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|Andrew Black <abl...@roguewave.com>
|Re: bulletproofing exec output
|Mon, 30 Jul 2007 20:38:33 GMT
Greetings Martin It might be of use to note how the existing parsers currently work when considering how the output could be improved for the purposes of parsing. On the windows side, the output from running of each family of executables (locales, tests, examples) is routed into it's own file. We then read the file line by line, looking for the starting row header and the (old) footer to determine when to start and stop reading. On the unix side, the output from making the 'runall' target is teed into a file, which is then post-processed. During that processing, the file is read line by line, with the section controlled by the make enter marker, the processing start controlled by the starting row header, and the processing stop controlled by the make leave marker. Looking at the output (as it stands now), I believe the parsers could be more robust if they ignored all lines that started with whitespace or where the first word was in all caps. Alternately, they could start processing after the first line in all caps, and stop processing before the second line in all caps. I suppose a third option would be to alter the exec utility so it could produce the output desired, rather than doing a post-processing step. Thoughts? --Andrew Black Martin Sebor wrote: > I did some work on the exec utility recently. One of the enhancements > I added was a summary section at the end of the output. It seems that > this had the unexpected consequence to the scripts that interpret the > output of the utility, namely that the new summary is taken as > additional tests, examples, or locales and included in the generated > reports. > > It's clear that the scripts aren't robust enough to deal with these > types of changes. I'd like to find a way to make them more robust so > that we can safely enhance the exec utility's output in the future > without causing this sort of adverse fallout. To make this possible > I think we need to enhance the output of exec to help the scripts > disambiguate ordinary output (such as the "PROGRAM SUMMARY" label > I added) from the output relevant to the scripts (i.e., the examples, > tests, and locales). > > What should this output format look like? Would adding the number > of each program in front its name be sufficient? I.e., replacing > > NAME STATUS WARN ASSERTS FAILED PERCNT ... > sanity_test.sh 0 0 46 0 100% > af_ZA.ISO-8859-1.sh 0 0 16 0 100% > ar_AE.ISO-8859-6.sh 0 0 16 0 100% > ar_BH.ISO-8859-6.sh 0 0 16 0 100% > > with > > ## NAME STATUS WARN ASSERTS FAILED PERCNT ... > 1. sanity_test.sh 0 0 46 0 100% > 2. af_ZA.ISO-8859-1.sh 0 0 16 0 100% > 3. ar_AE.ISO-8859-6.sh 0 0 16 0 100% > 4. ar_BH.ISO-8859-6.sh 0 0 16 0 100% > > That way scripts written to process this type of output would look > for lines matching the RE pattern "^ *[1-9][0-9]*\. [^ ][^ ]* *" > to reliably distinguish find programs (examples, locales, tests) > in the log files from other kinds of output. The big assumption > here is that there would be no other lines matching that RE in > the logs, or at least not in the immediate vicinity of the output > from exec. > > I would also like to make an additional enhancement to help scripts > to extract the relevant exec output from the rest of the contents > of the log and differentiate between examples, locales, and tests. > I'm thinking replacing the label "NAME" with "EXAMPLE NAME", "LOCALE > NAME", and "TEST NAME" and ending the output with something like > "END EXAMPLES" etc. should do it. > > Any other/better ideas? > > Martin
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'Components' of memory expressions of sound102005 marquee11Athens Banner-HeraldGreenville, S.C. electronic musician, writer and promoter Wendy Owens has been working for more than a decade to bring awareness to electronic music. In the course of that time, she's booked a number of shows and worked with a number of artists - but the works of two, whose music will headline Saturday at Nu?i's Space in a show titled "Components: Xpressionism in Futurism," have special meaning to her.--> 'Components' of memory expressions of sound Electronic music showcase bridges communities and memorializes lost friend Story Photos Electronic music showcase
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By Julie Phillips | firstname.lastname@example.com | Story updated at 12:24 PM on Thursday, October 20, 2005 Greenville, S.C. electronic musician, writer and promoter Wendy Owens has been working for more than a decade to bring awareness to electronic music. In the course of that time, she's booked a number of shows and worked with a number of artists - but the works of two, whose music will headline Saturday at Nu?i's Space in a show titled "Components: Xpressionism in Futurism," have special meaning to her.
For one, there's acclaimed Atlanta-based musician Richard Devine, whose creations range from remixing music by Aphex Twin to scoring commercials for Nike and Touchstone Pictures. Owens counts hooking up with Devine as a high point in her own career.
Of Devine's first live show in Greenville, Owens says, "He tore a hole in the proverbial spectrum of sound. Richard decimated frequencies, tweaked and obliterated sound waves. He made the concrete reverberate." She then adds, with total seriousness, "I danced like a robotic chicken in the blender on frappe."
Devine will return to Athens as part of "Components," a series based in Greenville that Owens started more than ten years ago. But in this incarnation, "Components" has a focused purpose - to bring recognition to the music of her friend and fellow musician Chris Clayton, who took his life six months ago.
"He was an amazingly talented person," Owens says, adding Clayton played "Components' " 10-year anniversary show in January and "rocked the house."
"I never had any idea that was my last show with him," she says sadly. "And as I was dealing with all this sadness I had, I decided I was going to try to establish his music and really get it out there and make an impression. I wanted his music to live on."
It's a sentiment well understood at Athens' Nuci's Space, which itself was founded in memory of Nu?i Phillips, an Athens musician who committed suicide in 1996. Offering affordable rehearsal space within a strong community of musicians and friends, Nu?i's Space also has referral services closely connected to local therapists, treatment programs and a support group for survivors of suicide.
Owens, who has played in Athens before, says she's so impressed with Nu?i's Space, her eventual goal is to create a similar space in Greenville, which she plans to call MARS - Music, Art, Recreation Space. It carries on her long-held mission - to bring musicians together in a shared space - and her new one: to raise awareness about suicide. "It's so important what they're accomplishing," she says of staff at Nu?i's.
In the meantime, with "Components: Xpressionism in Futurism," she's committed to getting Clayton's work out to electronic music fans. Saturday's show will include a host of artists, including Asheville N.C.'s Quetzatl and Auralox, Greenville's Brothers in Haze, CLIPPSCLIPPEDOUTCLIPPINGS and SCF, along with her own musical creations as Myst. The music will be accompanied by a visual gallery from Asheville-based Absent Productions.
Also taking the stage will be Athens musician Joseph Peterson of Manipulated Sound Source/Blue Satellite, who was Clayton's partner in MSS for a decade. Owens credits Peterson and Clayton as "responsible for inspiring 'Components.' Those guys are the reason I started doing what I'm doing," she says.
In her effort to bring the regional electronic community together, "Xpressionism in Futurism" is taking a mini-tour, traveling to Asheville and Athens following a show in Greenville.
"I hope to bridge the gap between Greenville and Asheville, especially," Owens says, "because there's really a strong community in both, and there are so many talented musicians out there, people who are making beats in their back yards and in their closets," she says. "My goal is to get their music out there."
Components 'Xpressionism in Futurism'
Featuring: Warp/Schematic artist Richard Devine
Joseph Peterson, Manipulated Sound Source/Blue Satellite - Experimental
Quetzatl - IDM/Drum & Bass
Auralox - IDM (Intelligent dance music)
Brothers in Haze - Experimental/IDM/Ambient
CLIPPSCLIPPEDOUTCLIPPINGS - IDM/Experimental
SCF - Noize/Experimental
Myst - 8-bit circuit bent blippy blip and undefined
Visuals by Absent Productions Asheville, N.C.
When: 8 p.m.-2 a.m. Saturday, Oct. 22
Where: Nuci's Space, 396 Oconee St.
Cost: $7; proceeds go toward suicide prevention
Call: (706) 227-1515
Published in the Athens Banner-Herald on 102005
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text:
During the 18th Party Congress in Beijing, a total of eleven Tibetans set themselves on fire, bringing the total thus far to an estimated 74 individuals. The self-immolations are undoubtedly an embarrassment to Chinese leaders, who were hoping to keep the spotlight focused on their once-in-a-decade political transition of power.
Read Full Article »


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I hope that with this I can show the world that being vertically challenged that I can still [try] to make cosplay beautiful on me! Of course, unless... I stand next to someone really tall...
It was funny because at Sakura Con, while waiting for the Cosplay Contest, I ran into a Saber cosplayer in the suit variant. I took a photo with her but it was funny, she went, "Iri is suppose to be taller than Saber! I'll crouch :) " haha it was funny. I never take offense to things like that because I am actually very anal when it comes to accuracy and details.. so it does come as a challenge for me when I cosplay characters that probably more average height than below average. But who says height matters? Haha I'll bring a stool if I have to!
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We stayed one night to visit family that came in. The halls reek of urine, wifi does not work, worn down bad needs paint, beds wobble if you move and inch. Horrible night! Stay elsewhere! Not worth the money. Walls paper thin.More
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In more innocent times, trucks parked near University of Georgia facilities wouldn't get a second look from campus police officers. In the new climate of preparedness against terrorist attacks, they are likely to be fully investigated to see why they are there.
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"Sometimes our officers will notice a large U-Haul or Ryder truck, and a few minutes later they're running vehicle identification numbers and backtracking with the rental companies to see if they have legitimate purposes to be there," UGA Police Chief Jimmy Williamson said.
That's just one aspect of how operations of public safety agencies in Athens-Clarke County have changed since the terrorist attacks of Sept. 11, 2001.
In the three years that have passed since hijacked airplanes killed thousands of people after crashing into the World Trade Center and Pentagon, Athens-Clarke firefighters, police officers, paramedics and other first responders have received significant funding, training and equipment from the U.S. Department of Homeland Security, created in 2002 to help prepare local, state and federal agencies for future attacks.
With more training has come a greater awareness that things which once would have seemed innocuous may actually pose a threat. For example, Williamson said, police officers today are more likely to interview someone taking photographs of certain places under the suspicion they are conducting reconnaissance for a terror group.
"They are looking at behavior," the police chief said. "Our officers will want to know why someone was at Sanford Stadium not taking pictures of the field, but of support structures. That will raise our attention."
It is that sort of awareness, Williamson said, that led federal authorities in July to arrest a Pakistani national who had been questioned by a local police officer for videotaping skyscrapers in Charlotte, N.C., including the 60-story Bank of America tower that houses the local FBI office. The resulting investigation uncovered videotapes made in Atlanta, Houston, Dallas and New Orleans.
"9/11 made law enforcement take on the new task of looking way outside the normal parameters of looking at issues," Williamson said.
Local law enforcement personnel have undergone a vast amount of training in homeland security, according to Athens-Clarke Police Maj. Alan Brown.
From the Georgia Emergency Management Agency to the FBI and Georgia Bureau of Investigation, training for terrorism preparation has been provided by numerous agencies for both supervisors and line officers, Brown said. And local law enforcement is better informed by state and federal agencies than it has been in the past, Brown said.
"The cooperative information flow is unbelievably improved over what it was before 9/11," Brown said. "We get stuff every day, and most recently, several times a day, from different (law enforcement) sources."
Allen Sullivan/Staff
Athens-Clarke police Capt. Carter Greene holds his hands in prayer during Saturday's Sept. 11 ceremony in downtown Athens.
Homeland Security is the main clearinghouse for such information, regularly putting out both bulletins and requests for information concerning possible threats to agencies on all levels of government.
Chuck Gulley, Athens-Clarke County's emergency management coordinator, said one of the greatest lessons public safety officials learned from the 9/11 attacks was the need for their agencies to be able to communicate with one another in times of crisis.
After the hijacked airplanes slammed into the World Trade Center, so many rescue personnel rushed to the scene that their respective agencies lost track of who was doing what, leading to the duplication of some efforts while other tasks went neglected.
Just last Wednesday, Gulley said, Homeland Security outlined the minimum requirements for states to comply with a National Incident Management System (NIMS), the first-ever standardized approach to incident management and response.
NIMS will establish a uniform set of processes and procedures that will enable responders at all levels to work together more effectively to manage incidents no matter what the cause, size or complexity, including catastrophic acts of terrorism and disasters, he said.
"It's a formula for making sure all agencies are on the same page so they know what the event is and what their agency's role is so that we are all working with each other instead of independently," Gulley said.
Under a Homeland Security grant, the county expects within the next several months to receive a $187,000 "interoperability communications vehicle" that will enable each county emergency response agency to communicate with the others, as well as with agencies and personnel from outside the county.
Another valuable piece of equipment that would play a crucial role in responding to a chemical, biological or similar disaster will be a $300,000 hazardous materials response vehicle, also federally funded, that the county expects by the end of this year.
"That's not to mention the $1 million of equipment that goes on it," Gulley said, referring to such gear as protective suits and electronic monitors that will enable rescue workers to determine what type of agent an incident involved.
In the aftermath of the 2001 terror attacks, the Athens-Clarke Fire Department had already stepped up training, certifying 67 of its firefighters as hazardous materials response technicians, Gulley said.
Expanded county capabilities are complementing what was already available at UGA where, only weeks before the World Trade Center and Pentagon was attacked, officials unveiled the university's Hazard Assessment Response (HART) Team. At the time, it was designed to respond to chemical spills and radiation leaks at the approximately 1,500 UGA labs statewide.
Since the terrorist attack, the HART team has received "a good amount of Homeland Security grants," Gulley said.
In the past, the county had relied on GEMA in the event of hazardous-materials incident, but the wait for responses has sometimes been hours.
"Since 9/11, the local jurisdictions are seeing the federal government does not have the resources to cover everything,'' Athens-Clarke Fire Chief Wendell Faulkner said. "Local governments are positioning themselves with the understanding that hazardous-material response is totally left up to us for the first 10 or 12 hours. And it's very important for local jurisdictions have capability in that first 10 to 12 hours."
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MCM is a great company. Very fast service and shipping of Raspberry Pi. Will tell all my friends to buy from MCM


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New Burt Bacharach musical among highlights of From Page to Stage festival line-up
Theatre News15 May 2017
WIN Spring Awakening Salford Studio Tickets
Features6 Apr 2013
Latitude announces seventh annual festival line-up
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Spring Awakening (Tour - Salford)
Reviews15 Jun 2011
Spring Awakening Team Craft Alice Musical for NT???
Gossip26 May 2011
Spring Awakening Launches First UK Tour in May
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Spring Awakening
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Spring Awakening Posts Closing Notices, 30 May
Theatre News12 May 2009
1st Night TV: Awakening Anew for West End Spring
Theatre News30 Mar 2009
Spring Awakening Confirms Novello Transfer, 21 Mar
Theatre News18 Feb 2009
Spring Awakens for Transfer from Lyric???
Gossip16 Feb 2009
Musicals Extend: Lyric Spring, Playhouse La Cage
Theatre News6 Feb 2009
Review Round-up: Lyric Hammersmith Springs a Hit
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In the Grip of Spring Fever
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Lyric Announces Full Spring Season 09, Farr\'s Last
Theatre News19 Dec 2008
Cast: Spring Awakening Stars, Atherton Back on Q
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Spring Awakening Gets UK Debut in Hammersmith
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Spring Awakening in Hammersmith Pre-West End???
Gossip24 Apr 2008


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Lacrosse news straight to your inbox.
Tuesday August 6th, 2013 1:06am
PROVIDENCE, R.I. – The 2013 BIG EAST Lacrosse Championship sites have been announced by the league. The BIG EAST Men's Lacrosse Championship, in its second year, will return to the site of the inaugural tournament, Villanova University. The BIG EAST Women's Lacrosse Championship will be held at the Multi-Sport Field on the campus of Georgetown University. Both championships will take place May 2 and 4.
Loyola was originally slated to host the event, but the Greyhounds have announced intention to leave the Big East for the Patriot League.
The women's event returns to Georgetown for the third time since the tournament began in 2007. Georgetown previously hosted the event in 2009 and 2011. Both the men's and women's championships are a four-team single-elimination tournament held over three days. The top four teams according to Conference game winning percentage in the regular season standings are selected and seeded.
The semifinals for both events will be held on May 2, while the championship games are set for May 4. Game times will be determined at a later date. The women's tournament champion receives the league's automatic bid to the 26-team NCAA Division I Women's Lacrosse Championship. The men's tournament champion will advance with an automatic berth to the 16-team NCAA Division I Men's Lacrosse Championship, which will be held May 25-27 in Philadelphia, Pa.


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Meaning and Origin of: Shin
Search for Names & Meanings Top 100 Names for Boys Top 100 Names for Girls Last Name History & Meaning Name Popularity Tracker Celebrity Names Search for Names by Trait Browse First Names A-Z Browse Last Names A-Z Browse First Names by Origin Browse Last Names by Origin Baby Name Lists How to Choose a Name
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Girl name origins & meanings:
- Korean : Belief
Family name origins & meanings:
- Korean : there are three Chinese characters for the Shin surname. Between these three characters, there are five different clans. Each Shin clan descends from a different founding ancestor. One of the Shin clans traces its origins to China. Members of the various Shin clans can be found throughout the Korean peninsula.


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In today's Catholic Daily Roundup, top stories include a terror attack in Brussels, the church reaches out to the incarcerated, and the pope plans to travel to Indonesia.
"Christians and Muslims are brothers and sisters, and we must act as such." (Pope Francis)
Today's Gospel: "Where I am going, you cannot follow me now, though you will follow later." (John 13:36)
In the News:
- Three explosions that ripped through the Belgian capital of Brussels on Tuesday killed at least 26 people and wounded 130 more, according to Belgian media, and raised the reality of terror once again in the heart of Europe.
- Sen. Elizabeth Warren (D-Mass.) tore into Donald Trump on Monday, turning the Republican presidential front-runner's favorite insult against him.
- On the eve of its scheduled legal showdown in a California court with Apple Inc., the Justice Department's request for a postponement was granted Monday by a federal judge as the FBI tests a new method for unlocking the iPhone of San Bernardino terrorist Syed Farook.
Pope Francis and church news:
- From Hawaii to Florida, many U.S. parishes and dioceses across the country are reaching out to the incarcerated.
- The car that was used by Pope Francis during his visit to the U.S. last September could now be yours—through an auction.
- Pope Francis would be pleased to visit Indonesia, he said on Monday as he received the letter of credentials from the new Indonesian ambassador to Vatican, Antonius Agus Sriyono.
CACG would like to equip lay Catholics with the resources necessary to promote the common good in their communities. That's why we have the Catholic daily roundup. You can sign up for this short and digestible daily e-mail here.
We always appreciate your support to continue our work into 2015. Please invest in us today.
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text: The Lord of Mossflower was a gigantic pine tree, standing out in the middle of nowhere. It was used as a landmark for Matthias' journey to the old Loamhedge Abbey. However, by the time of Loamhedge, the tree had been cut down and used as a solid bridge across the abyss. It was then levered out of place by Bragoon and Sarobando during the Battle in the Abyss, allowing their fellow questers to travel back to Redwall Abbey safely. It fell into the abyss and was never seen again.


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In mathematics, the look-and-say sequence is the sequence of integers beginning as follows: 1, 11, 21, 1211, 111221, 312211, 13112221, 1113213211, ... (sequence A005150 in the OEIS). To generate a member of the sequence from the previous member, read off the digits of the previous member...
The Look and say sequence is a recursively defined sequence of numbers studied most notably by John Conway. Sequence Definition. Take a decimal number. Look at the number, visually grouping consecutive runs of the same digit.
Find the n'th term in Look-and-say (Or Count and Say) Sequence.
Background. Look and Say Sequence. Definition. Rules For Creating The Sequence.
The lines show the growth of the numbers of digits in the look-and-say sequences with starting points 23 (red), 1 (blue), 13 (violet), 312 (green). These lines (when represented in a logarithmic scale) tend to straight lines whose slopes coincide with Conway's constant.
Replace a[i] by last here (you may not want to add anything in the first round). After the loop you have to add the last value of the counter together with the last character again (this was not yet done), i.e. add another result = result+str(k)+last after the loop. In total it looks like.
The look-and-say sequence was introduced and analyzed by John Conway in his paper "The Weird and Wonderful Chemistry of Audioactive Decay" published in Eureka 46, 5–18 in 1986.
Look and say sequence is the sequence of numbers generated from the previous number by reading off the digits of which the number consists.
(Greetings from The On-Line Encyclopedia of Integer Sequences!) A005150. Look and Say sequence: describe the previous term! (method A - initial term is 1). (Formerly M4780).
8 Ağu 2014 tarihinde yayınlandı. The legendary John H. Conway on properties he discovered within the so-called Look-and-Say Sequence.


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In a 2010 panel discussion about the making of "Curb Your Enthusiasm," comedian Larry David confessed dryly that he wanted to improvise scenes for his television series for two reasons: it would feel more like a real documentary and he wouldn't have to memorize any lines. The latter illustrates classic David humor, the kind that captured the more selfish, self-deprecating version of the comedian in his show. But the primary appeal of "Curb Your Enthusiasm" deals with the former reason—that it mocks the formula and tone of a documentary in a way that adds one more hilarious, and often uncomfortable, layer to what would otherwise be just another sitcom.
This year's Big Sky Documentary Film Festival offers a few different themes, but one of the most prominent is comedy. In that spirit, the "Curb Your Enthusiasm" pilot episode (it was originally made as a one-off) will screen along with several true documentaries centered on comedy, including classics like Heavy Metal Parking Lot, which covers the pre-show scene of a 1986 Judas Priest concert. Robert Weide, a producer for "Curb Your Enthusiasm" and the focus of this year's festival retrospective, will be in attendance to introduce some of his comedy docs, like Lenny Bruce: Swear to Tell the Truth and The Marx Brothers in a Nutshell. (On a more serious note, Weide recently made a newer Woody Allen documentary, which will also be screened during the festival. You can read more about the controversy of Weide's defense of Allen and Allen's alleged sexual abuse in this week's Arts section.)
Comedy covers one major theme for this year's festival, but as always, the nine-day event encompasses much more. There's a celebration for the 50th anniversary of the Wilderness Act, encore screenings of past BSDFF popular films, and special appearances, such as former Hüsker Dü drummer Grant Hart performing live after a Feb. 22 showing of a doc about the band, Every Everything. It'd be damn-near impossible to cover all of the 125 or so films on the schedule, so we've focused our lenses on many of the films short-listed for Best Feature, Best Short and the Big Sky Award. It's just a sampling, but should provide enough of a peek into what makes this one of western Montana's best annual attractions.
Freedom rock
Music helps pick up the pieces in Death Metal Angola
Metal is filled with gnarly lyrics and macabre imagery; part of the intent is to titillate and provoke. But when a band like Angola's Before Crush sings about "blood on my chest, my heart filled with chaos," they're not having to use their imagination much. The young men in this band have seen a lifetime of real brutality.
After centuries of occupation, the Portuguese left the southwestern coastal African nation of Angola to its own devices in the 1970s, and different factions began fighting for control. The country was gripped by civil war and political instability for most of the decades after (with players like Cuba, Russia and the United States often interfering). It began to stabilize in the mid-2000s, leaving millions of displaced people, former child soldiers and sexually abused girls and women.
As the country heals from violence, music and art is popping up again, like flowers after a long winter. Rock music, introduced during the 1990s, is surging in popularity, with several bands, a national radio station and blogs like Rock Made in Angola and the Angolan Association of Rock. Death Metal Angola, in competition for Best Feature, follows several musicians who've found a healing power in hardcore and metal music. We meet bands like Dor Fantasma, Neblina and Black Soul. With cobbled-together instruments and gear, they rip with as heavy riffs and growly vocals as any Norwegian metalhead could aim for. Music "cleans it all away," as one young man says.
The main narrators are Wilker Flores and his girlfriend, Sonia Ferreira, who run an orphanage together. They love rock and aim to put on the country's first big rock festival; they joke that it will be like Woodstock. Ferreira explains that they desperately need arts and culture again. "Rock was one of the ways that helped me to fight for my freedom," Ferreira says.
On the film's site, director Jeremy Xido has explained that the documentary came about by pure chance. He was in the capital, Huambo, on another project and looking for a cup of coffee. He chatted for a while with Flores, who invited him to come see his concert that night at the orphanage. "There he was, Wilker Flores, the young man in a blue oxford, with tiny dreads and an electric guitar, surrounded by 55 orphaned boys who called this place home," Xido writes. "Siphoning electricity from the neighbor, Wilker proceeded to play one of the hardest and harshest impromptu concerts imaginable, lit by nothing more than the headlights of a van."
Many of the musicians in Death Metal Angola can't articulate what it is that draws them to heavy music. I would guess that they've found a place for catharsis.
Kate Whittle
Screens Fri., Feb. 21 at 9 PM at the Wilma and Sat., Feb. 22 at 2 PM at the Top Hat. Nominee for Best Feature.
True crime
An unsolved kidnapping leads to the first missing person on a milk carton
There's something terrifying about the idea of a person gone missing; that you could get plucked out of your life and dropped into a new one by people who want to take over your mind and body and use it for themselves. Imagine it: No one knows what happened to you and they might never find out.
This is the subject of the documentary Who Took Johnny, directed by David Beilinson, Michael Galinsky and Suki Hawley and in competition for Best Feature. Thirteen-year-old Johnny Gosch was kidnapped in 1982 on his paper route in Des Moines, Iowa. He left behind his dog and red wagon, so we can assume he didn't run away. What follows from there is the 30-year investigation into his disappearance, spearheaded by his mother Noreen Gosch.
There's a lot to be learned in this film about the history of how police handle a child abduction case. We take the current infrastructure for tracking missing persons for granted, but none of that existed back then. They had no interstate system in place, authorities used to have to wait 72 hours before they could investigate a disappearance—the list goes on. In the Gosch case in particular, the film paints a picture that starts to look like a conspiracy compounded by police incompetence.
Without much help from law enforcement, Noreen does most of the investigating on her own. She and her husband frequently go on television. We see her pleading with the kidnappers to come forward with their demands, as if they had a big ransom plot in mind and just lost the Gosch's phone number. A local dairy company hears about the case and Johnny becomes the first kid to have his face on a milk carton.
The plot thickens when somebody in the investigation brings up the word "pedophile," which was until then a rarely used term and an unknown, lurking danger in suburbs all over the country. It starts to become more and more clear that Johnny was likely kidnapped by a human trafficking ring that provides young boys to rich clients. Could he still be alive? All we ever see of the kidnapper is a composite sketch crafted from eyewitness accounts of the man they saw Johnny get into a car with. He never gets a name, and he doesn't have horns or a tail but he might as well.
Johnny and his mother's story plays out with soap opera-level plot twists. The details of the case are fed to the viewer like a trail of breadcrumbs, and it's a testament to the filmmaker's firm sense of pacing and storytelling. A lot of people along the way seem to think Noreen is a little crazy or maybe even not credible. The documentary couldn't exist without her full cooperation, and so it's not surprising the film tends to congratulate her, but still they've left a little space for interpretation.
Who Took Johnny is a dark story and it's surprisingly gripping and suspenseful, too. It's true crime at its most engaging.
Molly Laich
Screens Sat., Feb. 22 at 3:30 PM at the Wilma and Sun., Feb. 23 at 10 AM at the Wilma. Nominee for Best Feature.
Radical seeds
Occupy the Farm digs up questions about protests
Oakland, Calif., was one of the hottest of the hotspots at the height of the 2011 Occupy movement, with protests resulting in over 400 arrests, violent police response and millions of dollars in lawsuits. Todd Darling's Occupy the Farm comes in the wake of these events, with a mellower but no less dramatic story that played out just 10 miles north in Albany.
The conflict concerns a 100-acre lot of public land called the Gill Tract, the last parcel of farmable land in the entire East Bay area. Because of its exclusive agricultural status, people have been fighting for over 15 years to have the Gill Tract allocated as a sustainable urban farm. However, the University of California, which manages the land, only wants to use it for research and recreational purposes. When the unused southern half is slated to lease out for profit-based housing development and a Whole Foods grocery store, some 200 activists break the lock, enter the land and start to plant crops.
Occupy the Farm is a down-to-earth documentary of the events that followed. There's nothing flashy or bold about Darling's style, but the content is compelling and the narrative shape is deeply satisfying. At heart, it's a David vs. Goliath story. It reminds me of when Argentinean workers reclaimed abandoned factories during their economic crisis of the early 2000s. The owners had laid everyone off and ditched the property. So the workers formed cooperatives, marched back into the factories, and started producing on their own.
Questions emerge from these stories: What happens when what is legally right becomes morally questionable and socially disadvantageous? What should land ownership—particularly public land ownership—actually stand for? What will be more important as society evolves—the economic rights of individuals or ethical stewardship of resources crucial to everyone? While the filmmakers clearly side with the Occupiers, they don't gloss over the ethical complexity of the situation. They raise questions without forcing answers down your throat. It's a story told in moments and images.
Even more fascinating than the actions of the Occupiers is the authority's response. The game is more chess and tightrope walking than boxing. Public opinion and the hesitation it creates in the power structure is dizzying to watch.
Occupy the Farm reinforces the potential of creative and non-violent protest. Focusing on building up rather than tearing down can dissolve the physical tension that allows the force of oppression to easily crush resistance. Maybe the most captivating image in the entire film takes place after the farmers have finally been forcibly removed from the land. A single masked renegade hops the fence with a bucket and starts watering the crops while a dozen police officers jog after him in full gear. I don't care what side of the fence you're on, that's just awesome. Like the Banksy image of a bandana-wearing anarchist flinging a bouquet of flowers instead of a Molotov cocktail, the irony reminds us we've got a lot of kinks to work out in our "just" society.
Josh Wagner
Screens Fri., Feb. 21 at 5 PM at the Wilma. Nominee for the Big Sky Award.
Power of song
Alive Inside offers hope for battling dementia
End-of-life care is not something we often think about in America. Just like with Grandpa in "The Simpsons," we ship old people off to nursing homes and mostly forget about them. At least, that's how it is for most people. My mother, a nurse, works in hospice care, so every time I go home to visit, I'm reminded of my own and everyone else's impending mortality. She's fairly cheerful about it, given that she deals with death every day. Her stern lectures about what it's like to die of cancer have forever put me off smoking cigarettes.
But what scares my fearless, tough mother is dementia. There's not much the medical establishment can do to prevent or treat it. It's a slow death where you lose your personality, your independence and your ability to connect with loved ones. It runs on my father's side of the family. I am terrified of dementia, too.
So I came to Alive Inside, a documentary about music therapy for dementia patients, prepared for something grim. I had my Kleenex ready. Instead, I got a jolt of hope. Dan Cohen, a social worker and nursing home volunteer, has found a way to bring happiness to patients with a therapy so simple it seems painfully obvious: Give them headphones and play their favorite songs from back in the day.
Filmmaker Michael Rossato-Bennett followed Cohen over three years of the project. One of the first people we meet in Alive Inside is Henry, an elderly black man. In the video, Henry, who mutters and seems barely aware of his surroundings, transforms when the music starts. His eyes widen. He waves his arms. He hums and then sings along to "I'll Be Home for Christmas." When Henry's story hit the internet, Cohen's Music and Memory project took off.
Alive Inside follows many more such breathtaking transformations. People who are walker-bound or bedridden, seemingly barely conscious, start dancing, singing and crying, experiencing the first real joy they've felt in years. Doctors in the film explain that music is as fundamental in shaping the human psyche as language, and it activates parts of the brain that Alzheimer's doesn't destroy. One doc calls music a "back door into the brain" that elicits a physiological response.
Music should be an easily accessible thing, but bringing it into nursing homes"a combination of poor house and hospital," as one person puts it—has been a battle for the Music and Memory project. A gerontologist explains that it's easier for him to write a prescription for a $1,000-a-month antidepressant than it is to request a $40 music player. The medical supply and pharmaceutical industries are much more invested in promoting expensive medications, rather than simple at-home solutions.
Alive Inside, which is in the running for Best Feature, calls out glaring problems in the way we take care of our sick and elderly in America; but it encourages me that projects like Music and Memory are putting us on the track to a kinder system.
Kate Whittle
Screens Sun., Feb. 16 at 1:15 PM at the Wilma. Nominee for Best Feature.
Make art, not war
An appreciation of Refah, the mostly invisible assistant
Wherever you fall on the Mohs scale of Montana crunchy (hint: cattle rancher=talc) probably corresponds to how you feel about the Buffalo Field Campaign. But your thoughts on Art Is War, a doc that follows Los Angeles performance artist Lila Roo, whom the campaign brings in to ruffle some fur, might be messier.
The doc, it turns out, is more complicated than the views of the campaign, which are laser-focused on humans not mucking around with the wildness of the American bison. In Art is War, those views serve as the Greek chorus, for sure, but fair play to the filmmaker, Montana State University grad student Devon Riter, for focusing his lens on Roo's assistant, Refah.
See, Refah's the one getting it done and building things, including the giant box for Roo to stand on outside Yellowstone National Park while she clenches many yards of red tarp (symbolizing bison blood) in her teeth. Like Roo, Refah is a newcomer to both Montana and its bison issue. He's there to do a job, to be "invisible" while the artist creates. In reality? He's the glue. When someone asks him how he feels about bison, he says, "I think they're here. ... They're big and there's a lot of them." It's a nice turn, a contrast, a break. Because, regardless of personal crunchiness, there comes a time when you need a break from Roo and the BFC. The film gets that pretty beautifully right.
Art is War starts chronologically, with Roo's arrival to Bozeman Yellowstone International Airport (sounds so fancy, huh?) and continues to follow her and Refah as they get ready for a Major Art Event near the park's entrance. (This all happened last May.) As it builds toward said Major Art Event, the BFCers let Roo and Refah ride along during their patrols of the patrollers, also known as the state and fed employees of the Interagency Bison Management Plan. They're witness to the patrollers using a helicopter and other methods to herd bison back into the park.
The experiences, enhanced by cute bison babies, turn spiritual for Roo.
"I hope we start changing back into animals soon," she says.
"She feels guilty for being a person and not an animal. I don't get that," Refah says.
You see what I mean? It's not like Refah is some raging right-winger. It's more like he's Canadian. (He actually is Canadian.) He's into creation, not destruction. He thinks Roo's an awesome artist and, you know, she's the boss. "We gotta make it happen," he says. So good enough.
Drama builds as the wind picks up and threatens to blow away both concepts and actual elements of the installation, including the huge headdress Roo will wear. All eyes are on her as it comes together, including Refah's, who switches from carpenter to photographer. But the film makes sure he's not doing the other thing he's supposed to dobe invisible—and that makes all the difference.
Jule Banville
Screens Sun., Feb. 16 at 3 PM at the Wilma. Nominee for the Big Sky Award.
Crash course
Coal, climate change and politics come into focus in Momenta
Montana knows coal. We see the trains laden with it paralleling the interstate. We glimpse pictures and read headlines about new mines on the horizon. Some of us even scan the lists of campaign donations to our elected officials, wondering how much familiar companies like Arch Coal and Cloud Peak Energy have invested in our politics. Coal is a part of life here in our West, and its expanding journey to markets in China has many wishing it weren't anymore.
So there are few surprises to be gleaned in Momenta, a film devoted to further exposing the dirtiness of coal development in Montana and Wyoming's Powder River Basin and squeezing it into the increasingly crowded narrative of global climate change. For those unfamiliar with the debate, Momenta offers a crash course from the side of the opposition, dropping little nuggets of knowledge here and there like chunks of coal from a train car. For most, though, the film comes more as an emotional affirmation than a revelation. Yes, there are people throughout the Pacific Northwest who are just as outraged, just as moved to action. You are not alone.
"If we cook this wonderful planet we're living on, we're not going to have human existence," says famed Bozeman climber and Momenta narrator Conrad Anker in the film's opening moments. Anker acknowledges he'll be fine. He'll still have his coffee and be able to drive to the mountains long before the oven timer beeps. "But what's it going to be like 200 years down the line?"
The most soul-wrenching moments come early, as when LJ Turner, a Wyoming cattle rancher, talks of the Powder River Basin as a sacrifice zone singled out to benefit some corporation's bottom line. "Mr. Peabody's coal train is carrying Wyoming away," he says, pointing to a line of BNSF railcars plodding through the distance. Like those coal trains, Momenta itself rumbles quickly past Turner and onward to Spokane, Portland and Bellingham, with brief stops in Billings, Missoula and Sandpoint.
It's a bit disappointing that Momenta doesn't spend more time in our backyard. Missoula City Councilman Dave Strohmaier provides a momentary look at the stakes here, explaining that the anticipated 50- to 100-percent bump in coal train traffic could impede local commerce and public safety by blocking downtown corridors like Madison Street. But the film is off to the next station in a flash, making Strohmaier something of a missed opportunity.
As the producers point out, each train loses an estimated 31 tons of coal and coal dust during its trek to the coast—which at 18 trains a day pencils out to roughly 204,000 tons annually. That concern has prompted Missoula officials to urge the Army Corps of Engineers in recent years to extend its environmental reviews of proposed coal port projects up the line. The Army Corps declined the first time around, but the hubbub raised here did compel the Washington Department of Ecology to step in and assess such impacts. A small victory, but a victory nonetheless.
If, for the uninitiated, Momenta feels lengthy and cumbersome, weighted down by a few too many characters and a few too many stops, that's a good thing. The issue at hand isn't just about folks in Gillette or Cherry Point or any of the hundreds of towns in between. As Anker lays out from the very beginning, and as anyone in the West who's even half awake will tell you, Powder River coal has long-term ramifications for us all.
Alex Sakariassen
Screens Sun., Feb. 23 at 3:30 PM at the Wilma. Nominee for the Big Sky Award.
Seriously funny
Tig Notaro on comedian Chris Fairbanks, her Missoula cat and living lifeeven when it's hardwith humor
by Erika Fredrickson
Tig Notaro is the kind of observational comic you can fall in love with, even if you're not a fan of the standup comedy format. She doesn't really do bits, so much as she starts one joke and takes it for a ride. She's dry and conspiratorial. She occupies the stage like she just accidentally wandered up there, as if she just stumbled upon the fact that she's the funniest person in the room.
In May 2012, Notaro did a performance for the live version of "This American Life," in which she talked about running into 1980s pop singer Taylor Dayne and the absurd conversations that ensued between them. But, behind the scenes, Notaro was going through some hard times. Within a four-month span, she'd contracted pneumonia and a life-threatening digestive infection called C. diff. She'd gone through a breakup. Her mother suddenly died from a fall. A couple months after all that, in August 2012, Notaro was diagnosed with breast cancer.
Then, something amazing happened.
A few weeks after the grim news, she took the stage at a Los Angeles club called Largo and delivered a now legendary set, which she started with, "Good evening. Hello. I have cancer." It is a shocking, funny, heartbreaking and candid performance that spurred comedian Louis CK to famously tweet, "In 27 years doing this, I've seen a handful of truly great, masterful standup sets. One was Tig Notaro last night at Largo." Tig Notaro Live, her recently Grammy-nominated comedy album, includes a recording of the Largo set.
The album is just one artifact of Notaro's rising stardom. (By the way, the "Live" is pronounced as in the opposite of death, not like "live show," which makes it both funny and poignant.) This past year, she's been touring with her podcast, "Professor Blastoff," which she hosts with comedians Kyle Dunnigan and David Huntsberger. She's also working on a memoir and she's the subject of a documentary in progress. We talked with her in advance of her upcoming Feb. 19 performance in Missoula, when she'll take the stage at the Wilma with her longtime friend, beloved Missoula native Chris Fairbanks.
Let's talk about the most pressing issue, which is obviously how you and Chris Fairbanks own a cat together. How did that happen?
Tig Notaro: Oh, well, Chris and I lived together for seven or eight years and we acquired a cat. When we finally parted ways, he kept the cat and then he finally started getting so busy he couldn't keep the cat and so I guess the cat moved to Montana. Well, I know the cat moved to Montana because I crashed on the cat's couch a few months ago. He's living with Chris' dad in Missoula and so I was going through there on tour and got to crash at my cat's house. Pretty fun!
What were you doing in Missoula? Had you been here before?
TN: I was coming through with my podcast, "Professor Blastoff." We were on a national tour and went through Montana and just went and crashed with my cat. I did do a one-night gig in Missoula at a bar maybe 14 years ago, but that was just one night—in and out. For the show I did with "Professor Blastoff" I was only there the night that we crashed at the cat's house, but I haven't really spent much time in Missoula. With this [Big Sky Documentary] festival, I'm hoping that I can stay at least a couple extra days to hang out in town with Chris and all his old friends and go see some good movies. So I'm looking forward to it.
What was it like being roommates with Chris?
TN: Everybody always thought it was going to be totally insane, but we kind of just were very mellow people and so there was nothing too crazy to report, you know? It was kind of a disappointment, I think. I feel like it would definitely disappoint people if they would have peeked in on our lives.
You're one of the main attractions for the documentary festival this year, as part of its focus on comedy. Do you have a favorite mockumentary?
TN: Well, I am a fan of "Curb Your Enthusiasm." I haven't really followed much TV but that is one show that I thought was great. Waiting for Guffman was great. That was probably a favorite of mine. I don't really follow too much comedy or mockumentaries, but actual documentaries I go nuts on. I watched the Mitt Romney documentary recently and the one called Billy the Kid. I watched Last Days Here—that's about the lead singer of this metal band called Pentagram. I watch documentaries all the time. I love them.
There's actually a documentary being made about my life right now. They started making it in January of 2013 following the horrible year that I had previously. So that film is being made right now.
Your album Tig Notaro Live comes with a pretty big backstory, including the show at the Largo in 2012. You've talked about this night so many times. Is it something that you get tired of talking about?
TN: It comes up daily, several times a day, and I think I'm just used to it at this point. I feel very thankful for that night and so I try to remember that whenever I'm not really in the mood to talk about it. I'm glad I'm alive to talk about it.
Have you heard from people whom the album affected?
TN: Oh yeah, I get emails daily from people who have cancer or people who are dying or people who have just had a rough week and their health is perfectly fine but the album put their life in check. I read every email that comes in. I feel so thankful that people are touched, that they feel like somebody out there understands, because it's rough. People have so many different rough spots in life they go through and so however it helps them I'm thankful to be a part of it.
Someone I know who survived breast cancer used to joke about the pressures of "courageously battling" cancer, because what if you don't feel brave? It's a real fear, I think, but also she joked about it because she needed to laugh. Did it help you that you already approach life with a comedic eye?
TN: Oh yeah, 100 percent. It took me a while to have a sense of humor about life. In the four months that my life fell apart [before the diagnosis] I kind of lost my sense of humor. But when I was diagnosed with cancer it came back full force. I experienced that, too, as far as people saying how brave I was or how brave I am. I'd tell them if they could just see me in a fetal position crying on my couch—I don't feel very brave. But I was talking to Louis CK about that idea and he was saying how you're still brave if you're whining or crying. You're facing the horror and the troubled moments. You're getting through it. That's enough. But it was hard for me to accept people saying they consider me brave. But I get it.
Chris went on "Conan" recently wearing what he calls his "grandpa" sweater, which I also spotted him wearing two other times in Missoula. Then I realized you have a similar sweater that you wear all the time. What's up with the grandpa sweaters?
TN: I wear mine and have worn it for the past 14 years, like even in the summer time. And I saw Chris—he did a show of mine the other night—and he wore his sweater. He was acknowledging how he's starting to wear grandpa sweaters now. I don't know, I mean, I certainly didn't invent grandpa sweaters.
Chris tells me that you "totally shred" at guitar. He also said you would deny that you totally shred.
TN: [Laughs] I played guitar from the time I was in fourth grade up until the time I was about 22 or 23. I can pick it up and kind of fake it and impress people still but I'm not really that great. But, when I was nominated for a Grammy I was given all these free gifts and one of them was a brand new Les Paul guitar. It just got me thinking that I would love to have a hobby since I'm so busy. So I put a band together yesterday. It's a bunch of comedians: me and Kyle Dunnigan and Henry Phillips, Jonah Ray and Steve Agee. We're going to just start off learning some covers. I don't think I'm going to be impressing anybody right away. But, yeah, I can play.
Tig Notaro and Chris Fairbanks perform at the Wilma Theatre Wed., Feb. 19, at 8 PM. $25/$20 advance at Rockin Rudy's, Ear Candy and bigskyfilmfest.org. (Not included in festival passes.)
Also playing
From pet foxes to fake families, even more films to consider
by Jule Banville, Skylar Browning, Molly Laich, Josh Wagner and Kate Whittle
Prison Terminal: The Last Days of Private Jack Hall
It's not easy to watch a man die. It starts in the eyes, with a soft glaze and a distant stare. There's muttering and confusion. Breathing becomes labored until, eventually, one day, the chest doesn't struggle to rise once more. The jaw goes slack. Skin color fades.
The title of Prison Terminal: The Last Days of Private Jack Hall prepares viewers for what they're about to watch, and it's a raw sight. But the power of this Academy Award-nominated short film isn't as much in Hall's death as it is in the compassion of those who surround him during his final hours.
The Iowa State Penitentiary created a hospice program in 2004 funded entirely through donations and staffed by specially trained prisoners serving life sentences. Prison Terminal, which was filmed by director Edgar Barens in 2006, follows Hall, 82, as he's moved from the prison's infirmary to one of two beautifully decorated rooms designed for end-of-life care. One prisoner made the curtains. Another constructed the bookcase. Hall's own snapshots fill bulletin boards on the wall. Men with names like Glove, Herky and Love, each serving time for murder or kidnapping, commit to Hall's 24-hour care, including back massages, showers and lots of prayer. The men take their responsibilities seriously, and speak eloquently about the redemptive nature of their work. They even conduct tours for visitors to help generate support for the hospice program.
Hall provides a perfect study for such a heartwarming endnote to a life of hard time. The former World War II veteran, who was convicted of murder, speaks with a quick wit and demonstrates a steely resolve in early interviews. He has tattoos of naked women on his torso and forearm, and one on his fingers that reads "Love is Hell." We learn that he's also racist, or at least used to be. But as his health deteriorates and he's left to the care of three selfless black men, it's clear that he's found some level of peace with his place in the world. We should all be so lucky to die that way. (SB)
Screens Sun., Feb. 16 at 5:15 PM at the Wilma. Nominee for Best Short.
Mistaken For Strangers
Behind many artsy, passionate musicians are humdrum upbringings and dorky families they'd rather not talk about during interviews with Pitchfork. In the case of Matt Berninger, lead singer for super-literate, broody Brooklyn rock band The National, he's embarrassed about his younger brother, chubby metal nerd Tom Berninger. Mistaken For Strangers, shot mostly by Tom on a handheld camera, was meant to be a rock documentary made while Tom roadied for his brother's band during several months of touring. But as the documentary progresses, the already uneasy relationship between the two deteriorates, and Tom keeps recording during many tense moments. Mistaken For Strangers is a portrait of two brothers, both odd and creative and smart, but one has channeled it into mainstream success and the other is still floundering along, being a screw-up and a goofball. If you're a fan of The National, admittedly an uber-serious band, you might not be surprised to see that Matt is intense and unforgiving of his brother's quirks. Tom is painful to watch at times, as he pesters the other band members with weird questions and invites himself along where he's not wanted. But it's clear, from scenes where he gets drunk and listens to Halford's Christmas album, that he's still the person you'd rather party with.
The end of Mistaken For Strangers seems to reach something of a resolution between the two squabbling brothers, but anyone with close family knows that sibling rivalry never really ends. It's a "rock documentary" that accidentally became a poignant, funny and authentic-feeling picture of fame and family life. (KW)
Screens Mon., Feb. 17 at 7:45 PM at the Wilma.
In director Matt Wolf's film, we learn that teenagers didn't always exist. In fact, the distinction is an invention born mostly out of war and a changing economic and political landscape the world over. Wolf tells the story of the teenager's fight for a collective identity through remarkable archival footage, starting from before World War I and more or less wrapping up around the end of World War II. The images have an almost fake, dream-like quality, coupled with the voiceover narration of actors who speak as though they were there. We learn about the invention of the Boy Scouts in England, followed by Hitler Youth. The film shows teenagers in Germany who listen to American jazz, and kids in America getting into swing. The movie is like Will Smith's "Parents Just Don't Understand," except it takes itself much more seriously. It's eerie to watch people who look young on screen but are in reality very old and dead. They are like butterflies pinned to felt. This is a somber, trance-inducing film composed of pretty images and not a lot else. For viewers looking for a meatier experience, Teenage might come up a little short. (ML)
Screens Fri., Feb. 21 at 5:30 PM at the Crystal.
Trucker and the Fox
Mahmoud Falavarjani, the trucker, is depressed. His psychiatrist, however, has the cure: "Don't think about your dead fox anymore. Get back to work." The next shot? Mahmoud in his beat-down, 40-year-old lorry with a photo of his dead fox taped to the steering wheel. Because the deal with Mahmoud is, in his heart, he is not a trucker. He's an animal guy, first, and a filmmaker, second. And by midpoint in this Iranian documentary that's in competition for Best Feature, he gets around to creating his own cure: Trap a new fox. Make a new movie starring the fox. But that doesn't just happen, film fans. It takes time to make an arty critter movie, which is, primarily, the downfall of this otherwise quirky and lovely movie about making a movie. It's tedious to watch him keep checking the trap and talking pre-production plot. Although, hey, the plot does involve donkey lovers whose stars get crossed by you-know-who (pssst ... the fox!). We watch as Mahmoud allows his obsessions to blow holes in his marriage and in his tenuous job. But we also see his transformation from despair to joy because of them. Better, though, to get to joy just a bit quicker. (JB)
Screens Sat., Feb. 15 and Sat., Feb. 22, both at 11:45 AM at the Wilma. Nominee for Best Feature.
Rent A Family, Inc.
A middle-aged man sits down with his daughter and her boyfriend, who nervously explain that they want to move in together before deciding to get married. The father listens calmly, expresses his concerns, and eventually gives his blessing. The thing is, he's not actually the girl's father. She hired him to play the role because her boyfriend insisted on a father's blessing, and she knew her real father would never give it. This is the career Ryuichi Ichinokawa has made for himself, and the subject of Kaspar Astrup Schroder's documentary, Rent A Family.
Like much of Japanese culture, Ichinokawa's story is weirdly fascinating from an American standpoint. He calls his website "I Want to Cheer You Up" and takes on all sorts of jobs impersonating fathers, husbands, friends, as well as managing a staff of freelancers to fill roles he can't fit. What makes the documentary a story rather than an exposé is that Ichinokawa's business of duplicity parallels his own life. His family has no idea what he does for a living.
Unfortunately, the film's wrap-up doesn't quite live up to the intrigue of the setup. Rent A Family, a nominee for Best Feature, peters out into a conclusion that only fails to be predictable because of how anticlimactic it is. But it's still well worth watching on account of the unusual detailing of how Japanese relationships, as eerily unfamiliar in custom as they might seem to us, reflect the same emotional undertow we all experience. (JW)
Screens Tue., Feb. 18 at 6:45 PM and Sat., Feb. 22 at 2 PM at the Crystal. Nominee for Best Feature.
A Fragile Trust: Plagiarism, Power, and Jayson Blair at the New York Times
Jayson Blair is troubled, and that may be putting it gently. During the 74 minutes of A Fragile Trust, everyone on-screen—including Blair himself—searches for the right way to describe just what ails this "mentally unstable," "crazy," "sick" and "bipolar" lightning rod of criticism. These descriptors are important, because they're all that's available to explain Blair's fantastically flawed stretch as an intern and then reporter at The New York Times, during which he managed to file stories riddled with errors, fabricate sources, plagiarize work from other papers and report on events he never attended, in cities he never visited. At one point he smelled so bad his colleagues complained. In another, he lost a company car. Just lost it. For a month.
Blair's actions are so ludicrous that it's hard to fathom how he could get away with such behavior at an institution like the Times. His litany of excuses—drugs, alcohol, trauma after 9/11, pressure of the newsroom, etc.are so nauseating and desperate that you can't tell, as one editor puts it, where his sickness starts and where the scheming begins.
Director Samantha Grant's film, which is in competition for Best Feature, catalogues the entire saga and, toward the end, briefly explores certain postscripts, such as the fallout at the Times, the potential indictment of affirmative action (Blair is black and was hired to help diversify the newsroom) and the overall reflection on contemporary journalism (hence the title). The film spins its wheels at points and meanders toward its conclusion, but this journalist is willing to admit that it was the smarmy subject—not the filmmaking—that grew tiresome.
If you have any affinity whatsoever to journalism, you have zero time for a compulsive liar like Blair. I didn't want to spend a minute longer listening to or about him, and can't imagine why the Times took so long to reach the same conclusion. There are no great revelations in the film—except, perhaps, Blair's current career choice as a life coach—but plenty to leave viewers shaking their heads as the final credits roll. (SB)
Screens Tue., Feb. 18 at 7 PM at the Wilma and Wed., Feb. 19 at 5 PM at the Crystal. Nominee for Best Feature.


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: Kings Article:
LA Kings Prospect Jean-Francois Berube Is Struggling To Earn #1 Goalie Spot With ECHL
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Originally Posted by
I had heard and posted the same thing a couple of weeks ago and to me it looks like Muzzin has a compensation injury that is still nagging him. His foot was the big trouble and then in order to remain as competitive as possible and keep his spot on the team he used other muscle groups (etc) to try and compensate for his sore foot.
Now they are bothering him more than the foot. You can see him pulling up short at times and not being as agile/fast footed as he usually is. A two week break and he would be back to good imo but at this level of competition its hard to give up your spot.
JFB is a player that I say play in the Q before we drafted him and I honestly thought then that he would be a steal for someone. I was really happy when we picked him up and I still believe that he will put it all together and make the NHL in a few years.
It looks like he actually has started putting things together lately so here's hoping he keeps getting his game back. He has a ton of talent, its an issue of putting it together.
Muzzin has been bad since his first stepped on the ice this year.
He had the same awful start to last year.
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Tags: Board of Directors, business, Disney, Jack Dorsey.
Posted 12/23/2013 at 4:25 PM
Posted 4 years ago
Jack Dorsey, the co-founder and chairman of Twitter, has joined the board of Directors of the Walt Disney Company.
"Jack Dorsey is a talented entrepreneur who has helped create groundbreaking new businesses in the social media and commerce spaces," said Disney CEO Robert A. Iger. "The perspective he brings to Disney and its Board is extremely valuable, given our strategic priorities, which include utilizing the latest technologies and platforms to reach more people and to enhance the relationship we have with our customers."
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Will Smith's struggle with teens
Will Smith thinks raising teenagers is tough.
The 'Independence Day' actor - who has kids Jaden, 17, and Willow, 15, with wife Jada Pinkett Smith, and a 23-year-old son, Trey, from a previous marriage - admits it takes "everything" to cope with children when they reach adolescence.
He joked: "Teenagers should be [considered] an affliction, you know.
"Like, when people come up to you, like, 'Hey Will, how you doing?' - 'Awww man I got teenagers.' "
More seriously, he added: "It takes everything you have to raise teenagers."
Jaden has caused a stir with his bizarre interviews, most recently comparing himself to Galileo and claiming he and his sister attend a "mystery school" and his father says he and Jada decided a long time ago to just let their "artist" son be himself.
He told talk show host Ellen DeGeneres: "Jaden, because we're both artists, we decided a long time ago that it's sort of better to flow with what people are naturally, more than, like, what our egos need them to be.
"So we really try to find the things that they're [Jaden and Willow] good at, and support those things rather than forcing them.
"Jaden loves math, Willow is more of a reader so, you know, we kind of just support those things."


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You bought your Rabbit Convertible because its German engineering and reliable performance struck a chord inside you; so why would you settle for second best when it comes to superior quality auto parts? Auto enthusiasts appreciate the economy built into each Volkswagen, and understand that only the highest quality repair Rabbit Convertible parts will suffice when repairs are needed. Anyone who operates a Volkswagen knows that when it comes to repairing their car, truck, or SUV only the highest quality replacement parts will do. It's not every day that you discover you need a replacement Thermostats to repair your automobile.
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Transcept's (TSPT) new drug for insomnia, Intermezzo, received a Complete Response Letter on October 26, 2009, in which the FDA acknowledged that it was effective. However, the agency failed to approve the drug because of concerns about dosing and potential next day residual effects. Transcept addressed, and in my opinion, has successfully answered these issues in a resubmission of the NDA, whose PDUFA date is July 14, 2011. I believe that the FDA will grant approval on that date, but the FDA has become an extremely risk adverse on safety issues and there can be no certainty.
I subjectively assess the odds of receiving approval at better than 80%. In that event, I think that the stock price could increase 30% to 60% from the current level of $8 to perhaps $10 to $13. The market capitalization is currently $108 million. If I am wrong and the FDA issues another complete response letter, I think that the stock could sell at a 20% or greater discount to the current cash level of $4.30 per share, i.e $3.25 or less.
If I am right and the product is approved, what happens next? One of the problems for investors in small biotechnology stocks is that gaining reimbursement for a newly approved drug has become a slow and arduous process in which sales progress in the first year can be modest. Two recent examples are Somaxon's (NASDAQ:SOMX) launch of its insomnia drug Silenor and NeurogesX's (NASDAQ:NGSX) launch of the capsaicin pain patch Qutenza. Concern that uptake may be slow could cause the stock to flatten or decline following the expected bounce on approval as investors wrestle with the question of how quickly sales will take off.
I estimate that the addressable market for the middle of the night awakening (MOTN) market in the U.S. is $1 billion or more: Intermezzo would be the only drug approved for this indication. I have to admit that I have no great confidence in my estimates on how rapidly sales will ramp. I am assuming a launch in 3Q of 2011 with only minimal sales of $8 million in 2011. My 2012 sales estimate is $50 million and my 2013 estimate is $125 million. These estimates are lower than Street estimates for 2011 of $20 to $25 million; for 2012 of $80 to $120 million; and for 2013 of $175 to $250 million.
Barring a generic launch, I could see sales reaching $500 million in 2016. Transcept has licensed Intermezzo to Purdue Pharma in the U.S. under a royalty agreement and has retained certain co-marketing rights. On my estimate for achievable U.S. sales of $500 million in 2016, I can project a potential range EPS of $1.75 to $2.50 depending on how agressively the company decides to spend on S, G & A and R&D.
Investors will also debate the intellectual property position of the company. Intermezzo is based on a generic drug zolpidem (Ambien) and does not have composition of matter patent coverage. There are two issued patents that describe the delivery of hypnotic agents across the oral mucosa and methods of use thereof. These expire in 2025 and 2027, but are not particularly strong patents. In May of 2011, Transcept received a notice of allowance of a patent that specifically covers the use of an oral formulation of zolpidem that is suitable for oral absorption and is to be used to treat MOTN. This patent is somewhat stronger, is expected to issue this year and could provide more meaningful protection though 2028. It is almost a certainty that a generic company will launch a paragraph IV challenge to Intermezzo within a half year or year of launch. In the worst case scenario, this could lead to a generic entry three years after launch or late 2014. I am still trying to assess this situation and don't have a lot of confidence in predicting what will happen.
See here for a more in-depth report describing the reasoning behind these comments and estimates.
Disclosure: I have no positions in any stocks mentioned, and no plans to initiate any positions within the next 72 hours.


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Starting: July 30, 2017
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We were so excited to head over to Biarritz last week for the annual Wheels and Waves festival! (If you're not familiar with it, it's just the coolest custom bike show around..!) It started out in 2009 as the annual meet-up for local riding club The Southsiders; but over the last 8 years Wheels & Waves has grown hugely popular and is now a
calendar highlight for thousands.
The idea was to bring the worlds of the Classic, Neo-Classic, and Classic Custom motorcycle together in one place as it was very rarely done, whilst also welcoming surf and skate culture into the mix. The festival is now a melting pot of household names such as Edwin & Triumph, alongside individual builders that all come together out of a mutual passion.
We were lucky enough to collaborate this year with a company we really look up to, Triumph Motorcycles, on a badass hand-painted jacket. The final piece can be seen in action below, along with plenty of snaps from the 5 days!
All photographs by Grant Evans - www.fueledbylight.com


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- Cars
- New cars
- Honda
- Honda Jazz
- Questions and Answers Honda Jazz
- What is the actual mileage for Honda Jazz? The company claims 18kmpl but does anybody get a higher figure than that?
What is the actual mileage for Honda Jazz? The company claims 18kmpl but does anybody get a higher figure than that?
By: Abhay Patil on 4 july 2016
1 Answers:
The company claimed mileage of the Honda Jazz petrol manual is 16kmpl and petrol AT is 17kmpl.
Mileage is something that is dependent on how well you drive and treat your car. Therefore one can get a better mileage than what is claimed depending on how the car is treated. Although the tests are always done in ideal situations which don't occur in day to day life therefore chances are less but it is not impossible to get better figures at time. Also, the diesel variant offers a higher mileage at 25kmpl.
Aysha 2016-07-04
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5.89...9.19 Lakh
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The family's estate, Alnwick Castle in Northumberland, doubles as Hogwarts in the Harry Potter films.
Melissa is the youngest daughter of the Duke of Northumberland.
I found them far more difficult to instruct in bombing than the Northumberland miners.
In 1762 the Northumberland was engaged in the recapture of Newfoundland.
He could imagine the dismalness of Hampton, when contrasted with the brightness of Northumberland.
In fact, the Duke of Northumberland resides in it, when he is in town, to this day.
Northumberland, Raleigh's fellow-prisoner, after fifteen years' captivity, was released this year.
Herry Percy sone of the erle of Northumberland; the whiche Sr.
She had asked whether she should imitate Northumberland and nominate the members of the House of Commons.
I forgot, for the instant, that Northumberland is a rapid town.


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Minimalist Gold Ring With Diamantes - 20% OFF!
$14.90 On sale
WAS $18.90 - now $14.90!
A beautifully cut delicate 18K gold ring embellished with rhinestones. Extra fine in minimalist style, this ring is perfect for creating mix and match looks.
NOTE: 2 sizes available - Small and Medium.
Small (app. size 5.5) - to be worn at the knuckle or suitable for small fingers.
Medium (app. size 6.5) - to be worn at the base of the finger.
When purchasing please double check you're ordering the correct size.
Imported, Korea.
PS. This ring is also available in silver.
See section 'Jewellery' to purchase.