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Romeo et Juliette Casting and Reviews
Posted 28 September 2009 - 08:58 AM
I enjoyed Kaori Nakamura and James Moore on Friday night, but I wasn't moved as I was when I saw Noelani Pantastico and Lucien Postlewaite dance it last year. Kaori did become Juliet for me, except her boyish haircut was a distraction and kept me from really seeing her as a desirable young maiden. Sometimes she seemed like an adolescent tomboy, and sometimes she seemed like a 30 year old woman. James Moore never became Romeo for me. He was just James Moore dancing a role.
My husband raved about Chalnessa Eames as the nurse, but my memory of Jody Thomas was better in that role.
I enjoyed Carrie Imler in the role of Lady Capulet, and I can't even remember who I saw perform it last year. She became her mother to me, or as I imagine her mother would behave.
Then I brought my daughter on Saturday night. Carla Korbes and Lucien Postlewaite were transcendent. Again I was moved to tears. Carla was Juliet and Lucien was Romeo. Just WOW! This ballet belongs to Carla. After seeing it 3 times, the impression I have is that it is a ballet of arms. So much of it is acted with the arms, and I have never seen a dancer with better arms than Carla. I hang on every movement of her arms -- they express so much emotion.
I hate to compare Kaori and Carla because I felt they were two very different Juliets, but I would want to see Carla do the role over and over again. Even if Kaori danced it with Lucien, I don't think I would want to go a second time. Although I enjoyed her energy and intensity, her short hair was too distracting to me.
Ariana Lallone danced Lady Capulet, and although her dancing was dramatic, I didn't feel the mother connection like I did with Carrie Imler.
Saturday night had Carrie Imler as the nurse. I loved her in that role, too! The magic difference was that I believed she loved Juliet. She wasn't just a funny character, she was Juliet's nurse. The character made sense to me for the first time. I thought Chalnessa's nurse just seemed grossed out that she was next to a dead body.
Another delightful surprise was Karel Cruz! His long, tall lines made the Friar a larger than life character. My daughter said she preferred Olivier's, but I thought Karel Cruz's grief and dread were palpable. This performance demonstrated why he deserved this promotion.
There is always so much to watch, and I think I caught something interesting. Maybe someone can confirm this for me . . . Friday night when Mercutio kissed Lindsi Dec's character which leads to the fateful fight, it looked to me like she acted angry and egged on the fight. Saturday night when he kissed her, it looked like she enjoyed it, which made Tybalt angry and led to the fight. I thought it was interesting that two different reactions could lead to the same result. Did I really see it, or did I make it up in my mind?
Posted 28 September 2009 - 10:28 AM
You say you don't know much about ballet (and neither do I, BTW -- at least compared to most on this board), but my guess is you know more than you feel comfortable giving yourself credit for . I say that your observations are spot on! (Besides everyone's impressions are interesting and valuable.)
I've only seen Carla at the dress, so I'm holding off comment until I see her on Friday and Saturday later this week. I did see Nakamura/Moore last Friday, and my reaction fits very well with your comments. Both James and Kaori did extremely well, but the competition from both the past (Noe) and the present (Carla and Lucien) is just too strong. I did think James did some fabulous dancing, especially from a technical point of view, but this ballet depends so heavily on character and acting that technical dancing takes a back seat. Besides Lucien is unbelievable. He's Michael Jordon in this part. How can anyone compete? One new wrinkle is that my wife said on Friday that she found James/Kaori more believable as lovers than Lucien and Noe. I don't find that to be so, but my wife is very visually tuned so I guess she just liked the physical "look" of the James/Kaori couple.
You mention CARRIE IMLER. Indeed, indeed. IMHO, Carrie is the the most accomplished dancer in the company -- bar none. No one has her range, no one executes on all levels, in all types of ballet, like Carrie. I've only seen her Lady C so far (the nurse comes this week, in fact, I am going Saturday night primarily just to see that). It was Ariana Lallone and Lousie Nadeau last year. They are both great (I saw Ariana at the dress), but Carrie tops them both -- not in every particular, but as always with Carrie, she added power and character to every moment of her dancing from the grief scenes to the seductive scenes, not to mention her flawless dancing. Also I can't resist mentioning how great Carrie is looking. Congratulations Carrie!
I will look again this week at that Dec/Poretta kiss you mention. My memory is that Dec was disgusted at the kiss. It makes sense that she would be since she is a Capulet and Mercutio is a Montague. I note that even when Mercutio kisses a Montague, the woman is put off by his audacity (e.g., Poretta and Rausch in the opening scene.....Rausch is titillated, but put off too). In addition, remember that Mercutio also kisses Tybalt at one point!!
Posted 28 September 2009 - 02:59 PM
In addition, remember that Mercutio also kisses Tybalt at one point!!
Not to mention licking the Tybalt puppet head...
Sometimes I think Mercutio is out to offend everyone.
Posted 28 September 2009 - 04:43 PM
Posted 30 September 2009 - 05:43 PM
Jean-Christophe Maillot's "Romeo et Juliette" succeeds in every way that the Bolshoi production didn't. While not every moment was memorable choreographically and/or dramatically -- hard to do in a full-length ballet, and I'm never going to find the Eifman-esque character of Friar Laurence convincing -- Maillot avoids the pitfall of much contemporary choreography, the endless repetition of three to five movement "signatures", repeated in endless succession. His dance vocabulary is a lot more varied and interesting, and it's most often seamlessly integrated into the theater. The theater in this work isn't only in the characterization, but also in some wonderfully inventive set pieces, like the puppet show, which in its combination of comedy and foreboding is as much of a tour-de-force as the play-within-a-play convention of "I Pagliacci". It's also in the way that he cuts a key group scene to the three key public relationships at that point in the drama -- Romeo and Rosalind, ironically no longer wanted, Lady Capulet and Tybalt, and Juliette and Paris -- which highlights the contrast of the private musings, longings, and plots.
One of the most impressive insights Maillot has is into adolescent female sexuality, particularly in the way Juliette pulls away not so much because she is socialized, but because she isn't quite ready at any given moment. Given a chance to absorb the sensation, she returns to Romeo. The balcony scene is rife with sensation from both characters.
The work is performed on a stark, white set, with two proscenium height flat white panels upstage, between which a ramp extends on the diagonal to about mid-stage. There are also two movable half-height curved panels, one wider than the other, that sculpt the stage space throughout the performance. Stage left, there is a black platform, both the bridal bed and Juliette's crypt. Despite the starkness, it is a rather intimate space, and it indicates a specific place.
I saw both Saturday performances, and the casts were starkly different. In the matinee, Kaori Nakamura's Juliette was, from the first scene with her mother, as hurt as she was playful, with Mara Vinson's overbearing Lady Capulet almost violently disapproving in her attempt to teach her daughter how to behave as a woman. When the nurse rips off her mask during the ball scene, or her robe in the bedroom scene with Paris, it's as if she's been violated. James Moore's Romeo could have been her escape and chance at love. Because of her almost insect-like sensitivity and intermittent physical delicacy, the tragedy was inevitable.
For all she said in her interview about Maillot's Juliette not being a sweet young girl from Shakespeare, Carla Korbes' characterization belied this. While passionate, her Juliette was more of an emotional innocent, getting in deeper and deeper, all the while believing that it would all work out, which made it horrific when it didn't. Her mother, Ariana Lallone's much more maternal Lady Capulet, was much more affectionate and non-traumatic. Physically, her dancing was silken. Given the chance, I wouldn't relive any period of my life before my 40's, but Korbes tempted me to want to feel what her Juliette felt as she expressed that sense of freedom and fullness.
In a Q&A, Postlewaite said he wanted to portray his Romeo as a playboy; it was Moore's Romeo who would have been believable working his way through the entire female population of Verona without coming up for air, while Postlewaite's far more patient Romeo likely would have absorbed and reveled in what he was feeling. (The girls would still be there when he was ready to move on.) Moore's change to the young husband was more of a stretch. I would have loved to have seen Nakamura's Juliette with Postlewaite's Romeo, to see how her Juliette would have reacted to his emotion.
Mara Vinson made the most of the Graham-like choreography, and she was a real dragon lady of a mother. She was so self-absorbed, like an Electra, that by the time she appeared at Juliette's crypt, I had no sympathy for her -- even Juliette's death was all about her. It was a powerful, brilliant physical characterization. Lallone's Lady Capulet was much softer and more maternal.
I thought Chalnessa Eames' Nurse was one of the great performances of last season when the work was first presented, and once again, her freeze-frame facial expressions and impeccable comic timing were splendid. Carrie Imler made her debut in the role in the evening; the comedy was in her constant motion. It was a very fine debut.
Barry Kerollis and Seth Orza made their debuts as Mercutio and Tybalt in the afternoon. Kerollis said that the character, with its anger and aggression was a stretch, and while his Mercutio was magnetic throughout, and aggressive in spurts, there were other times when he could have said, "Who, me, leave a bleeding dead body on the ground?" and have been convincing. Orza was sleek and was quite charismatic even when he partnered Mara Vinson, which was no easy feat.
The most emotionally charged relationship in either performance was Jonathan Porretta's Mercutio to Batkhurel Bold's Tybalt. Every time they were on stage together, sparks flew incessantly, and they were at each other with relentless, doggish, stubborn intensity.
There are five performances this weekend. If I weren't in Vancouver, I'd see at least two of them. Each cast has its glories, and the contrast between the two provides a rich experience.
If you have a chance, go see both.
Posted 01 October 2009 - 07:02 AM
Posted 03 October 2009 - 11:18 AM
Here's what I think I saw last night:
Maybe someone can confirm this for me . . . Friday night when Mercutio kissed Lindsi Dec's character which leads to the fateful fight, it looked to me like she acted angry and egged on the fight. Saturday night when he kissed her, it looked like she enjoyed it, which made Tybalt angry and led to the fight. I thought it was interesting that two different reactions could lead to the same result. Did I really see it, or did I make it up in my mind?
Lindsi Dec's initial reaction was one of surprise with perhaps mild disgust (not unlike most of the women of either house that Mercutio pounces on with one of his playful kisses). But soon she becomes angry but still titillated. I watched her via my binoculars for 2+ minutes starting at the actual kiss. She runs around talking to her female friends both nervously laughing (the titillation I suspect) and clearly angry. When the violence starts in earnest she appears quite pleased that Mercutio is being held to account for what she seems to consider an insult.
So my short answser to your question is: I thought Lindsi's basic emotion was anger tinged with revenge (but a bit thrilled too).
Posted 03 October 2009 - 12:46 PM
Postelwaite says that he thinks Romeo is a playboy, but he doesnt come off that way -- hes kind of louche, lounging around with Rosalines scarf, but hes serious about it, about his feelings. Moore is tougher, a bit more rowdy -- more matched with Mercutios aggression. Helene said above that hes been working his way through the female population of Verona, and I believe it. Its more of a surprise that he becomes so transformed by his meeting Juliet, because he seems less susceptible before.
Porettas Mercutio is almost over the top -- he plays, he mocks, he fights, he flirts at top volume and maximum intensity. Poretta has had several years to think about this character, he danced it in the Stowell version as well, and it really shows. His Mercutio cant help himself -- hes on a greased slide to disaster. Barry Kerollis makes an excellent debut in the role, but hes not the same firecracker as Poretta. But if he doesnt enter with that hyper energy, he could instead track the development of that tension Poretta is on Tybalt like glue from the very start it could be an interesting alternative to see that relationship change over the course of the ballet.
Kerollis is Mercutio to Moores Romeo, which changes the dynamic of the trio (with Benvolio Josh Spell does yeoman work while Benjamin Griffiths is out). Moores Romeo is more aggressive, so in a fashion Kerollis doesnt take all the weight of picking the fights. The three of them feel more equal in that regard. Im wondering what Kerollis would look like with Postelwaites Romeo.
As Tybalt, Bakthurel Bold comes out of the gate angry hes looking for a fight just like Mercutio is, but hes a bit more subtle about it. He glowers where Mercutio snipes. I almost didnt recognize Seth Orza when he made his entrance in this role, in part because hes got a moustache and goatee that makes him resemble the actor Benjamin Bratt, but also because he looks a whole foot taller. It may be the way his costume is cut, but his shoulders seem less bulky as well, which adds to a truly compelling image.
Chalnessa Eames has really grown into the role of the Nurse, especially the more eccentric timing of the comedy bits. She was funny before, but now she knows how it works. When Korbes enters with the gold lame scarf theres a real Isadora moment with that deep flexion in the hip and the raised knees (and when you think about how this Juliet dies the reference feels even ickier). Juliet and the Nurse have great give and take here, and the moment when Juliet strips off her kimono to the waist (see, I am really a woman) is a landmark for the Nurse as well as the audience. Imler made a great debut as the Nurse she really understands the nuts and bolts of the comedy. When Juliet flashes her, Imlers Nurse does a wonderful spit take, and then makes the whole lets just get you covered back up sequence into a clear sentence with several different thoughts. Juliet is almost a hoydon in much of this, though, with three arm circles when one would do. Lallone as Lady C really does school her here, correcting her posture and gestures, restraining some of her exuberance. In the Q&A Lallone talked about being the person in power (theres no Prince of Verona or Lord Capulet here) -- she feels some of the more angular shapes for her character are more masculine. I didnt get the gender buzz, but shes certainly all about control -- shes got a high gloss lacquered finish on everything she does (which makes her breakdown after Tybalt is killed more powerful).
Nakamuras Juliet is less traditional, starting with her Leslie Caron/Zizi Jeanmarie haircut. As usual, she has great quickness and a very clear sense of where she is in the space. Shes not a traditionally young and sweet Juliet, shes a more distinct individual. She feels a bit willful shes been a protected part of her world and its made her confident. When she lets her arm wheel in multiple circles to embellish the gesture her mother is teaching her, it has a kind of Musketeers flourish at the end of the phrase.
There arent really any direct quotes from the text in this production that Ive been able to find, but Maillot does take cues from the script. Shakespeare often refers to hands (let us kiss as the holy palmers do, would that I were a glove on that hand.) and the choreographer has made very specific choreography for arms and hands here. Alongside the swimming motif (two hands tracing a series of s curves working in parallel), Juliet uses her hand almost like a hunting dog in the first big duet with Romeo -- it searches him out like a beacon and leads her all over the place before she finally gets to him.
The masks that the three Montagues wear at the Capulet ball make them look like cousins to the goons in Balanchines Prodigal Son (another score by Prokofiev, which probably helps the connection). The ensemble comes rushing in, rather than the massed stateliness you get in most productions of R&J. But even that volume thins out so that for a big part of this scene its just three couples. Romeo and Juliet meet when they run into each other, literally -- he gets shoved and falls into her. The rest of the party is full of him trying to watch her or talk to her and being diverted or shunted aside -- hes constantly in motion, looking for a better vantage point. (and, sitting behind a tall man Thursday night, I empathize with his predicament) Juliet is being protected and guided by family, including Rosaline. Maria Chapman is just as good now as she was when PNB first did this production -- shes the most glamorous person in the universe here. When she flirts with Romeo earlier, you dont feel like shes playing with him particularly, shes just accustomed to people recognizing her allure. Leslie Rausch has beautiful arms as Rosaline, but her torso feels a bit more static, so I miss the full-bodied sensuality.
The ramp across the back of the stage starts rising when Juliet appears for the balcony scene -- it gets quite high (I would have real problems if it were me up there) Both characters treat the ramp as part of a playground -- its a slide and a jungle gym for climbing. Indeed the whole duet has a child-like vibe to it -- they shake and shove, they tag each other, and in a moment of foreshadowing Romeo plays dead for Juliet. Some Juliets respond more directly to this -- I remember once Pantastico actually beat on Postelwaites chest like she was doing CPR. Their romantic reaction to each other has a similar vibe -- this is squirmy sex.
If possible, Romeo is even loopier at the beginning of act II, in the square the next morning. The interplay with Mercutio and Benvolio is just this side of bromance. When the Nurse appears they are all still pretty jokey, but when Romeo absorbs the content of the note, he sweeps off-stage
There are references to modern dance styles throughout this work, but with the wedding scene in Friar Lawrences cell, Maillot gets uncomfortably close to plagiarism. The two acolytes enter with a long piece of stiffened white fabric, Romeo and Juliet stand side by side facing it upstage and we are in the middle of the Wade in the Water section from Alvin Aileys Revelations. Fortunately, this only lasts for a few more bars of the music, but its so obvious it just makes everything grind to a halt while we think what? Dramatically, its a weak part of the scene he could easily find another way to approach the wedding that would be more unique to his ballet.
Mercutio just cant leave well enough alone there are several times in the big fight scene leading up to the double murder when the Montagues could have just walked away, but that never happens. Once the fight really gets underway, its all slow-motion, which makes it easy to see the random nature of the violence. Its tempting to follow other characters during the fracas the naturalism that Maillot uses in so much of this ballet is particularly obvious here. But the first couple of times that you see it, your eyes do track the main actions, and they are almost more violent and inexorable that they are in the original text. Tybalt kills Mercutio with a blow to the head its so fast and direct that youre grateful for the slow motion. Mercutio just drops theres no pretty death, no fancy language games (if you ask for me tomorrow you will find me a grave man). It takes longer for Romeo to kill Tybalt he strangles him, and its pretty gruesome.
The Friar has been trying to influence the narrative all along, but he has failed each time. This final blow really fells him his movement is brittle and passive. Wevers and Cruz have slightly different approaches to this part, but in each of them their attenuated height really works with the aesetic qualities of the character. Wevers makes longer phrases, both physically and dramatically. Cruz approaches individual movement very clearly in one sequence with Juliet close to the end of their getting ready to take the potion duet, they do a torquing kind of push and pull action, counterbalancing her and as she sinks and rises. Its a kind of hypnotism the actual potion isnt anywhere as powerful as this sequence.
The end of the work accelerates from this duet the Nurse finds Juliet, her mother grieves, Romeo rushes in and before you know it, hes killed himself. The action opens up just a bit with the final entrance of the Friar, but not much. Hes tried all along to stop the inevitable, but at this point he cant even slow it down.
Ive been missing Rebecca Johnston in the corps since she retired a couple seasons ago, in part because her bright red hair made her easy to spot in a welter of bodies. So I was happy to find another redhead to watch Andrew Bartee, who is a new corps member this year. On one of the entrances to a group melee, he really dug into the ground, making the rhythm of the phrase very clear. What a nice first look.
In one of the Q&A sessions someone asks Boal if he will revive the Stowell version Boals response is that probably not Im on this one for awhile. Its interesting that hes bringing this one back less than two years after the company premiere. The conventional kind of repertory rotation will let something sit for a longer fallow time couple this with Boals decision to present the Forsythe One Flat Thing in consecutive seasons and I wonder what his thinking is about the maintenance of repertory.
Posted 04 October 2009 - 07:25 AM
I didn't know whether to laugh or cry when Q&A members would comment about how they love this production because it's so natural and because there's no pantomime. The swimming (squiggle) motif is just as stylized and specific as "I you love" and "my mother's tears", and the big silent "O" scream that the main characters use throughout the ballet is unconvincing as a personal, differentiated gesture, while affecting as a thematic gesture.
Alongside the swimming motif (two hands tracing a series of s curves working in parallel), Juliet uses her hand almost like a hunting dog in the first big duet with Romeo -- it searches him out like a beacon and leads her all over the place before she finally gets to him.
Thank you so much for your observations and insight, sandik!
Posted 04 October 2009 - 10:22 AM
At one of the Q&A's last Saturday, Boal said he was weighing the Stowell and Maillot "Cinderella"s. I haven't seen the Maillot, and I think Stowell's "The Tragedy of Romeo and Juliet" is a stronger work than his "Cinderella", apart from the love "Seasons" ballet-in-a-ballet, but in creating a younger audience, the initial sell was Romeo and Juliet, not Maillot. Now PNB can sell "Cinderella" by describing it as Maillot's (or, deep voiceover, "From the Makers of "Romeo et Juliette"...). Strategically, this makes sense, but I'm sad that it's "Tragedy" that being pushed aside, with its wonderful, created Tchaikovsky score.
In one of the Q&A sessions someone asks Boal if he will revive the Stowell version – Boal's response is that probably not "I'm on this one for awhile." It's interesting that he's bringing this one back less than two years after the company premiere. The conventional kind of repertory rotation will let something sit for a longer 'fallow' time – couple this with Boal's decision to present the Forsythe "One Flat Thing…" in consecutive seasons and I wonder what his thinking is about the maintenance of repertory.
Posted 04 October 2009 - 12:23 PM
Now PNB can sell "Cinderella" by describing it as Maillot's (or, deep voiceover, "From the Makers of "Romeo et Juliette"...).
I always giggle at that kind of promotion, especially the ones where they dig up some kind of connection between two otherwise not very closely related things. It's like that game people used to play about Kevin Bacon.
But still, we often use that kind of family tree evidence to talk about the legitimacy of something -- "she studied with X who was a student of Y who danced it at the premiere..."
Posted 04 October 2009 - 02:40 PM
I am always struck by that "Juliet uses her hand almost like a hunting dog in the first big duet with Romeo" gesture. I've decided that Maillot means it as a metaphor for Juliette's heart running away with her. That is, her fluttering hand is her wildly beating heart. She herself is scared of the emotion, and she herself is lead all over the place as her heart runs the gamete from fear to flat out caution-to-the-wind passion. That fluttering hand (her heart) eventually leads her inescapably back to Romeo where it (the heart) caresses him and then locks onto him in a final irretrievable commitment to love regardless of the consequences.I didn't know whether to laugh or cry when Q&A members would comment about how they love this production because it's so natural and because there's no pantomime.
Alongside the swimming motif (two hands tracing a series of s curves working in parallel), Juliet uses her hand almost like a hunting dog in the first big duet with Romeo -- it searches him out like a beacon and leads her all over the place before she finally gets to him.
If I'm right, I think it is a masterful image.
Posted 04 October 2009 - 03:16 PM
It's not just the audience members that make this observation. Interestingly, both Josh Spell and Kylee Kitchens said the same thing last night at the Q&A when asked how this type of ballet was different from other more traditional ballets. Peter Boal agreed.
I didn't know whether to laugh or cry when Q&A members would comment about how they love this production because it's so natural and because there's no pantomime.
I think you have a point too Helene. So how to I resolve that? Here's my view (maybe we don't see this all that differently in the final analysis). Maillot's R&J does not use pantomime. I say that because traditional ballet pantomime gestures are very specific and pretty much always mean the same thing (pointing to the ring finger always means, very specifically, a marriage and always relates to the immediate plot). Maillot's gestures such as the swimming hands are far more generalized and perhaps can be better described as thematic movements. The swimming hands do relate to the theme of 2 people in love (after all, that is the basic theme of the Shakespeare play), but the swimming hands don't just mean R and J's love in a specific way. It is used in many, many ways by many, many characters (I sound like Speight Jenkins here ). Sometimes it is just the love between R and J, such as when we first see them alone after the ball as they stand far upstage bathed in a spotlight. Other times that movement is done by just one person and often means a love forbidden because it is a love of the 2 warring houses of Montague and Capulet such as the Friar often means when he uses it. In at least one instance I think it is used to symbolize the Friar's plan to bring peace to the 2 houses by marrying the 2 lovers. In another situation R or J will do the movement but with only 1 hand, and then it invariably means s/he is thinking of the other but is separated from their lover and alone. The motion is used in many ways with many different meanings but all within the theme centered on the unity that's possible btwn 2 entities if love is present. There are even times when these gestures hardly relate to the plot of the moment at all, but rather simply express the thoughts of the character at that moment.
My opinion is that the use of this type of thematic gesture is far different than traditional ballet gestures, but OTOH, as you say Helene, it is going too far to say Maillot's ballet has no pantomime in it. Better to say that balletic pantomime has been highly transformed into something more modern and more psychological just as Maillot's choreography itself is based on classical ballet training and steps, but completely transformed into something with more everyday human emotion and action (e.g., natural gait, heel-to-toe instead of ballet's toe-to-heel).
To me BOTH points of view that pantomime is not used and yet that it exists in the ballet are valid. It just depends on where you are standing.
Posted 04 October 2009 - 11:03 PM
Enquiring minds want to know!
Posted 05 October 2009 - 08:14 AM
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The Uruguay attacker is full of ambition and confident that the Naples outfit have the quality to win the domestic title this seasonEdinson Cavani believes that Napoli have what it takes to dethrone Juventus as Serie A champions as he feels the Partenopei are hungrier for success than their title rivals.
The Stadio San Paolo outfit currently sit second in the league table, trailing Juve by three points, but Cavani is confident that they can pip the Scudetto holders to domestic glory.
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"We can go all the way and we will do our utmost to make it happen. Even more so than Juventus, we are very hungry for success, just like they were last term.
"We are incredibly motivated. The team is focused on the task at hand and we want to make this dream come true. We are showing that we have the determination to win the title.
"It all depends on ourselves now. We will have to realise that nothing is impossible for us."
Napoli resume match action on Saturday when they take on Catania.

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I wasn't going to make a new weekly header because the holidays are keeping us so busy here at the shop but I got inspired watching the Video Game Awards last night on Spike. So nice to see some of the premiere cinematic trailers in HD!
I posted this work earlier but bumped Anthony Wolff's post to the top here for the header.
Anthony's art portfolio.
Anthony Wolff conceptships weekly header #39 December 19th - December 23rd, 2008
Keywords: spaceship art from by anthony wolff a.k.a. jOuey concept artist at kylotonn entertainment paris helicopter chopper gunship digital concept renderings
Friday, December 19, 2008
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6 Beauty Products that Qualify as Torture
You already know that beauty comes with a price that you pay both in money and pain. Plucking, shaving, waxing, minor surgery - none of it is fun. But for some, it's downright murder.
Or at least torture, anyway.
#6. Frostbite the Fat Away
Statistically, if you're reading this there's a fair chance you not only have love handles, but also all sorts of fatty lumps around your body that don't have amusing names. Maybe you've even considered going under the knife, because it'd be nice to be free of the fat and not have to, you know, do a bunch of sit-ups or whatever. But what if there was an alternative to all those nasty surgeries and liposuctions? Look no further, friend!
It is called coolsculpting, and it's exactly what it sounds like: completely cool. Literally, in this case, because this is mainly due to the fact that they freeze the fat within your body with a controlled frostbite.
Via Ward Perrin, PNG
They'll let any one wear a lab coat these days.
Coolsculpting is based on the little-known method called cryolipolysis: the art of freezing your lard while you're otherwise very much unfrozen. The idea is that under carefully controlled conditions, your subcutaneous fat cells are more vulnerable to the effects of cold than the non-lard tissue surrounding it.
The actual procedure goes as follows: Fat areas are pressed between two freeze plates for a couple of hours. During this time, your fat cells freeze over. This in turn should cause them to harmlessly break down and become reabsorbed by the body over the course of two to four months.
Alternatively: a goddamn salad.
Sound fine? Well, actually it sounds more like Sub-Zero from Mortal Kombat had gotten tired of ripping opponents' spines out and decided to give something back to the community the only way he knows how. Still, it's better than knives, right? Unless of course there is a catch.
Ha, of course there is! Actually, there are three:
1) It's a fat-removing surgery where they don't allow fat people. The coolsculpted area needs to be pretty protruding, yet small enough to safely freeze. That means the process is restricted to small lumps and thigh fat concentrations -- maybe love handles, tops.
"We can freeze off some of that finger fat, though."
2) As with everything expensive ever in the history of mankind, the coolsculpting process has its cheap knock-off alternatives. As with practically nothing else, though, these knock-offs take the ball and run with it, all the way to goo goo land. There are copycats out there who market sitting in a glorified freezer for extended periods of time as coolsculpting and also a totally safe thing to do of in every possible way.
Oh yeah, and 3) According to at least one user review, and the reality show star you see in the first image in this entry getting the procedure on camera, coolsculpting hurts like hell.
#5. Shape Your Eyes With Glue, Tape and Forks
As we've mentioned before, many Asian people have developed something of an issue about their distinctively creased "monolid" eyelids and are willing to do quite a lot to appear more round-eyed. Way the hell more round-eyed.
While quite a few rely on surgery for this, many choose even stranger, scarier, more dangerous paths. Yes, surgery is actually one of the saner options for eyelid shaping -- at least it's done by professionals. For those of us with a more DIY mindset, there are glues and tapes.
Yes, someone took a look at the monolid problem and decided the best way to fix it would be to apply the same methods one would use to fix, say, a broken chair. All that is missing is a six-pack, a hammer and a bunch of rusty nails.
Eyelid glues and tapes are used to stick the lid crease partially behind your eyeball with a goddamn plastic fork, like you can see happening in the first image in this entry. Notice anything wrong with that? Yep, it's everything. Everything is wrong with that. If there was a sound effect that went with that picture, it would be a plop, followed by frantic screeching.
Actually, you know what? We have it on video:
Yet numerous young Asians are doing it to themselves every day. Oh, by the way, did we mention it can take up to two hours to glue your lids correctly? Or that long term use of eyelid glues and tapes can make the skin of your lid sag and droop, thus only worsening the problem for which you started using that damn glue to fix in the first place?
Using this same logic, Cracked has donated several hundred blowtorches to help fight the spread of wildfires in California.
But what the hell, let's continue using them. In fact, let's package them for kids! For beauty! NEVER TOO EARLY.
#4. Slim Your Face With This Terrifying Mask
Another thing that is apparently a big issue in Asian countries, particularly Japan, is wide faces. The leaner the face, the prettier it is considered, which sucks for those who were first in line when faces were given and decided to go for quantity. After all, the shape of a person's face is extremely difficult to change.
Some approach this perceived problem with concealing haircuts. Others go for surgery (of course there is one).
And then there are the products.
You can lose weight and look like a movie monster. Two birds with one stone!
Now, knowing how they approach the beauty industry approached the eyelid "problem," we don't blame you if you are right now bringing your hand to your face and grimacing in anticipated horror. In fact, we recommend it heartily.
Meet the Face Slimmer. It's a constrictor mask that is designed to squeeze the user's face until it becomes two sizes smaller. While you struggle in its vice-like grip and gulp for air from its next-to-nothing sized airholes, you will also quickly find yourself drowning in your own sweat as the mask doubles as a facial sauna.
Or you could just go the full monty ...
As a side effect, the Face Slimmer makes you look like Hannibal Lecter. You know, like all good beauty products should.


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Inspired by the answer on this question about penmanship, I'm considering again the fountain pen way. I always give it up either 'cause I think it will make a mess and be impractical or just not easy to find in local stores.
- Are there factual aspects that allow your handwriting to be better and less strained with a fountain pen?
- I always have a pen with me at all times in my pocket. Could a fountain pen fill this role? Would it not make a mess?
- What kind of places to go looking for fountain pen supplies?


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Finance and Investment
- Jane Wiilson
Staff Liaison
- Chris Lyons
- Ensure that STC finances are managed in a legal and fiscally responsible manner.
- Implement a program-driven balanced budget.
- Ensure the appropriate fiscal and legal infrastructure of the Society.
- Bernard Aschwanden
- Kit Brown-Hoekstra
Criteria for Success
- STC remains solvent.
- STC investments stay stable or grow.
- STC passes audit.
- Financial reports delivered in a timely way to the Board.
- An appropriate avenue for communicating the financial health of STC to the membership.


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Durbanville Nature Reserve
Two rare plant species, indigenous veld types, short hiking trails, bird watching and picnicking are the main attractions of the Durbanville Nature Reserve.
The 6ha (15 acre) Durbanville Nature Reserve, located in the heart of Durbanville, is unique despite its diminutive size, as it's set in an endangered indigenous veld environment, where renosterveld coastal fynbos and mountain fynbos grow together.
The reserve was proclaimed primarily to protect a rare flower – Aristea lugens – and to conserve a transition zone between the renosterveld and sandveld fynbos. Serruria bronii is another rare and endangered floral species that has been identified in the confines of the reserve.
A wide range of indigenous plant species has attracted many birds, creating a birdwatchers' paradise.
Walking trails are suited to those who prefer less strenuous activities, yet wish to take in the beautiful and famous flora of the Cape. The reserve also features an indigenous plant nursery including rare species of Swartland shale renosterveld and Cape Flats sand fynbos vegetation types.
Extra info
Opening hours: 07h30 – 16h00 (weekdays); closed weekends
Entrance fee: None
Public transport: Taxi or bus
Activities: Picnic sites, walking paths, birdwatching
- Phone: +27 (0)21 970 3097
- Physical Address: Durbanville Nature Reserve, adjacent to Durbanville Racecourse (Racecourse Road, Durbanville)
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Pamela and Richard Idleman of El Dorado, KS, announce the engagement of their daughter, Sydney Rachelle Idleman, to Forrest Lee Evans, son of Julie and Kirt Evans of El Dorado, KS.
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Mango Jump Start (07): Using Windows Phone Resources (Bing Maps, Camera, etc.)
- Posted: Sep 06, 2011 at 4:03PM
- 10,618 views
Right click "Save as…"
Microsoft MVPs Rob Miles and Andy Wigley are back! The "Building Applications for Windows Phone "Mango" Jump Start" was hosted by Microsoft Learning as a follow-up to last year's Windows Phone 7 Jump Start sessions. Mobile application developers rave about the fast-paced, demo-rich, real-world and often-times humorous approach Rob and Andy use to deliver this timely content. Now that "Mango" has made such a huge splash in the industry, we've asked them to put together another great course.
This course is specially tailored for developers looking to build cool applications and games for the new Windows Phone Mango Platform.
Rob leads module six and a series of valuable demonstrations covering how to leverage Windows Phone resources. In this session, you'll learn how to use Contacts and Calendars, Launchers and Choosers, then Rob will show a variety of ways to use the Windows Phone Camera, including taking still images and manipulating the video stream. Next, you'll see how to use resources such as the Windows Phone Microphone, Sensors, the Motion sensor, and video content. Finally, Rob finishes the session with some great demonstrations on how to leverage Bing Maps.
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Ubi Reginaldus?
Here's an article on the Church's most prominent Latinist by CNS. (HT David Gibson).I talked to him last month, and he is impatient to get back to teaching!
About the Author
Cathleen Kaveny is the Darald and Juliet Libby Professor in the Theology Department and Law School at Boston College.
19 comments
- All
- Editor Featured
Cathleen, I was wondering if you could ask Father Reginald if this statement is True regarding the Filioque: If we believe in the UNITY of God, The Father, The Almighty, Maker of Heaven and Earth, of all that is, seen and unseen AND one Lord, Jesus Christ, The Only Son of God, eternally begotten of The Father, God from God, Light from Light, True God from True God, begotten not made, ONE IN BEING, with the Father...THEN, in order to be THE TRINITY, The Holy Spirit must be The Love Between The Father and The Son and must proceed from The Father and The Son, to begin with.
Nancy, I think you should bring theological questions to your own pastor. I'm sure he'd be happy to discuss these matters with you.
Apropos the decline of Latin, I came across this clever riposte in wikipedia:In the popular UK sitcom Yes Minister, Prime Minister James Hacker suggests to civil servant Sir Humphrey Appleby that hardly anyone uses Latin nowadays. Sir Humphrey responds with Tempora mutantur nos et mutamur in illis.http://en.wikipedia.org/wiki/Tempora_mutanturI searched wikepedia because I wanted to find the source behind an interesting puzzle put to Stephen Dedalus in the Portrait of the Artist as a Young Man. Which is correct --Tempora mutantur nos et mutamur in illis(Circumstances change us and we change in them)orTempora mutantur et nos mutamur(Circumstances change and we change with them)?Unfortunately, Dedalus doesnt have a chance to answer.When he regains his strength perhaps Fr Foster can enlighten us.
That should be "Tempora mutantur et nos mutamur in illis" for the second alternative
Cathleen, you have mentioned that you have great Respect for Father Foster. I thought maybe a good place to begin " a renaissance in Latin", would be to start with the Filioque, which for some, seems to be lost in translation.
Patrick,Are you sure the first one isn't tempora mutant nos, ,, or tempora mutantur a nobis. . to my eye, at least, the muntanur and the nos don't seem to me to work together, but then I'm not Fr. Foster.Anyone else?Joe K. (if you'r enot trapped in bubble wrap) or Joseph G?
Is it:" Tempora mutant et nos mutamur in illis"?
That would work too. . . and is simpler! Times change. . . and I tend to be too literal--and not adjust for poetry!
It's an old adage and reads: Tempora mutantur, et nos mutamur in illis." The verb "muto" can be used intransitively, but to judge from Lewis and Short, this is rarer than its transitive use, which is probably why it was used in the passive voice. "Tempora mutantur" is found a good number of times in Latin Migne. Here is the entry from L and S: http://old.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.... Enjoy.
Thanks. I'm happy to know the bubble wrap hasn't gotten you yet. . .
Cathleen,This may be redundant, given Fr Komonchak's comment. But FWIW:The Latin text I quoted is as given in Joyce (and many other places) and so I presume the real question is about the proper translation of the quoted Latin and not whether the Latin should be altered. The wikipedia link gives several translations, using both active and passive forms.I took the translations I used from Joyce Annotated (by Don Gifford). Incidentally, he claims the second Latin version is metrically correct according to Dilectus which was a phrase book of learned Latin quotations. A similar statement was attributed to Ovid.Its interesting that the Latin puzzle was posed in Cork pubs and coffee houses by cronies of Stephens father -- O tempora, O mores!I like some of the less elegant Latin in Ch V of the Portrait:Nos ad manum ballum jocabimus.Lets go play handball.Super spottumOn this very spotQuis est in malo humore...ego aut vos?Which one is in a bad mood...me or you?
Ooops. my bad. I guess I didn't see your correction at 3:13, which failure to see on my part occasioned my confusion.
I hope this is not out of place here.With the retirement of Father Joseph Komonchak, CUA will be missing one of its best scholars and most esteemed teachers. His contribution to the Church in the US, and well beyond, has been deep and lasting. And I am sure that all join me in the hope that that immense contribution will continue through many years to come! Thanks, and all strength to your arm, Professor Komonchak, priest and scholar!
Gratias tibi ago, Ioannes! Oremus pro invicem.
St. Augustine might not have agreed with the adage. In fact, he might have written it: "Mutamur nos, et tempora mutantur in nobis." I say this on the basis of brief comments of his in two different sermons:You say, The times are troubling, the times are serious, the times are wretched. Live well, and you change the times. By living well you change the times and you have nothing to complain about. (Vivendo bene tempora mutatis, et non habetis unde murmuretis.)Evils abound, and God has willed that evils abound. Would that evil people didnt abound, and evils would not abound. Bad times, wearisome times, people say. Let us live well, and the times are good. We are the times: such as we are, so are the times. (Nos sumus tempora: quales sumus, talia sunt tempora.)
Does no one here recognize a dactylic hexameter? Tempora mutantur nos et mutantur in illis has to be correct. The pattern is dactyl spondee spondee spondee dactyl spondee, with a caesura dividing the third spondee. The alternative Tempora mutantur et nos mutamur in illis is unmetrical. I don't think "muto" is ever intransitive, i.e., has medial force, in Latin. It is a frequentative of moueo, which behaves in like manner.
No, I'm ashamed to say I don't. I never learned how to scan poetry!
CathleenYou could also apply the principle of the more difficult reading (lectio difficilior) being the more likely one. In this case the change from Tempora mutantur nos et mutantur in illis to the more prosaic Tempora mutantur et nos mutamur in illis is much more likely than the reverse. Mistakes in the citation of poetry tend toward prose order.
Oops! I should have typed for the correct version Tempora mutantur nos et mutamur in illis. Someone should have picked that up.


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I have a cap file in which I have lots of 802.11 packets encrypted with WEP key. The problem is lots of Chaff packets of WEP is included in that. I want to remove the Chaff packets and crack the key.
Can anybody advise me of a tool or any method to remove the Chaff packets?


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Is there a convenient (or even effective) method for recoding field values using the field calculator or standalone python script?
In this case, I am given several unique strings to identify a type of road feature. For the purpose of creating a unique ID-based join field, I want to give each road type a number to act as its equivalent when matching and classifying. I would like to avoid using cursors, as I have been told that cursors are inefficient for large data processing (in this case, the table is a few million records). However, if necessary, it will be better than the alternative of doing it by hand.
Perhaps there is a way to create a dictionary at runtime, establishing a field value and its numerical code by sequential steps when processed? For example, creating a key-value pair for a value the first time it is encountered in the dataset being processed?
I apologize if this is a duplicate question, but I was unable to find anything even remotely similar via search or the ESRI forums.
For example:
Say we have a shapefile of road line links called "Roads" with attributes "Type" and "TypeCode". If there are 3 types "Foo", "Bar", and "Other", I would like the calculation to assign the number 1 to whichever type it encounters first, and fill "TypeCode" with 1 for each successive row that contains the same type. It would do the same for the other two types, assigning 2 and 3 based on order encountered and fill the "TypeCode" for the appropriate rows.
In an attempt to make things more clear, another way of explaining what I'm looking for:
With a table of polyline road links, we have two fields, STYLE and STYLE_CODE:
Feature 1 -- [4WD]----------------[]
Feature 2 -- [DIVIDED]------------[]
Feature 3 -- [HIGH CLEAR]---------[]
Feature 4 -- [4WD]----------------[]
The point is to have the hash table created after being given a set of data. In this case, the script would see Feature 1's Style as the first ocurrence of the Style and assign it an arbitrary unique value (Let's say the value is 1). Feature 2's Style would also be the first occurence, so the script assigns it the value 2. Feature 3's Style gets the value 3. When Feature 4 is iterated, the script already has a value set for the key 4WD, so it assigns a 1 to the STYLE_CODE field again. This continues until the end of the table.
Feature 1 -- [4WD]----------------[1]
Feature 2 -- [DIVIDED]------------[2]
Feature 3 -- [HIGH CLEAR]---------[3]
Feature 4 -- [4WD]----------------[1]
I'd like to create a ubiquitous script that processes a table in this fashion. Sure, I only have to make the hash table once per product if I do it by hand, but making it for every product will eat up too much time.


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11 January 2014
This delicious crispy batter goes well with any fresh fish or even king prawns. Try it with a Blonde on the side! (a chilled glass of Whitstable Bay Blonde lager, that is!)
Read more
08 January 2014
The finalists for the Taste of Kent Awards 2014 are announced today after a thrilling vote that saw nearly 500 of Kent's food and drink heroes from across the county nominated by thousands of members of the public.
04 January 2014
This warming soup is delicious with a gruyere crouton or warm crusty bread on a cold autumn day. Use a full flavoured brown beer like Bishops Finger for real treat.
02 January 2014
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31 December 2013
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Obama Kids' Dinner, Hirshhorn Opening, Hamptons Dance: Scene
- A White House Welcome
- Guess Who Came to Dinner?
- A Lady Who Lunches
- Yee-Haw!
- Author, Author
- Food for Thought
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- Evidence Dancers
- Up in the Air
- The Stewards
- Obsession
- Guests
- Next Slideshow: Obama Kids' Dinner, Hirshhorn Opening, Hamptons Dance: Scene Next Slideshow »
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Bloomberg reserves the right to edit or remove comments but is under no obligation to do so, or to explain individual moderation decisions.


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Can you guess celebrities' real names?
Published On: Nov 09 2011 01:08:08 AM CST Updated On: Mar 09 2016 01:00:00 AM CST
Many stars are better known by their stage names, but do you know what name they were born under? With this week marking Celebrate Your Name Week, find out what these stars' real names are.
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2011-2012 Trouble
Posted 11 December 2011 - 12:04 PM
Posted 12 December 2011 - 01:04 PM
Wow, board supervision of artistic matters is a recipe for failure. The founder of Fry's Electronics may be a gifted business owner, but I do not think he should supervise casting decisions, or has the ability to judge taste in the types of ballets to acquire for the company, or judge which dancers deserve promotions.
Nahat, the company's artistic director, said that in October he was formally notified by the board of directors that it has ultimate authority in all artistic matters, including choosing dancers and designating their rankings, casting roles, and planning future productions. At present Nahat's sole duty is rehearsing The Nutcracker, he said, and no other productions (to his knowledge) are currently in the works or in rehearsal. The dancers have not been told of the company's plans either, and questions to the management from their union representative have not been answered.
Posted 12 December 2011 - 08:40 PM
Posted 12 December 2011 - 10:34 PM
Posted 23 December 2011 - 08:24 PM
The "artistic and training partnership" will allow Ballet San Jose to implement ABT's renowned curriculum at its ballet school and will provide a range of other opportunities for Ballet San Jose dancers and staff, Executive Director Stephanie Ziesel said. She added that the agreement included everything from the possibility of staging ballets from ABT's deep repertoire, to getting advice and training from specialized coaches.
But the announcement stopped short of revealing which ballets will be performed in the coming year; that news will be delivered Jan. 3, Ziesel said. That's nearly five months after the company announced it would not stage any autumn performances for the first time in decades.
... Suspicious because there has been no parallel announcement from ABT... Is this just repackaging for public relations consumption that they are considering affiliating with ABT's training program? At Hartford Ballet's partially-board-generated demise, it almost seemed there was a promulgated view of the company as a proving ground for local wealthy families' daughters... and no will to see ballet or the company as more than that... (The Board practically implied at the penultimate annual gala that the dancers were children as they announced they were presenting them with lollipops as a thank you present). Is this the same path Ballet San Jose is headed down?
Why is there no announcement on ABT's site?
Posted 25 December 2011 - 10:01 PM
"Dennis and the board are talking right now about what his relationship will be with the company," San Jose Ballet spokesman Lee Kopp said Friday, when the ballet announced a new partnership with American Ballet Theatre that gives it access to ABT's rich repertoire, training curriculum and artistic advisers.
"Dennis has some decisions to make and so does the board. We are not hiring an artistic director."
Artistic decisions should be made by committee? Has China been so successful with this artistic model that the US wants to follow it?
Well, I'd not go that far. Very difficult to tell what's really going on although I expect that money is the issue at bottom. It usually is.
Posted 26 December 2011 - 12:32 PM
Posted 06 January 2012 - 05:14 PM
"The organizations are not merging; Ms. Ziesel said that her ballet would not become a triple-A farm team for the American Ballet Theater but would have access to the bigger group's "toolbox and Rolodex."
What on earth does that mean? I can't imagine they mean the development director's roladex... And the artists and craftspeople most likely do not hide their involvement with ABT. What contact info could she mean? And what toolbox?? And no mention of the training program relationship. I find this situation to be stranger and stranger.
"I've never experienced anything like this, except at the movies," said Nora Heiber, national dance representative for the American Guild of Musical Artists, which represents the company's 34 dancers. "It's a better script than 'Black Swan.' "
Posted 07 January 2012 - 10:03 PM
...[font=Arial, Helvetica, sans-serif][size=3]the union representing the dancers filed grievances accusing management of breaches of various contract provisions and bargaining procedures. One grievance alleged that the "Swan Lake" performances by noncompany dancer Carlos Acosta -- a star in the ballet world -- violated collective bargaining agreements. Ziesel, however, said there have been no violations. This matter will be part of a Jan. 18 arbitration hearing.[/size][/font]
[font=Arial, Helvetica, sans-serif][size=3]The union alerted the company to another grievance in a Dec. 23 letter, alleging "harassment" by Fry. In that letter, the union's national executive director stated that Fry is involved in a relationship with ballerina Alexsandra Meijer, creating a "widespread perception among unit employees that Mr. Fry is granting favorable treatment ... and thereby creating a hostile working environment for the other dancers."[/size][/font]
Posted 08 January 2012 - 08:37 AM
Posted 08 January 2012 - 02:48 PM
Your emoticons are more than eloquent here!
Posted 10 January 2012 - 12:36 PM
From the 'simple lamenting between sisters' has come a complexity of intrigue, sorrows, and contention
Posted 14 January 2012 - 05:43 AM
Posted 14 January 2012 - 12:26 PM
I think we and you are perhaps being had. The quote is quite amusing, yes. That a mall paper, unless somehow compelled to print this child's sqwawk by an IMPORTANT parent, contains such exclusive stuff along with the cream, chicken, cilantro and celery adverts is just too much. Then again there was the once reported case with SF Ballet where a fat kiddee was rejected for Nutcracker, I seem to recall, and suits were threatened by the litigious parents, whose lipid state was not reported. There was no follow-up to that which is remembered here. I like the nertz bit. The genuine subject, interfering boards, is important.
Posted 14 January 2012 - 05:48 PM
Dear Mine gosh,
I think we and you are perhaps being had. The quote is quite amusing, yes. That a mall paper, unless somehow compelled to print this child's sqwawk by an IMPORTANT parent, contains such exclusive stuff along with the cream, chicken, cilantro and celery adverts is just too much. Then again there was the once reported case with SF Ballet where a fat kiddee was rejected for Nutcracker, I seem to recall, and suits were threatened by the litigious parents, whose lipid state was not reported. There was no follow-up to that which is remembered here. I like the nertz bit. The genuine subject, interfering boards, is important.
Idiots every where I see. Perhaps the "Chron" is more reputable.
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Mac Lane defines a subcategory as a subset of objects and a subset of morphisms that form a category. But the first rule of category theory is that you do not talk about equality of objects. Up to equivalence, the definition becomes a faithful functor. This is a useful concept, but I don't think it fits the name. I don't want groups to be a subcategory of sets!
This is not a question about aesthetics, but about usage. I don't think people tend to use Mac Lane's definition. Maybe they're just wrong, but I'd like to know if there is another definition which fits the usage better. All the time I see people say things like "we may assume that our subcategory contains every object isomorphic to an object of the subcategory." I guess we can expand to an equivalent subcategory to achieve this, but we probably have to choose how the objects are isomorphic (though it may be easier if to change the ambient category). This is a much more natural thing to do (and safer) if the subcategory is full, or at least contains all the automorphisms of its objects. This leads me to suspect that people are assuming or thinking of some stronger definition than faithful.
Do people tend to mean the official definition? or do they also require full? containing all the automorphisms? Are there other useful intermediate notions?


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What effects does having the Armored armor type have on a unit aside from taking the appropriate extra damage from weapons that deal extra armored damage? I.E. do normal attacks do reduced damage or something?
There is no benefit to having Armored as your armor type, only drawbacks.
Because most units only have a single armor type (of Armored vs Light), it is often considered a benefit in not be vulnerable to light. However, there is nothing in Starcraft which stipulates that a unit must have a single armor type, and it is possible (through the galaxy editor) to create units which are both Armored and Light.
It is worth noting that Armored is not your only type on most units; many units also have types of
As a rule of thumb the Armored vs Light, is usually the drawback and the Mechanical vs Biological the benefit. There are two notable exceptions to this rule: Archons do bonus damage to Biological and Ghosts can use the ability
tzenes's answer has all the specific details you'd want, but the general answer is that none of the unit-descriptor tags like 'Armored' or 'Massive' do anything on their own. They are just descriptive tags that other units and abilities will play off of.
For example being 'Armored' by itself does not do anything, but there are various attacks that do more or less damage to armored units.


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