
- NIH guidelines on data management plans.
- Genomic Data Sharing (GDS) Policy
- NIH Data Management Plan Template
NIJ (National Institute of Justice Data Resources Program)
NOAA (National Oceanic and Atmospheric Administration
The NSF requires that all requests for funding contain a data management plan (DMP) of no more than two pages addressing how the proposed project will comply with the agency's data sharing policy. This document must outline the plan for data management or a justification as to why there is no need for such a plan.
- NSF Data Management and Sharing Frequently Asked Questions.
- NSF guidelines on data management plans.
- NSF Data Management Plan Templates
Directorate level guidances:
MPS Divisions:
Sub-directorate guidances (not a comprehensive list):
Journal Requirements
Journals such as Nature, Science, PNAS, and PLoS ONE are among those requiring that data underlying articles they publish be made available. Journals published by the Ecological Society of America such as Ecology and Ecosphere also have requirements for data sharing. BMJ also requires that all clinical trials be prospectively registered, in accordance with the International Committee of Medical Journal Editors recommendations, and that patient-level drug and device trial data be available upon reasonable request.
In the social sciences, there is a move for journals to endorse the Data Access and Research Transparency joint statement. Endorsers include: the American Political Science Review, the American Journal of Political Science, Comparative Political Studies, Political Analysis, and the Journal of Conflict Resolution.
Columbia University Requirements
Responsibility: Columbia's Retention and Access to Research Data Policy (Columbia UNI required) names the Principal Investigator (PI) of a research project as responsible for determining what data need to be retained and for setting up systems for organizing and archiving project data.
Data Retention: The Retention and Access to Research Data policy is on the website of the Office of the Executive Vice President for Research. The policy includes the following statement: "Research data must be archived for a minimum of three years after the final project close-out, with original data retained wherever possible." Other policies and laws requiring a longer period of data retention, such as the Health Information Portability and Accountability Act (HIPAA), may apply.
Data Ownership: Though sponsors grant research funds to the Trustees of Columbia University, usually the PI acts as steward of the research data and makes decisions on its use and distribution within the parameters of sponsor and Columbia guidelines. See the Intellectual Property section under "Obligations and Responsibilities of Officers of Instruction and Research" in the Faculty Handbook for more information on Columbia policies. Make sure you are aware of your obligations under these policies and those of your research sponsor.
Data Portability: You should not assume you can take data with you. Whether or not you can do so depends on many factors, including the status of the project and the policies of the research sponsor and Columbia. Contact Sponsored Projects Administration for more information. If you are a post-doctoral researcher, the answer to this question depends on the specific circumstances of your research. Talk to your work supervisor or contact the Office of Postdoctoral Affairs.
DMP Templates
Use these templates to help create DMPs for your proposals. The templates contain suggested items to consider; not all questions will be appropriate or relevant to all projects. To create your Data Management Plan, select the appropriate template from the list below. Most templates have five or six main sections (indicated by bold headings). We suggest that you try to address the topic of each section. You will usually find more specific questions underneath the bold headings to help guide your writing. You can:
- Start by answering the questions within each section (under each section description).
- After answering all the relevant questions, remove the questions, leaving just your answers.
- Modify the answers into prose that makes sense as a paragraph below each Roman numeral header (include the bold text as the header to each of your sections in your Data Management Plan).
Your completed DMP will have the section headers followed by prose paragraphs describing how you plan to address each point.
If you're looking for templates with less guidance check out the DMPTool.
Other DMP Tools & Guides
- IEDA DMP Tool – Wonderful if you are in an earth science discipline
- DMPTool
Funder Specific Templates
The DOE requires that requests for funding contain a data management plan (DMP).
- DOE-General DMP template
- The following templates correspond with the additional requirements as per the Office of Science Program Offices:
The NIH requires a paragraph following the Research Plan Section to describe your data sharing plan: Office of Extramural Research guide.
Additionally, if you are working with large scale genomic data such as genome-wide association studies (GWAS), single nucleotide polymorphisms (SNP) arrays, and genome sequence, transcriptomic, epigenomic, and gene expression data you must also adhere to the Genomic Data Sharing (GDS) Policy. This requires both a brief description of your data sharing plan in your proposal, and a more detailed just-in-time data sharing plan. The expectations for both of these are still evolving, but you should be prepared to address the considerations listed below.
NOAA has provided information on data sharing plans for grantees as well as some required language in the NOAA Data Sharing Plan. However, per this procedural directive, this program is under regular review for future development, and NOAA's directive for internal data management may give some insight into the direction it may develop:
- NOAA data management plan for NOAA produced data, v 2.0.1, p. 7, Appendix A
The NSF requires that all requests for funding contain a data management plan (DMP) of no more than two pages.
* Adapted from work made available under the terms of the Creative Commons Attribution-ShareAlike 3.0 license, © 2012 by the Rector and Visitors of the University of Virginia.
Tools & Guides
- IEDA DMP Tool – Wonderful if you are in an earth science discipline
- DMPTool
Example DMPs
Writing a DMP
Run through this Data Management Planning Checklist. You should expect to address the following points in any data management plan:
- What data types, from what sources, in what formats will this project produce? How much of it will there be?
- How will you describe or document your data? Are there standards you will be using for this?
- Will you be sharing your data? Do you have the rights to share the data? What did you tell the IRB?
- How often do you need to backup your files? How do you need to be able to access your files? How many backups will you have?
- How much storage space do you need? What is your budget for your storage?
- Where are you going to archive or store the data? and how will it be accessed?
- What are the roles and responsibilities around all of these things? i.e., Who's going to be doing all this?
So are you ready to write a data management plan? Check out this Data Management Planning Self-Assessment (.docx) and make sure you have all of the information you need.
How to share
Requirements for sharing have been addressed above.
Considerations for sharing are addressed in Sharing.
Getting your data ready to share is addressed in Working.
Where to store your data for sharing is addressed in Finalizing.
These are all aspects of "How to Share"
Budgeting for Research Data Management
Budgeting appropriately for RDM is a necessary part of the planning process. While it has been said that a good rule of thumb is budgeting 5% of project funds for data management, here are some guidelines and tools to help approach the budgeting process a bit more precisely.


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A Heavener man is recovering from injuries sustained in a Monday evening hit and run accident.
According the the incident report, Heavener Police Officer Derrick Woodral was notified that a hit and run accident involving a pedestrian had occurred at 605 W. Ave. H.
When Woodral arrived at the scene, he observed Marcus Skelton 26, of Heavener, who was allegedly suffering from a broken leg due to an incident between him and Jerami Casteel,23, of Heavener.
The status of a local post office is out in the open after the United States Postal Service provided the property owner with a lease agreement that seems less than acceptable.
According to property owner, Steven Katten, his family built and have owned the Cameron Post Office property for 40 years. The building, which was built to USPS specifications by his mother, has housed the Post Office since its completion. That may change soon due to what Katten cites as an "onerous proposal" by the USPS.
Carl Albert State College Lady Vikings Basketball Coach Jeff Tadtman would like to announce Danielle Gant as the new Lady Vikings' assistant coach.
In 2005 as a senior at Putnam City West, Gant led the state in scoring with an average of 25.2 points per game. Also, she was named the Oklahoma State Player of the Year.
Following her senior year, she signed and played basketball in the Big 12 for Texas A&M.
PANAMA — The 2011 Holiday Festival hosted by the Panama High School basketball teams kicked off Tuesday with four games of action.
The Spiro and Howe teams swept the Day 1 contests of the festival in both girls and boys action.
In a close in-county battle, the Lions beat the homestanding Hogs by a final score of 48-46, while the Lady Lions handed the Lady 'Backs a defeat of 56-35.
The Spiro squads won over the Acorn Lady Tigers and Tigers with the Lady Bulldogs posting a final score of 49-45, and the 'Dogs running the floor in a game that ended with them winning 69-33.
Alumni football is coming to Poteau. Gridiron Alumni is planning several full contact alumni football games.
Gridiron Alumni travels the nation pitting old football rivals against each other one more time.
Players are needed to sign up, and the first 40 players on each team get to play. The team that gets 30 people registered first gets home-field advantage.
Last year, hundreds of players and thousands of fans swarmed stadiums to watch their home town heroes strap it on one more time.
This year, Gridiron Alumni would like to bring alumni football to the whole state of Oklahoma.
Troyce Dees Tanner, 80, of Fort Worth, Texas, formerly of Poteau, died Sunday, Dec. 25, 2011. Services will be at 1 p.m. Friday, Dec. 30, graveside at Greenwood Memorial Park in Fort Worth. Notice provided by Evans and Miller Funeral Home, Poteau.
Hannah Rae Lovett, infant daughter of Joshua Micah and Tessa Dawn (Powell) Lovett died Wednesday, Dec. 28, 2011, in McCurtain.
Hannah was born Nov. 22 in Poteau. She was preceded in death by her great-grandmothers, Oteka Bryant and Arlene Branson, and great-grandfather, Bodie Powell.
The Board of County Commissioners, LeFlore County, State of Oklahoma, met in a Regular Business Meeting on December 27, 2011 at 9 a.m. with Chairman Lance Smith presiding. Also present were Vice-Chairman Derwin Gist, Member Cebern Scott and County Clerk First Deputy Roxane Ballew.
The following action was taken by the board:
Item 1 – Chairman Lance Smith called meeting to order.
Item 2 – Motion was made by Lance Smith and seconded by Derwin Gist to approve the minutes of December 19, 2011. Motion was approved all voting yes.
COLLINSVILLE — Four members of the Poteau Youth Wrestling Club competed at Saturday's Cardinal Christmas Classic.
Bryson Terry was runner-up, Ross Johnson and Jarrett Lilley were third and Doncurian Jones was fourth.
Race Williams competed, but did not medal.
Wade D. Wells, 89, of McAlester died Sunday, Dec. 25, 2011. Services will be held at 10 a.m. Wednesday, Dec. 28, in Mallory Chapel under the direction of Mallory-Martin Funeral Home, Stigler.


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Statements posted here are those of our readers and do not represent the BaseballThinkFactory. Names are provided by the poster and are not verified. We ask that posters follow our submission policy. Please report any inappropriate comments.1. RMc is organizationalwide! posted on November 01, 2012 at 06:59 PM #
And it "looks like heaven is easier to get into than Arizona State".I had a great time at ASU... from what little I can remember.
And it "looks like heaven is easier to get into than Arizona State".
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The popularity of the World Series of Poker and other live events on TV have sparked major interest in tournament poker. Once a backroom game only played in the corners of Vegas casinos, poker has exploded into homes around the world through online play.
While the element of luck makes tournament poker very attractive, it takes skill to beat the best in the world and come home a millionaire. Let me share with you my top tips for poker tournaments.
Tournament vs Cash Game
Unlike in a cash game where you can join and leave the table anytime, players at a poker tournament start the battle at a predetermined time with each player buying a seat to the event and starting with the same number of chips. You have the option to re-buy to add more chips to your stack.
Once you lose all your chips, you are eliminated from the tournament. The top finishers (typically around 10% of the total starting field) get paid on a descending scale, with the first place winner receiving the biggest prize.
In a cash game, static blinds allow players to dictate their own pace of play. In tournaments, the blinds increase on a predetermined schedule.
The stack sizes in a cash game are typically closer to each other than in a tournament, where some players will have many times that of the average stack while others may just hold a single chip.
Top Tips for Poker Tournaments
How you play in a tournament will mostly depend on two variables: the stage of the tournament and the size of your stack.
The size of your stack is measured in two ways: your stack in comparison to the average stack size and your stack in relation to the blinds.
There are three tournament stages: early, middle, and late.
In the early stage, all players are on equal footing and it can be difficult to spot those who are looking to gamble. The standard approach to playing in this stage is to play tight-aggressive poker. The idea is to make it through the early stage with average or above chips, giving you room to maneuver as you enter the next stage.
Be careful when playing aggressively on suited connectors. Their value is lower than expected since people are going to be short stacked, so if you still decide to call, only do so at the beginning of the tournament.
Many times, just playing tight and betting people out of a pot is difficult early in a tournament, because bad players do not look at bets relative to your bet or pot, but instead look at it relative to their chip stack. These players will be bleeding chips early on in a tournament, so it is essential that you capitalize on their weakness and exploit it.
The middle stage will range from being deep-stacked at the start (lots of chips compared to blinds) to short-stacked near the end. In this stage chips are quickly becoming more valuable and each round of blinds potentially brings you one step closer to elimination. Do not sit around waiting for the best hands. You need to steal blinds and protect your chips to keep yourself from getting short. Once you get too short your only move left is all in. Play to stay alive and get yourself into the money.
In the late stage, many players will have very few chips and a few players with a lot of them. This is the time when everyone is willing to gamble. Once you're in the money, people no longer care about going bust and are aiming for the win at all times. You need to play very aggressively, make few mistakes, and get lucky at the right times to have a shot at the title. Luck is always a part of poker, and in tournaments it becomes a large factor of the game in the later stages. With the blinds being very large, and many stacks being very short, most players will be folding or going all-in.
If you're short stacked and it's already much later on in the tournament, consider going all-in pre-flop to try and steal the blinds even if your hand isn't looking so great, rather than waiting and going all-in on the flop.
In a cash game, the goal is often to wait for a good hand, a good flop and a bad opponent. In tournament games, you won't have enough time to wait for these so it makes sense to play aggressive.
Look for weak players and push them around selectively. Raise their blinds and snatch the hand right there. This may have a limited shelf-life, however, as a keen player at the table will realize what you are doing and put in some counter-moves.
Check-raises are another great tool to use against tight players, when timed correctly. Let's say for example you are in the big blind with a weak player playing behind you. The flop comes rags, which most likely hasn't helped your opponent, provided he isn't holding pocket pairs. On this type of flop, betting out is usually good enough to win right there. If you get called, you can almost be certain that your opponent has a hand of some sort. You can check-fold or check-raise the turn if you are sure your opponent has a weak enough hand to fold to major aggression.
In late position, raising an opponent on a bluff or steal is often safer since you aren't put in the awkward position of checking the turn if your opponent decides to call. If a weak opponent calls a raise on the flop and checks the turn, they likely have a hand that is decent but not a monster. Whether or not they will fold is a read that you must be able to make. Hopefully if you have them pegged as the weak player to attack, you will know they will fold. Otherwise, you are in a sticky situation if they call another turn bet, as you'll almost certainly have no way of pushing them out of a pot on the river.
When short stacked or even mid-stacked, you will often be in a situation where a half-pot or pot-sized bet means putting a significant portion of your chips into the middle of the table. If you are ever in a position where you need to put a good percentage of your chips into the pot, you should often go ahead and simply push all in.
By sheer brute force, going all-in prevents your opponent from making a difficult call, especially if he has less chips than you. For the very same reason you want to avoid showdowns, a good opponent will also want to avoid a showdown. If your opponent has a mediocre hand, they will be very reluctant to call even if they are relatively certain they have you beat.
Often, you'll see a player dump away all his chips by checking a hand, then calling all their chips off when their opponent pushes. If you are ever in this situation, instead of just waiting for your opponent to push, be the one that pushes instead! If you're going to call anyways, you might as well gain some fold equity on your opponent, however small it is. There's nothing to lose by it, so always take the lead if you are going to jump on the wagon anyways.
Learning how to adjust your game and varying up your level of aggression is the biggest trick to keeping your opponents on their toes. Being able to hide a big hand when your opponents think you are bullying them around will give you the edge to punish them. At the same time, being able to scare your opponents away with a weak hand when they think you are strong is just as important in your strategy toolbox.
Playing aggressive is good, but when applied blindly, can lead to major issues in your game. Knowing when to use aggression to make well timed steals, bluffs and tricks against your opponent is the key to becoming a solid tournament player.
Pay attention and keep track of the players you're competing against since you may run into them again if you continue playing single table tournaments with the same buy-in.
Tournaments are long and last awhile, so be prepared for a full-day event and pace yourself. Place your bets wisely.
Play as much poker as you can. The more tournaments you play, the better you will get.


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My Ghoul Friday
Check back often!
Recent Moans from the Minions...
I'm creating a quick holding cell/dungeon in my office for this year's party. I'm not about to move my desk and all its contents out of the room (I think taking all my pictures down and clearing out most of my living room accessories is enough). SO I've created some really quick, easy and cheap walls.
They are simply large cardboard boxes flattened out (I left the bottom outside edge flaps attached. This allows it to stand on its own for the small wall seen here). I draw the outlines of the boards with black spray paint. Let it dry. Then take light coloured paint watered down a little, dip a brush in (removing some of the paint from the brush) and lightly drag the brush along each length of "board".
Sometimes it can take an excruciatingly long time to create labels for your Halloween display. I've posted 2 pdf sheets in my "Wretched Resources" section under "Printable Props and Decorations". You can see the first one here and view the second one here.
I love Home Sense. They already have cast their voodoo on me with their trinkets, pillows, glassware and pretentious gourmet food items that no one really needs (yet I feel empty inside because I don't have them). And now...now they have me right where they want me.
While I was aware that Home Sense always had cookie cutters and aprons for kooky, creepy kitchen creations, I did not know that their buyer has gone out to find what I would call upscale props. Not only are they inexpensive and interesting, they are well made. Solid. Heavy. And quite attractive.
On the far left in the picture is a Frankenstein candle holder. I also picked up the Dracula one but passed on the witch and mummy made in the same style (can't afford it all, can I?).
How many of you Halloweeniacs have suffered burnt fingertips from black light bulbs? Those little glass balls of death which are cheaply made and cast hardly any light will soon be a thing of the past.
His name is Doktor Viktor Von Kreep, monster enthusiast and talented cartoonist. Some of you may be aware of the publication "1313" or his website and fares on Kreepsville Industries. These are all great, but what I want to draw attention to is his blog for Headless Spectre Radio.
The Dok has put together track lists of classic 50's/60's monster music by bands such as "The Vooduos" and "The Astro Zombies", not to mention original clips from movie trailers (including Mad Monster Party, my favourite). Go to his website for a listen, bone daddies. I promise you won't be disappointed.
My dear devilish darlings, I've been waiting a long time to share this website with you. It's Ravensblight.com, and it's a lot of fiendish fun.
You can stop in the library to read Ray's stories, or play some online horror games in the arcade, but I'm going to gently shove you down the street to the toyshop as our first stop (I tend to zero in on toy stores in real life as well). Here you will find masks, game pieces, even helmets, all made out of paper and all ready for you to print out at home. It's quite fantastic. Enjoy.
In my neighbourhood, it's common to see scores of crisp white t-shirts, towels and sheets waving like flags from breezy backyard clotheslines. I have a clothesline too, and I used it for the first time in the 11 months we've lived here. It didn't seem to help me blend in though.
It's a bright and warm sunny Autumn Sunday afternoon, and I'm outside taking a serrated knife to some curtains.
The knife worked great. Scrape it sideways along the material, it creates one pattern of runs in the material. Draw it down, and it makes another. Press harder, and you get some small tears. Perfect.
Hi-ho Halloweeners,
Just wanted to shed some light on the blight of many fright-sites. Websmasters, please. Though having a skull that jabbers its jaw may seem spooky cool, think twice and remember: moderation is key. When you buckshot your website full of flash, you are creating not only an eerie eyesore, but a potential web browser crippler. Those flickering flames, blinking eyes and flapping wings together can cause your visitor's web browser to freeze, and in the worst situations, their computers to seize.
Hello ghastly ghoulies,
I needed a break from typing up activities to post on the site, so I decided to slither through the internet and find something to entertain my grey matter while my bony fingers rested. I found three things worthy of my short attention span.
It started when my parents let me spray paint a tombstone on the concrete wall of our basement for my Grade 4 Halloween party.
It was my first real Halloween party, and I wanted it to be great. I constructed a haunted house the length of the basement and lead people through dangling, slimy snakes hanging from the ceiling - just one example of the many forms and obstacles waiting for them in the shadow. I hadn't gotten over my fear of the dark, and I was deathly afraid of being in the basement alone (never mind with the lights off), but to make sure I could see well enough to safely guide each guest one by one through the haunted space, I sat alone in the pitch black basement for 20 minutes before the party goers even started to arrive.
My self-published book is still available!
Craving more Halloween goodness?
Here are some sites to satisfy the hunger.
All content copyright © 2007-2013 GhoulFriday.com (unless otherwise noted). And remember, safety first! Please read and understand our full disclaimer.


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HOME Wisconsin Badgers Gear Wisconsin Badgers Shorts & Pants $40 to $60 (12 items) Product ID: 1011104
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Let's get ready to rumble! As your competitor waits for you in the cage, all your energy is concentrated on releasing the one trait he does not possess: Wisconsin pride. At your next fight, slip on these Fight shorts, and feel the aura of the Badgers run through your veins as you win each round. These drawstring shorts were designed and inspired by the greatest combat athletes who understand the struggle and grind of becoming a champion. With an embroidered Cage Fighter logo on your right leg, the Wisconsin wordmark on your left leg and "Badgers" on the elastic waistband, the same spirit of battle instilled within both mixed martial artists and collegiate football players will be granted to you. When the crowd goes wild after you defeat your opponent, remember to thank the Badgers for giving you the inspiration and courage to be triumphant in the face of battle.
- 100% Polyester fabric
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Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Quick thinking from Felipe Massa meant he avoided what could have been a huge crash with Kimi Raikkonen in Sunday's British GP.
Raikkonen crashed on the opening lap of the race when he lost control at Loop.
The Finn went off the track and slammed into the barriers with the impacting sending him back across the track.
As the Ferrari spun across the track, Massa, who had a slow start, came up behind him.
Quick thinking from the Williams driver saw him take avoiding action that put him into a spin. Massa, though, unfortunately still caught Raikkonen's F14T with the rear left of his FW36.
"I didn't see a lot because there was a car in front of me," he said.
"Then I saw Kimi crash and he was coming into me so I turned right but I hit my rear left on his car.
"My car was very damaged."
It was a disappointing end to a trying weekend for the Brazilian driver.
On what was his 200th grand prix start, a dismal qualifying saw him line up 15th on the grid while the crash meant he didn't even complete a single lap.
"It was really a weekend to forget," he conceded.
"I hope that Kimi is fine, I saw it was a big crash."
He added: "For sure I wanted a better weekend than that but I'm fine."
Related Links
Race Day At Silverstone


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ACE Fit Share
Starting Position: Lie on your stomach on an exercise mat or floor with your hands positioned directly under your shoulders and fingers facing forward. Legs should be straight and toes pointed.
Upward Phase: Gently exhale. Engage your abdominal/core muscles to support the spine. Press your hips into the mat or floor. Lengthen the torso and curl your chest away from the ground while keeping your hips stable. Keep the shoulders rolling down and back. Hold this position for 15 - 30 seconds.
Downward Phase: Gently lower your upper body back to the mat or floor, lengthening the spine as you descend.
If you experience any pain in the low back with this movement, stop the exercise immediately and consult with your doctor.As the length of arms differ, individuals may often lift their hips off the mat or floor as they fully extend their arms. In this case, limit the extension in your arms to keep the hips on the mat.
ACE Pro Homepage
Copyright © 2015 The American Council on Exercise. All Rights Reserved.4851 Paramount Drive, San Diego, California 92123 1 (888)-825-3636


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