text:
WASHINGTON (CNS) — Prayer vigils, special Masses and rallies marked the 44th anniversary of the U.S. Supreme Court decision legalizing abortion.
At a Mass at St. Aloysius Gonzaga Parish in Washington Jan. 27 prior to the March for Life, Jesuit Father Bill Muller, said those joining the daylong event were praying and marching so that everyone, from the unborn child to the dementia patient at death's door, would "be seen, recognized, noticed and that all belong to our crazy and wonderful human family."
The problem, however, Father Muller explained, is that not everyone in the human family "sees all who are there. Not everyone wants to hear some others say, 'I am here, recognize me for who I am.'"
He continued by calling attention to "those who are not seen, who don't know they belong, who do not have a voice to stand up and shout, 'I am here.' Today we call attention to babies in the womb," he told the congregation.
Recalling the Gospel of Mark in which Jesus compared the kingdom of God to the tiny mustard seed that grows into a large plant. He acknowledged that the gathering at the church was small compared with the population of the world, but that participating in the March for Life was like planting a seed.
"But do not throw away your confidence because all the kingdom of God needs are tiny seeds and people planting them," he said.
Elsewhere, nearly two dozen parishes in the Boston Archdiocese observed Holy Hours for Life the weekend of the Washington march. Other parishes planned prayer services through mid-February. And the Diocese of Cleveland was among several nationwide that celebrated a Mass calling for the protection of the unborn.
In Los Angeles, thousands of people heard from Archbishop Jose H. Gomez and other speakers during the third annual OneLife LA Jan. 21 at Exposition Park. The Los Angeles Archdiocese was a lead planner of the gathering.
"OneLife is meant to be a movement," Archbishop Gomez told those who joined the event. "OneLife is a vision of a society of solidarity, love and service. A vision of a society where we do not see 'others' but see only brothers and sisters, children of God who share our common human nature and are deserving of love and care and everything we can do to promote their freedom and dignity."
Speakers at the ecumenical event included other ministers and actress Patrician Heaton.
Earlier in January, pro-lifers gathered at the Colorado State Capitol in Denver for the Celebrate Life Rally and March. According to The Denver Post daily newspaper, thousands of participants marched through city streets before the event culminated with the rally.
Denver Archbishop Samuel J. Aquila addressed the Jan. 14 event along with several others speakers. Doves were released before the march, which organizers described as a symbol of the Holy Spirit's presence.
Archbishop Aquila urged the crowd not to grow complacent, even with a new administration in the White House that has pledged to appoint a pro-life justice to the Supreme Court and eliminate taxpayer funding of abortion. He urged them to work to change the nation's "culture of death," allowing both abortion and physician-assisted suicide.
"We must not let ourselves grow complacent," Archbishop Aquila said. "The forces promoting the culture of death have not slowed their pace and we must not slow ours."
Masses were celebrated at several parishes before the event including at the Cathedral Basilica of the Immaculate Conception. Two weeks later more than 200 people held a March for Life demonstration outside Planned Parenthood to pray for an end to abortion.
In the town of Palmer, Alaska, in the Matanuska-Susitna Valley, more than 300 people turned out Jan. 28 for what is believed to be the first pro-life march in the town. Residents packed the Palmer Depot downtown before marching through the streets to pray for an end to abortion and give peaceful public witness to the dignity and rights of unborn babies.
"Each year, since Roe vs. Wade was decided, hundreds of thousands of pro-life Americans have made their way to Washington, D.C., to demand an end to abortion," organizers said in a statement. "But D.C. is a long way for we Alaskans to travel, so why not stay closer to home and still share the same message — abortion is a travesty of epic proportions and it must be stopped!"
The Catholic Anchor, newspaper of the Anchorage Archdiocese, reported that participants walked a mile through downtown Palmer, stopping to pray outside the office of abortion doctor Susan Lemagie and also pausing to pray outside Gov. Bill Walker's local office.
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day tours
starts at US $ 599 per person
Small group
adventure holiday
Typically you will be sharing your
experiences with between 4-20 like
minded travellers (depending on the
trip, operator and how many others
are booked on the trip) and you'll
have a group leader with you.
Whether you are travelling alone or
with friends its good value, and a
great way to meet new people! While
itineraries are pre-planned there is
some flexibility and you'll have
plenty of privacy. This trip will
appeal to travellers of all ages who
enjoy meeting new people as well as
seeing new places.
As a company we aim to encourage
interaction with local communities
while showing respect for local
culture, beliefs and traditions, as
well as the importance of respecting
the natural surroundings in order to
protect places for generations to
come. Our Tour Leaders are recruited
locally and are trained by us in the
importance of responsible tourism
with guidance given on how they can
make a difference. This then
percolates down through those they
deal with.
A night's camping and optional camel
ride takes our groups into the
protected area of Wadi Rum where
they learn about the Bedouin way of
life and plants which are both rare
and endemic to its ecosystem. The
money generated by tourism in this
area goes to support the local
Bedouin and reinforces amongst the
local people the importance of
protecting this unique area.
The Gulf of Aqaba is a place of
outstanding natural beauty whose
existing marine ecosystems are
fragile and in danger. Our groups
are well informed about the impact
of interfering with this ecosystem
and our tour leaders help to promote
wider awareness of this locally.
Conservation of water is actively
promoted in Jordan. We work closely
with our local suppliers to see how
we can help them save water in the
fragile desert environment. As there
is no recycling in this area our
clients are encouraged to carry
water purification filters and water
All accommodation is locally owned
and in which you experience great
food, most of which is sourced
locally. This not only provides
direct employment within the hotel,
but also has the effect of
distributing money beyond to small
businesses that supply the hotel and
in this way money is spread
throughout the region we visit.
adventure holiday in Jordan
Experience the mountains and desert
of Jordan
- View Lawrence's 'Seven Pillars of
- Petra - the Rose Red City
Jerash & the King's Highway
Beginning at Jerash, one of the most
impressive Roman cities surviving
anywhere, we journey via biblical Mt
Nebo to Madaba and then southwards
along the legendary King's Highway
towards Kerak. Here we explore the
crusader castle of Kerak, imposingly
sited on a crag overlooking the
rocky desert.
Exploring Petra
finally reach Petra, one of the
world's archaeological wonders.
Tucked away like a long-lost
Shangri-la, the 'Rose Red City' is
carved from a mountain of multi-coloured
sandstone and approached through a
narrow but towering
siq (gorge). Local legend has it
that the rock-cut Treasury once
stored the gifts of the Queen of
Sheba to Solomon. We have two full
days at Petra: ample time to
discover some of the hidden corners
of the site, including the vast and
impressive Monastery and the High
Place with its fine views of distant
Wadi Araba.
Wadi Rum & the Red Sea
Leaving Petra in 4WD vehicles, we
push deep into the craggy desert and
cliffs of Wadi Rum. This is
'Lawrence of Arabia' country, where
we'll sleep in a bedouin-style
encampment, under a star-filled
desert sky. All around us stretch
the solitary
vertical cliffs of the wadi
(dried-up river bed); we have the
chance to explore this majestic
landscape by camel. Then continue by
4WD to the Red Sea coast, where we
can unwind and snorkel over the
coral reef. Finally we return to
Amman, pausing en route to
experience the sensation of floating
in the Dead Sea.
Day-by-day itinerary
Arrive Amman and check-in at
hotel. Overnight hotel and
Drive to Jerash.
This morning we drive northwards
to ancient Jerash. Located
in the Gilead Hills, it is
considered to be the best
preserved city of the Decapolis,
a confederation of ten Roman
cities. One of the highlights of
the Middle East, a triple arch
gateway gives way to colonnaded
streets, theatres, temples and
baths. Particularly striking is
the elegant forum.
To Kerak via Um Qais, Madaba &
Mt. Nebo.
We continue along the Jordan
Valley to Umm Qais, whose ruins
overlook the Sea of Galilee and
the Golan Heights, before
heading south to Madaba, a small
Christian town with its
collection of extraordinary
mosaics, including the Great Map
of Palestine (6th century).
Discovered in 1896, and only
fragmentary, it contains a good
picture of Jerusalem. Moving on
we investigate Jebel Neba
(808m). Better known as Mount
Nebo, it is a pilgrimage centre
for Christians principally
because Moses is said to have
seen the Promised Land from this
summit. Then following one of
the oldest trade routes in the
world, the King's Highway that
once carried the richly laden
caravans of Solomon, we reach
Kerak, imposingly sited on a
hilltop. Kerak became famous in
the time of the Crusades as one
of a chain of fortresses in the
Holy War against Islam. The
castle was built in 1132 by
Baldwin of Jerusalem, a Crusader
Walking tour of Petra.
Continuing south we set off
early this morning to reach
Petra. Abandoned centuries ago,
Petra is unique and
unforgettable: a strange
otherworldly place, enhanced by
the play of light and shadow, an
altogether overwhelming
experience. In the morning a
guided orientation tour will
take us to some of the key parts
of this remarkable site, and,
for the rest of the day we have
a chance to walk through one of
the most impressive and exciting
sites of ancient history
anywhere in the world.
In Petra.
A full free day at Petra, or
'rock' in Greek. You can climb
steep paths
the sacrificial 'High Places'
(altars) and hike to the top of
Jebel Harin (1396m) for a
stunning view over Wadi Araba
and the Negev Desert. A place to
lose oneself in the atmosphere
of the past. We recommend a trip
to El Beidha (or 'Little Petra'
as it is known) or to an
excavated Stone Age village
where you can see the remains of
houses, fireplaces and workshops
dating from around 6000BC.
By Four Wheel Drive to Wadi Rum.
We spend today experiencing the
beautiful area of Wadi Rum. We
head off south for an exciting
half day drive along a 4WD drive
route to Wadi Rum. Via the old
Roman road, we explore the
lesser known northern areas of
Wadi Rum, seeing natural rock
bridges and viewing incredible
rock sculptures on the way to
our overnight camp. During the
afternoon you may take an
optional camel trek through the
dramatic Siq al Barrah. We ride
and walk for
3 hrs through a landscape of
sandstone mountains and white
and pink coloured sands. The
desert is another world,
inhabited by the nomadic Bedouin
peoples for generations. The
whole area is soaked in the
Lawrence legend: those who still
wish to search out the strange
hero will find his shade in the
'Beau Geste' Desert Patrol post
at Wadi Rum. Scenes of the
famous film 'Lawrence of Arabia'
were shot here – deep in the
fabulous purple-black mountains
that rise from the sand of the
desert. Before our night under
the starry sky, we may be lucky
enough to witness a spectacular
desert sunset. Overnight in
Bedouin-style tent with dinner,
breakfast and lunch.
Four Wheel Drive to Aqaba.
Leaving Wadi Rum in four wheel
drive vehicles we follow a
desert track finally arriving at
Aqaba on the Red Sea. Here you
have a chance to swim in the
warm waters and go snorkelling
on the coral reef.
Drive via the Dead Sea to Amman.
We drive on to the shimmering
Dead Sea.
Surrounded by barren hills, this
unique water body has an
amazingly high salt content
(33%) that means no animal life
survives and that it is almost
impossible to sink! Finally we
drive on to Amman and spend our
last night in the bustling
Sunday. Tour ends Amman
Petra tours
Car rental
Live with Nomads
Diving in Aqaba
contact us
Desert paramours Trek and Travel, Petra - Jordan
Wadi Mousa - Tourist St. P.O.Box: 143, Zip: 718111, Tel:
00962 777 282 730, Fax: 00962 3 2155 955

subset: commoncrawl


text:
Cornerounder® Model 60 Corner Cutter is a heavy duty model engineered for the sign industry. With a 1 ton press capacity, this machine can cut up 0.08" thick half hard aluminum. Each corner rounder die is part of its own table assembly, providing quick, easy changes. Cornerounder® Model 60 includes a table assembly cutting die, with radii ranging from 1/2" through 1 1/2". Additional cutting unit dies can be purchased separately for maximum project versatility.
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We offer custom cutting for all your vinyl/digital media orders, custom striping sizes. Masking tapes are cut to your specs at no extra cost. Many of our films can be bought in less than 10yd quantities. We cater to your packaging/shipping special requirements, and special orders.


text:
- Font:
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WASHINGTON — Babies who develop several fevers in their first year are less likely to develop allergies later in life, U.S. researchers said on Monday.
Don't miss these Health stories
More women opting for preventive mastectomy - but should they be?
Rates of women who are opting for preventive mastectomies, such as Angeline Jolie, have increased by an estimated 50 percent in recent years, experts say. But many doctors are puzzled because the operation doesn't carry a 100 percent guarantee, it's major surgery -- and women have other options, from a once-a-day pill to careful monitoring.
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The study lends support to the so-called hygiene hypothesis, which proposes that unless children's immune systems fight infections early on, they can go into overdrive later and cause allergic reactions.
"The hygiene hypothesis is widely recognized but largely unproven," Kenneth Adams, who oversees asthma research funded by the National Institute of Allergy and Infectious Diseases, said in a statement.
"The findings of this study strengthen the hypothesis and, after more research, could lead to preventative therapies for asthma and allergies."
Writing in the Journal of Allergy and Clinical Immunology, Christine Johnson of the Henry Ford Health System in Detroit, and colleagues examined the medical records of 835 children from birth to age 1.
They found that half the children who experienced no fever during their first year had an allergic sensitivity by age 7.
Of those who had one fever, 46.7 percent were allergic or sensitive by age 7 but this figure dropped to 31 percent among children who suffered two or more fevers during infancy.
"We didn't expect fever to relate with such a consistent effect," Johnson said.
"If we can uncover which environmental factors affect allergic development and why, it may be possible to immunize children against these conditions," she added.
Allergy is on the rise in the United States and other developed countries and scientists are working to find out why.
Some studies have shown that children who grow up with pets in the house are less likely to become allergic, another finding that supports the hygiene hypothesis.
© 2012 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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PRP TreatmentAuthor: Dr. Gordon Sasaki
Platelet-Rich Plasma (PRP), obtained from whole blood, has been used in humans for its healing properties attributed to the increased concentrations of growth factors that enhance the healing process of injured cells and tissue, as well as to recruit, stimulate and regenerate tissue such as fat cells. While their role in clotting is well understood, their significance in enhancing fat grafting is currently under investigation.
Dr. Sasaki is an early user, clinical investigator and consultant in the use of PRP in aesthetic procedures such as a cell supplement to fat grafting to sustain its survival, and, in combination with microneedling to stimulate hair growth, and rejuvenate skin. Dr. Sasaki and others are contributing to the few controlled, clinical studies with evidence-based data to determine the safety and effectiveness of PRP. He has presented his experience in over one-hundred and fifty patients with PRP and fat grafting at national and international symposia for the past three years demonstrating improved retention rates in facial aesthetic augmentation after facelifts. (Please click on facelifts, microneedling, skin rejuvenation, and hair stimulation for more information.)
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Few plastic surgeons can match Dr. Sasaki's combination of expertise, compassion, and experience. He's a distinguished educator and a renowned innovator whose work and research have influenced a generation of plastic surgeons. Dr. Sasaki will work with you to make the improvements you desire.
Are you ready to discover all the ways Sasaki Advanced Aesthetic Medical Center in Pasadena can enhance your appearance and confidence? Request a consultation using our online form or call (626) 796-3373 for an appointment. Back to Top


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Early Technicolor: Part 2
It was a still relatively new, sexy technology that could improve the filmmaking process by adding yet more creative options in designing a film's look. The concept of shooting color for a gimmicky scene to give a film a value-added feature was commonplace – notably in musicals like Dixiana (1930), where the last reel presented the show-stopping sequence in 2-strip Technicolor – but making a complete feature in colour and pre-planning the cinematography to achieve a specific look was, as Behlmer explains, quite novel.
That isn't to say the colour sequences in other films were basically point-and-shoot exercises where everyone hoped the footage would turn out okay. Technicolor looked good only if the costumes, the lighting, the paint on the walls, the hair colours, and the pencils in a desk jar were right.
(Examples of striking 2-strip Technicolor films include 1932's Doctor X, and 1933's Mystery of the Wax Museum, and to get an idea of the process' look, one need only watch the golfing sequence in Martin Scorsese's The Aviator, where Katherine Hepburn does a round of golf with Howard Hughes.)
That's why the company employed an elite group of consultants (Natalie Kalmus being the biggie) to ensure rules of what was known to work were followed; getting it wrong made things look funny, which is why some of the format's early critics found Technicolor's flesh tones seemed salmony, the colours were too hard on the eyes, and feared long-term exposure could yield unknown trauma(s).
This was apparently a serious concern, because there were critics / Luddites who felt audiences simply wouldn't be able to handle colour. The switch from black & white to blazing Technicolor would be too much for the average moviegoer weaned on black & white movies.
The eye strain would be abominable. The headaches would come. Add sound to the mix, and Jesus, people would get sick and explode into human goo.
Even though there had already been three feature-length colour movies– Toll of the Sea (1922), Wanderer of the Wasteland (1924), and the first colour & sound feature, The Cavalier (1928) - this was a real concern for Fairbanks, so he consulted psychologists to see if colour moving pictures were really bad for the eyes and brain, and of course, the results showed people didn't get heavy eye strain or headaches.
That proved colour was fine, but the next issue was the actual filming, developing and exhibition processes at hand. Without going into techno-babble, there are four types of colour film processes developed during Technicolor's early years:
Process 1 (dubbed additive colour process) was used on a film called The Gulf Between (1916), and it involved the use of red and green filters and a prism beam-splitter in the camera. Because adjacent frames on a single strip of black & white film were exposed simultaneously, the film had to be photographed and projected at twice the normal speed.
The key problem? One also needed a two-aperture projector that played the film back at the same higher speed, and the combination of two lenses, filters, and a prism in the projector made it a chore to keep colour registration accurate.
What's interesting about this method is its slight relation to William Friese-Greene's Biocolour, a British system that used filters in the camera to expose each subsequent frame in either red or green using a shutter with attached colour filters. When making prints, the adjacent black & white frames were tinted red and green, and were shown using one projector.
The problem? The faster projection speed essentially relied on persistence of vision to make it appear one was seeing a single frame of colour film, but the end result was a flickering, strobe-like image that probably did give people headaches. (I'll have more on this process shortly, via a wonderful BFI DVD set from Region 2 land called The Open Road.)
Process 2 (known as subtractive colour process) was the first version of 2-strip Technicolor, and consisted of a similar camera exposing two frames simultaneously with filters and the prism beam-splitter, except two strips of black & white film were exposed in the camera – one for the red, the other for the green. The stock was thinner because in the end the red and green film strips were sandwiched together to great a 2-colour master print.
When Fairbanks opted to shoot The Black Pirate in colour, it was Process 2 that was used, but Behlmer also cites more apocrypha in his commentary. The cameras exposed duplicate frames to create protection masters for foreign prints – which seems inventive, but obviously gobbled up an enormous amount of film stock. When exhibition prints were struck, the final results were thicker than standard black & white prints, and small bumps in a married print could cause the projected film to flutter, or worse.
Still, the movie was in colour, and that's what Fairbanks used to thrill audiences with his zippy pirate movie. A restoration effort during the early seventies essentially rescued the film from oblivion, and not only brought the film back into circulation in colour, but ensured it was available for home video distribution (via laserdisc, and then DVD).
Eventually, Process 3 (a dye-transfer process) was introduced in 1928, eliminating the need to cement two halves to create one print. Process 3 is what RKO used for the last reel of Dixiana, a mish-mash of drama and music and spectacle set against the New Orleans Mardi Gras.
When 3-strip Technicolor debuted in 1934 via the animated Disney short Silly Symphony: Flowers and Trees (1932) and the live-action short film La Cucaracha (1934), the process involved three strips of film exposed in a camera that were used to create a single strip exhibition print. Becky Sharp (1935) was the first feature film shot in the new process, and Foxfire (1955) was the last, when a single-strip camera negative became the new standard.
Tracking down on home video early 2-strip Technicolor films – either those with sequences or shot entirely in the process – isn't easy because a number of these films have fallen into public domain. A few have appeared on major labels, while others are in budget sets whose source materials and transfer quality are a big question mark.
(Trying to find an accurate online list for the 2-strip films is also tough, although a 3-strip list exists HERE, and makes for an excellent reference guide.)
In the case of The Black Pirate, the Kino DVD is loaded with important extras, and while the film print is good, the transfer is vintage 1996, and the limitations are apparent, making this a film in serious need of a new HD transfer.
Dixiana and La Cucaracha were released on DVD by the Roan Group in 2000, but the disc is apparently out of print (though some distributors like Canada's E1 may still have old stock). Neither film is ideally presented on the DVD, but Dixiana is uncut, and that final reel is indeed in 2-strip Technicolor.
La Cucaracha mandates restoration, and what really should be done (ahem: Criterion?) is solving the rights issues, securing extant sources and releasing the film in a set that includes the two other Pioneer Pictures that followed – Becky Sharp, and The Dancing Pirate (1936). Having them together would ensure continuity with the extra features, such as historical essays or commentary tracks, as well as any surviving archival art, reviews, and company history.
Just a suggestion.
And the 24th Annual Gemini Awards Nominees are...
It's all in the way it's pronounced to prevent confusion, right?
The full list of nominees and broadcast date is available at the official Gemni website
http://www.geminiawards.ca/gemini24/main.cfm, but I've listed a few main categories in which at least one nominated production is or will be released on DVD (composer nominees excepted), so the curious can plan accordingly, and/or use the nominations as a push to buy or rent some Cancon.
The awards ceremony in Calgary, Alberta, will be broadcast on November 17, 2009, on Global TV.
Best Children's or Youth Fiction Program or Series
Instant Star 4
(Epitome Pictures Inc.)
Linda Schuyler, David Lowe, Stephen Stohn, Stephanie Williams
The Latest Buzz
(Decode Entertainment Inc., DECODE/Buzz Productions Inc.)
Steven DeNure, Neil Court, Kevin May, Brent Piaskoski, Beth Stevenson
Life with Derek
(Shaftesbury Films Inc.)
Christina Jennings, Daphne Ballon, Jeff Biederman, Suzanne French, Scott Garvie, Laurie McLarty
Best Comedy Program or Series
Less Than Kind
(Breakthrough Films & Television, Buffalo Gal Pictures)
Phyllis Laing, Marvin Kaye, Ira Levy, Amy Marcella, Mark McKinney, Jan Peter Meyboom, Kirsten Scollie,
Chris Sheasgreen, Peter Williamson
Rick Mercer Report
(Island Edge Inc.)
Gerald Lunz, Rick Mercer
(Blueprint Entertainment)
John Morayniss, Suzanne Berger, Kenny Hotz, Amy Marcella, Michael Rosenberg, Jonathan Walker
This Hour Has 22 Minutes Series XVI
(Halifax Film, a DHX Media Company)
Michael Donovan, Mark Farrell, Jack Kellum, Susan MacDonald, Jenipher Ritchie
Three Chords from the Truth
(Henry Less Productions)
Henry Less, Steve Cochrane, Phyllis Ellis, Sissy Federer-Less, Adriana Maggs
Best Documentary Series
The Adventurers
(90th Parallel Film & Television Productions Ltd.)
Gordon Henderson, Michael Allder, Andrew Gregg
Ancestors in the Attic - Season III
(Primitive Entertainment Inc.)
Dugald Maudsley, Kristina McLaughlin, Michael McMahon
CBC News: The Lens
(CBC Television)
Andrew Johnson, Charlotte Odele, Catherine Olsen, Angelina Stokman
Survivorman Third Season
(Survivorman 3 Productions Inc.)
Les Stroud, David Brady
The View From Here
Jane Jankovic
Best Dramatic Mini-Series
Burn Up
(Seven 24 Films Inc., Kudos Film and Television)
Tom Cox, Stephen Garrett
(Sienna Films, Rough Cut Pictures Inc., Rough Productions Ltd., Love Reigns (Pty) Ltd.)
Jennifer Kawaja, Liz Jarvis, Phyllis Laing, Philo Pieterse, Julia Sereny, Carrie Stein, Simon Vaughan, Nick Witkowski
The Last Templar
(Templar Productions (Muse) Inc.)
Michael Prupas, Robert Halmi Sr., Robert Halmi, Jr., Irene Litinsky
(Prodigy Pictures, Cipango)
Jay Firestone, Thomas Anargyros, Edouard De Vesinne
Best Dramatic Series
Being Erica --- DVD due September 22, 2009 (Paradox)
(Temple Street Productions)
David Fortier, Aaron Martin, Ivan Schneeberg, Jana Sinyor
The Border
(White Pine Pictures)
Peter Raymont, David Barlow, Brian Dennis, Janet MacLean
Flashpoint --- DVD due October 13, 2009 (Kaboom)
(Flashpoint Season 1 Inc., PINK SKY ENTERTAINMENT INC., AVAMAR ENTERTAINMENT INC.)
Anne Marie La Traverse, Bill Mustos
The Tudors
(Peace Arch Television Ltd., PA Tudors II Inc., TM Productions)
Sheila Hockin, Morgan O'Sullivan
ZOS: Zone of Separation
(Whizbang Films, Sulari Productions Inc.)
Paul Gross, Mario Azzopardi, Malcolm MacRury, Andrea Raffaghello, Frank Siracusa
Best TV Movie
(Barna-Alper Productions Inc.)
Laszlo Barna, Steven Silver
Elijah --- DVD due October 20, 2009
(Anagram Pictures Inc., Eagle Vision (Manitoba))
Blake Corbet, Gigi Boyd, Kevin Eastwood, Christopher Leeson, Lisa Meeches, Mary Anne Waterhouse
In a World Created By a Drunken God
(Pyramid Productions Inc.)
Kirstie McLellan Day, Larry Day
Of Murder and Memory
(Thump Inc., Oasis International)
Ilana Frank, Semi Chellas, Daniel Iron, David Wellington
The Secret of the Nutcracker
(Joe Media Group Inc.)
Joe Novak, Matt Gillespie, Shirley Vercruysse
The Terrorist Next Door
(Sarrazin Couture Entertainment, Forum Films Inc.)
Pierre Sarrazin, Suzette Couture, Richard Lalonde, Susan Murdoch
Donald Brittain Award for Best Social/Political Documentary Program
Air India 182
(Withrow Road Pictures Inc.)
David York, Sturla Gunnarsson
bploi wai dtaai: Leave Her to Die
(Think Positive Productions)
Antonia Thomson, Sean Buckley
(Moondat Productions Inc.)
Kent Nason, Teresa MacInnes
Tiger Spirit
(Storyline Entertainment Inc.)
Ed Barreveld, Anita Lee, Min Sook Lee
Triage: Dr. James Orbinski's Humanitarian Dilemma
(White Pine Pictures)
Peter Raymont, Silva Basmajian
Best Original Music for a Lifestyle/Practical Information or Reality Program or Series
David Burns - Design U - Bruno's Daughter's Bedroom
Serge Côté - A World of Wonders - The Amazon Rainforest
Ryan Kondrat, John LaMagna - Project Runway Canada - Return of the Supermodel
Gaz Mellen - The Decorating Adventures of Ambrose Price - Reclaiming
Michael O'Neill - French Food at Home II - French Food Desserts
Best Original Music Score for a Documentary Program or Series
Christopher Dedrick - Death or Canada
Christopher Dedrick - The Body Machine
Edmund Eagan - FLicKeR
Eric LeMoyne - Liberty, USA
Daniel Séguin - The Wild Horse Redemption
Best Original Music Score for a Dramatic Program, Mini-Series or TV Movie
Terry Frewer - Elijah
Jonathan Goldsmith - Burn Up
Adrian Johnston - Diamonds
Michael Richard Plowman - Impact
Ron Sures - Of Murder and Memory
Best Original Music Score for a Program or Series
Robert Carli - Murdoch Mysteries - Werewolves
Jody Colero, Lily Frost, Trevor Yuile - Being Erica - Dr. Tom
James Gelfand - Crusoe - The Return
Mark Korven - The Border - Floral Tribute
Ari Posner, Amin Bhatia - Flashpoint - Planets Aligned
Best Original Music Score for an Animated Program or Series
Serge Côté - Rollbots - Crontab Trouble
Paul Intson - Grossology - Swamp Gas
Brian Pickett, James Chapple, Graeme Cornies, David Kelly - World of Quest - The Crusades/ The Little Troll Down
the Lane
Michael Plowman - Jibber Jabber - "Race to the Red Planet"/ "Pride of Frankenstein"
John Welsman - My Friend Rabbit - For The Birds/Pearl's Pals
Best Writing in a Children's or Youth Program or Series
Jeff Biederman - Life with Derek - Just Friends
Richard Clark - Grossology - The New Recruits
Sean Jara - The Latest Buzz - The First Impressions Issue
Victor Nicolle, Sandy Flanagan, Dennis Heaton - Jibber Jabber - "Night of the Werewolf"/"Enter the Jelly"
Steven Westren - My Friend Rabbit - Frog On A Log
Best Writing in a Documentary Program or Series
Araz Artinian - The Genocide in Me
Robert Cornellier, Paul Carvalho - Black Wave The Legacy of the Exxon Valdez
Tracy Deer - Club Native
Sheona McDonald - Capturing a Short Life
Larry Weinstein, Harvey Sachs - Toscanini: In His Own Words
Best Writing in a Dramatic Program or Mini-Series
Blake Corbet - Elijah
Donald Martin - Celine
Tony Marchant - Diverted
David Vainola - Diamonds
David Wolkove – XIII
Best Writing in a Dramatic Series
Mark Ellis, Stephanie Morgenstern - Flashpoint - Haunting the Barn
Michael Hirst - The Tudors - Episode 205
Floyd Kane - Soul - Fathers and Daughters
Lori Spring - Murdoch Mysteries - I, Murdoch
Brad Wright - Stargate Atlantis - The Shrine
Best Performance by an Actor in a Featured Supporting Role in a Dramatic Series
David Alpay - The Tudors - Episode 207, Episode 209
Jonny Harris - Murdoch Mysteries - Big Murderer On Campus, Convalescence
Christopher Heyerdahl - Sanctuary - The Five, Revelations P2 --- DVD due September 15, 2009
Mpho Koaho - Soul - Seducing Spirits, Exile
Wes Williams - The Line - Episode 106, Episode 107
Best Performance by an Actor in a Guest Role, Dramatic Series
Damir Andrei - Being Erica - The Secret of Now
Nicholas Campbell - Flashpoint - Who's George?
Henry Czerny - Flashpoint - First In Line
Mpho Koaho - Flashpoint - Never Kissed A Girl
Ron Lea - Flashpoint - Haunting the Barn
Best Performance by an Actor in a Leading Role in a Dramatic Program or Mini-Series
Trevor Duplessis - In a World Created By a Drunken God
Chenier Hundal - The Terrorist Next Door
Carlo Rota - Othello, The Tragedy of the Moor
David Suchet - Diverted
Bradley Whitford - Burn Up
Best Performance by an Actress in a Continuing Leading Dramatic Role
Natalie Dormer - The Tudors - Episode 210
Amy Jo Johnson - Flashpoint - Planets Aligned
Erin Karpluk - Being Erica - Dr. Tom
Andrea Menard - Rabbit Fall - Hit and Run
Amanda Tapping - Sanctuary – Requiem
Best Performance by an Actress in a Featured Supporting Role in a Dramatic Program or Mini-Series
Barbara Hershey - Anne of Green Gables: A New Beginning
Tiio Horn - Moccasin Flats: Redemption
Louise Rose - Diamonds
Best Performance by an Actress in a Featured Supporting Role in a Dramatic Series
Lolita Davidovich - ZOS: Zone of Separation - Bred in the Bone, The Laws
Catherine Disher - The Border - The Sweep, Unacceptable Risk
Tasha Lawrence - The Line - Episode 104, Episode 106
Gabrielle Miller - Robson Arms - Season III - Baby? What Baby? , Mean Girls
Reagan Pasternak - Being Erica - The Secret of Now, Such a Perfect Day
Best Performance by an Actress in a Guest Role, Dramatic Series
Daisy Beaumont - The Border - Floral Tribute
Kristin Booth - Flashpoint - Backwards Day
Sarah Gadon - Flashpoint - Attention Shoppers
Tatiana Maslany - Flashpoint - Planets Aligned
Anna Silk - Being Erica - Everything She Wants
Best Performance by an Actress in a Leading Role in a Dramatic Program or Mini-Series
Judy Davis - Diamonds
Christine Ghawi - Celine
Joanne Kelly - Diamonds
Rachel Marcus - Booky's Crush
Chandra West - Of Murder and Memory
- Clinton Shorter's District 9 (Sony), which can be pre-ordered via iTunes and Amazon.com as a MP3 album
- Trevor Jones' Runaway Train (La-La Land Records), beautifully mastered in an expanded CD
Both scores are worth snapping up, but I'm compelled to focus here on Runaway Train simply because it's part of some vintage eighties synth scores that deserve premieres, reissues, or expansions.
A lot of material from the eighties hasn't aged too well, and that's partially due to film producers who hired composers to write and perform scores using synthesizers and sequencers – one person, and easy budget expense.
As with any gear, there are limitations, and a score's success lay in the composer's ability to meet a film's demands, and frankly, be innovative (a highpoint being something like Michael Convertino's soothing/aggressive 1987 score for The Hidden). That's why much of Jones' mid- eighties to mid-nineties output is so interesting – his sound was distinct (he was the king of dour bass drones and pulsing beats of doom) and his scores served their films extremely well.
When I originally picked up Runaway Train on LP (that olde Enigma platter), I wasn't impressed, because I was expecting the sound of Bad Influence (1990) or Sea of Love (1989) or Angel Heart (1987), not an electro-rock fusion. Flash to 2009, and it's surprising how the score hasn't aged so badly, and one can appreciate the decisive creative choices the composer made in ensuring his electronica blended with the pivotal classical piece that closed the film.
Check out the review for further details, and hopefully La-La Land's relationship with Jones might yield the release of further Jones scores, many of which consisted of one or two measly tracks on already short music-from-and-inspired-by song album, or as part of a music, sound effects and dialogue montage mess.
I want the complete Angel Heart, dammit. Twenty-two years, and still no golden egg.
Culture Clashes of a 3rd Kind
First up is an interview with District 9's Clinton Shorter, a Canadian composer whose career should become very interesting, now that the little sci-fi/drama he scored for director Neill Blomkamp is tops at the box office.
Shorter's pre-blockbuster career includes scoring several films for Carl Bessai (including the director's latest, Cole, which will screen at the 2009 Toronto International Film Festival in September), as well many TV movies and TV series.
Accompanying the interview is a review of District 9, as well references to Alive in Joburg, the 2005 short film that Shorter scored for the director, and is the basis for District 9. (Both Joburg and Blomkamp's other short, Yellow, are viewable on Youtube.)
One reason District 9 is getting so much critical buzz is the way Blomkamp blends multiple genres into his film, but certainly one aspect was comes through so powerfully by the end is the relationship between a deeply flawed human and two aliens – a father and son.
The co-existence of humans and aliens got major attention when writer/director/producer Kenneth Johnson took the concept of the wonky feature film Alien Nation (1988) and turned it into a 1989-1990 TV series. Instead of a singular ship carrying sick aliens parking themselves above one city, Nation had multiple ships arriving around the planet.
The kicker? The crafts held a mix of a few overloards and millions of prisoners, and much in the way humans brand the aliens a racial slur ("prawns") in District 9, the aliens in Nation were "slags" who lived in scummy areas of the local cities.
The novel twist to Nation was rather than having aliens trapped in a slum for twenty years after a brief attempt at integration, the newcomers were given civic rights and allowed to fully integrate into human society, which in later series episodes included dating and foreplay; the latter was given a much more discrete touch than the dirtier image conjured by District 9 humans when 'sex with an alien' is used to turn people against native runaway Wikus, and help the police catch their prize before he attempts to aid the aliens.
In District 9, the human character is a bureaucrat with friends that pretty much shun him in the end; in Nation, it's a fusion of mini-dramas dealing with culture clashes, and a buddy cop formula (typical for the eighties), since alien George Francisco is paired with human Matthew Sikes, and no matter how nice George is, the humans hate his guts.
The series, unlike the feature film, had humour, and was decidedly more genial in tone, except when Johnson had the stories address accessible issues like racism, religious freedom, and cultural adjustments (typically as experienced by George's family) – which were in tune with Johnson's other well-known production, V (1983).
That mini-series (billed as one of NBC's most expensive endeavors) initially dealt with benevolent aliens being unmasked as avaricious cow herders (a great expansion of the "To Serve Man" episode of the original Twilight Zone series), and the rebel humans turning into French resistance fighters against a Nazi-ish regime – parallels Johnson never hid in the teleplay iconography and tone.
V eventually devolved via V: The Final Battle (1984), a sequel mini-series (what the hell were they thinking with that Star Child crap?) and short-lived TV series soon after (no money, familiar L.A. locations, and painful banality), whereas Nation was cancelled before it could further evolve, although Fox did something really, really smart: it let Johnson make a series of TV movies that were largely quite strong. Those teleplays hyper-focused on specific plots attached to darker subjects, as well as wrapping up unions and relationships left in limbo when the network ax came down in 1990.
One could make a sequel, cable movies, or serial TV series to District 9 – everything is left open – but the film is another intriguing attempt to address the integration of aliens and humans in the present day. V turned the event into a grand deception that had humans fighting back, whereas Alien Nation took it far further than District 9, and made the aliens stand-ins for the integration of a generic ethnic group trying to take advantage of rights given by the government, but denied to them by the locals because of a distaste for their physical and cultural differences.
So if you're left hanging after District 9 and need another contemporary alien fix, try the aforementioned – they deserve a second chance – or wait until November 3rd when a new V series debuts on ABC.
Early Technicolor Films: Part 1
Apparently the company wasn't crazy about the idea, but much like Fox' pioneering widescreen process (Grandeur), if placed in the hands of gifted technicians trained to make a product on a studio budget (in other words, with bean counters watching every penny), the new technology would prove itself quite well in the field.
Grandeur, impressive as it was in The Big Trail (1930), didn't last for a number of reasons, but like Trail, the new gear was more than functional outdoors, so it's no surprise more films ended up being shot outdoors in full Technicolor.
In his autobiography, Magic Hour, British cinematographer Jack Cardiff recalled Technicolor being quite pissed in the way their cameras were being used in shooting a wartime sea sequence, as well as Cardiff's own experimentation beyond the rigidly enforced Technicolor colour template. The company, quite frankly, owes its success not just to the brilliance of its eggheads and engineers, but to the creative rebels who wanted to see exactly how far one could push the new cameras in lighting and locations.
I had seen bits of Trail years ago on Elwy Yost's Saturday Night at the Movies. The show's producers were able to secure an actual colour print of the film. Now, this sounds like mere trivia, but back in the late eighties and early nineties, a lot of classic films on TV were still derived from 16mm and 35mm prints, and it was exciting when a vintage colour film was actually in colour.
Mystery of the Wax Museum (1933), for example, was an early 2-strip Technicolor feature, and prior to that film's restoration and appearance on laserdisc, Mystery was mostly shown on TV in black & white, although the print I saw on PBS had color.
Sort of.
That experience was surreal, because it was a faded color print, which meant vestiges of colour would waver, saturate and wash out throughout scenes, but for some reason, that viewing felt exciting, even though there was barely any colour pigment left. It was glimpse into film history on a completely lo-fi format, which is why Yost's airing of Trail in full colour was notable.
Universal's DVD is taken from a surprisingly clean print, but the disc lacks any extras, which is unfortunate, given the film's importance. Moreover, the DVD is an import in Canada, mostly likely because Trail was part of the Paramount film library that was sold to MCA in the fifties for TV airings, and perhaps Universal's home video rights don't extend to Canada. Who knows – but the disc is worth snapping up, and here's why.
As a companion review, I've also added Becky Sharp (1935), the first feature-length 3-strip Technicolor film, which was restored in 1992 by UCLA.
It may well have been on the same night that Yost aired Trail, but there was a news item on that show regarding Becky Sharp's restoration, and during the Q&A, a technician played footage on a Steenbeck, and every so often there were split screen comparisons between the restored footage and how it's looked – pale and wonky – for fifty years.
I'm still waiting to see the restored version on home video or TV – it's going on 17 years now – but being a fan of director Rouben Mamoulian, I had to see this colour first, albeit as a poor Alpha Video edition. There are some related links embedded into the review that are worth checking out, but here's hoping that as Blu-ray is pushing labels to give the deluxe treatment to their classic crown jewels, maybe this ignored classic will finally get a second life in the commercial realm (and with Criterion-like extras to explain the film's importance to newer film buffs).
Seventeen years, people. Come on.
Coco Chanel: Take One
The dueling biopics Harlow (1965) may not really count, although one can't imagine someone actually believed shooting a movie using black & white TV tube cameras and dumping the footage to 35mm film had a chance at competing against Joseph E. Levine's glossy big budget production.
Perhaps the most infamous example of dueling media actually reversed the formula: both Raid on Entebbe and Victory at Entebbe were 1976 teleplays, and were followed by Menachem Golan's Israeli film Mivtsa Yonatan / Entebbe: Operation Thunderbolt in 1977 (a movie that's still unavailable here on DVD, let alone with English subtitles).
Next came Rene Cardona's theatrical sleazefest Guyana: Crime of the Century (1979), and William A. Graham's teleplay Guyana Tragedy: The Story of Jim Jones (1980).
The most recent examples of dueling productions include the 1996 Titanic mini-series being broadcast before James Cameron's 1997 theatrical opus; the direct-to-video War of the Worlds released the same year as Steven Spielberg's 2005 film, and the 2005 Poseidon Adventure mini-series that preceded Wolfgang Petersen's 2006 big budget extravaganza.
Sometimes, as with the Entebbe films, there are enough strengths in each production to regard them as, well, worthy, if not distinguished, whereas the 2005 Poseidon mini-series failed as miserably as the feature film to rework a famous story into something dramatically sound and rewarding.
Anne Fontaine's Coco avant Chanel (2009) is slated for a French Region 2 DVD release in October, but those intrigued by the designer's early life as a struggling designer can enjoy a sampling of Chanel's backstory in Coco Chanel (Canada: Anchor Bay Entertainment Canada / U.S.A.: Screen Media), a 2008 French-Italian co-production that aired on the Lifetime Network, and stars Shirley MacLaine, Malcolm McDowell, and Barbora Bobulova.
Leisure Still Rules
His films didn't involve beaches, monsters, street gangs, or feature a tortured misunderstood youth screaming at his parents for 'tearing him apart.' Hughes pivotal films - Sixteen Candles (1984), The Breakfast Club (1984), Pretty in Pink (1986), Ferris Bueller's Day Off (1986), and Some Kind of Wonderful (1987) – were born from a mind that went through a kind of Preston Sturges creative cluster before they became familiar, formulaic, impersonal, and just plain commercial, which is probably why Hughes stepped away from directing in 1991, and focused on writing again, scribbling the massively successful Home Alone diptych (I refuse to acknowledge Part 3) and a lot of generic fodder that pushed him away from the once unique mantle he held as a kind of wunderkind.
His combination of real-life youths playing teens broke the inane convention of twentysomethings playing teens that was the standard during the seventies, his dialogue was profane yet earnest, and his use of music redefined the soundtrack album; although he did work with film composers (mostly with the underrated Ira Newborn), his movies featured custom and existing tunes by name bands and musicians, and the lyrics were purposeful to the plot and characters.
For the record labels (particularly MCA), though, his movies were gold, because the soundtrack LPs were all about selling the songs – which his films initially weren't – to a lucrative demographic hungry to hear new music, and relive moments from their favourite misadventures.
The albums for his teen films rarely featured any score cuts, and they were among the crop of soundtracks releases that convinced labels to dump the otherwise standard practice of issuing actual score albums (if not a half-and-half combo) – a devastating effect on orchestral and all-synth scores already struggling to find their small but devoted audiences. The song soundtrack album is often attributed to Simon and Garfunkel's The Graduate (1967), but the practice of making movies with mostly songs didn't really gel until Hughes showed how well they could be integrated as part of a film's dialogue, visual style, and an active component in a film's editing tempo.
His movies are lessons in the codification of what's now called 'eighties music montages,' and though it's a dated practice, it's still very much a part of standard moviemaking, both for purposeful plot advancement, and as outright filler material because filmmakers were too lazy to craft coherent scenes and a plot.
Everyone around my age has a favourite Hughes film, be it the angst of trying to be cool at the age of sixteen, aiming to romance someone from a higher social standing, or in my case, skipping classes with friends because school, more or less, was dull, time-wasting, and uninspiring.
My high school was known at the time for kids skipping classes in large blocks prior to exams, a high quotient of rich brats getting their own cars at sixteen even though the family mansions were minutes away by foot, a pinhead vice-principal who demanded late kids stand frozen in the hallways during announcements so he could scribble out late slips (he actually pushed a kid away from the the hallway door he was half-way passing thru), and kids who knew how to manipulate teachers with sickening brilliance.
One friend never realized she'd killed off several grandmothers (more than her family had) when she used another 'family death' as an excuse for missing several days of pedagogical boredom, and there was that sickening moment when she sat on the math teacher's desk, nibbled at his muffin, and kept whispering/weaseling "Pleeeze, Mister Paccilo" to boost her average closer to 90% (which she got in the end).
There was a classmate who owned his own car, and drove it playing music so loud people in the mall where I worked could hear us advancing through brick and steel walls; and two friends who became an unlikely couple, and with whom I tagged along during lunches that became longer and longer than legally allowed.
Mostly it was the class skipping that made me giggle when I caught a preview screening of Ferris Bueller's Day Off (double-billed with the shitty Poltergeist II), and the fact that Ferris' high school was mine. I was friends with a wit who may not have gone so far as to climb onto a parade float and sing to crowds on his day off, but he was the Robin Williams of my class, and he made skipping class fun.
Another friend had issues with his siblings, and always branded his sister "ugly," and once drew his brother's head on the class chalkboard during lunch, with giant oil wells spouting geysers of grease that supposedly lay buried beneath cranial plates.
The Breakfast Club is fun, Pretty in Pink is dated and yes, screechingly awful, and Some Kind of Wonderful is worth it solely for Mary Stuart Masterson and that dynamic drummer girl title montage, but the film that to my eyes clicked was Ferris Bueller's Day Off, because it's about the dream day, the ultimate revenge against pinhead authority, and one seriously hot girl named Sloane who reminded me of the muffin-nibbling brat in math class.
Bueller was also tech-savvy; not as an uber-geek, but as a cheeky little rascal who could piece together a gizmo using a home tapedeck, wires, and a keyboard to fool his parents long enough to paint the local suburban town with his friends.
Although it's sad Hughes never captured that magic in later films, it's plainly obvious he couldn't. The teen films were part of a creative run, and a genre revitalization, and like any realist, he probably sensed any further misadventures would've been straight regurgitation.
That's why he tackled other comedic scenarios – Planes, Trains & Automobiles (1987), She's Having a Baby (1988), Home Alone (1990) – before seemingly giving up and settling for what he initially avoided – regurgitating material – through further sequels, and remaking other peoples' movies, including classics like Miracle on 34th Street (1994), Flubber (1997), and the French film Just Visiting / Les Visiteurs in 2001.
Hughes didn't become irrelevant in his later years; he just settled into the factory setting his teen characters rebelled against, which is a strange irony, although one can believe Ferris could've moved into the corporate world and been the most popular exec in the department. He would've had the best parties, the hottest girl, cute kids, and figured out ways to make it appear he was hard at work in the office or on a vital business lunch when in reality, Ferris was likely escaping from his corporate park in a company limo to meet wife Sloane and attend a baseball game, along with best buddy Cameron – purely to prove that life does move fast, and you have to force a bit of leisure time to stifle mounting tension, and the gradual insanity of aging.
Haven't figured out how to accomplish that, but Ferris is still the sage one.
Like the sprawling preview poster I still have reads, it is indeed true that Leisure Rules.
Fall Canadian DVD & Blu-ray announcements
Jack Ketchum's Offspring ($24.97) arrives Oct. 6 from Anchor Bay/Starz, and will include a commentary track with author Ketchum, director Andrew van den Houten, cinematographer/producer William M. Miller, plus a featurette, script, photo gallery, and webisodes. This is the third Ketchum production distributed by Anchor Bay, alongside The Girl Next Door (2007) and The Lost (2006). The film's cast as well as author Ketchum will be present at Rue Morgue's Festival of Fear.
The label will also release the Canadian slasher Happy Birthday to Me (1981), a title previously released by Columbia and long out of print on DVD. The film was directed by J. Lee Thompson (The Guns of Navarone) and co-produced by John Dunning (My Bloody Valentine).
Sam Raimi's Drag Me To Hell will appear on DVD ($36.99) and BR ($46.99) with theatrical and unrated cuts on Oct. 13.
From Alliance, Easy Virtue ($36.99) streets Sept. 22, Away We Go ($36.99) on Sept.29th, and Zach Galifianakis' The Visioneers has been re-scheduled for Oct. 6.
E1 will release Atom Egoyan's Adoration ($34.99) on Oct. 13, the horror film Dead Snow ($34.99) Oct. 20, and Bela Tar's The Man from London ($34.99) on Oct. 27.
Vivendi/Cinema Vault will release the horror film The Blackout ($19.95) Oct. 13, and Blue Blood / aka If I Didn't Care ($19.95), one of Roy Scheider's last films, arrives Oct. 6 with interviews, behind the scenes footage, and a trailer. Scheider died in 2008, and Blue Blood was originally shot in 2007, prior to the direct-to-video thriller Dark Honeymoon (2008), and Iron Cross (officially slated for a 2010 release).
On their own, Vivendi will bring out the rock documentary Anvil ($24.95) Oct. 6.
Thomas Jane's directorial debut, Dark Country, arrives Oct. 6 from Sony.
Warner Bros. has also announced some of their Christmas titles. I Want a Dog for Christmas, Charlie Brown (2003) comes out in a remastered edition while the following classics will debut on Blu-ray for $35.99: A Charlie Brown Christmas (1965), Horton Hears a Who! (1970), and Dr. Seuss' The Grinch Stole Christmas (1966).
Lastly, fall TV releases will include Flashpoint (Oct. 13) and The Tudors: Season 3 Uncut (Nov. 10) from Phase4Films; the original sixties show One Step Beyond: Season 1 (Sept. 15) and George Romero's Tales from the Darkside: Season 2 (Oct. 6) from Paramount; and Fear Itself: Season 1 and Crash: Season 1 (both Sept. 15) from Maple (Canada) and Lionsgate (U.S.A.), the latter title featuring alternate endings and deleted scenes.
And the most unnecessary packaging concept for the fall (so far): Dreamworks crafting O-sleeves for 8 of their core animated titles (including the Shrek franchise, and single titles such as Kung Fu Panda) with sleeve art tied to Monsters vs. Aliens, under the branding "B.O.B. Ate My DVD."
Why? Seriously. WHY?
Music From The Movies DVD Column: Archived, and Good to Go
If one comes from a print background, the discomfort is when the physical medium of one's work is no longer in print, and the content can't be reproduced without reproducing the many pages on actual paper (unless it's a digital incarnation, or is available online via organizations like Project Gutenberg Canada). However, a copy of the book still physically exists somewhere, whether in a used shop, flea market, collector marketplace, or in the office of some grand little knob using amazondotwherever to sell an esoteric book for $250 because it's out of print.
For some reason, it just seems scarier when the loss of one's words occur in a digital medium because all kinds of things can destroy the data. The medium goes dead tech and starts to bugger up, making the backup version corrupt (like a 100 MB zip drive). Or the backup copies on CDR contain the same singular backup copies from an incomplete master copy made from the defunct medium prior to a massive hard drive crash. Or that mighty old standby, Google's cache, no longer keeps your column because it's either now a dead link, or because the traffic has sufficiently subsided and no one's keyword searches are bringing it up, causing the cache containing your words to become null and voided.
The smart thing to do is keep a hardcopy of one's digital work - a printout - but I think we've taken it for granted that, because so many words move around us, they can't possibly disappear, which is why the idea of bothering with a hardcopy seems silly. It takes up space, and who wants to go back to having boxes of physical crap on shelves in a small room when one is used to having a compact spindle of digital crap that takes up less that one square foot of drawer space?
In any event, it was quite surprising to discover all the online columns written between 2003-2008 were scattered all over the place, and the oldest (from 2003) were luckily saved on a CDRW that hasn't been used in eons. The only irony: the very first column is, uh, gone. I'm pretty sure it was a short, banal piece of work, but I'd like to have had the choice to not reprint it rather than have that choice made due to personal stupidity. (It may exist on an old hard drive image, but that version is outdated, and the current software version can't read the old one. So much for backwards compatibility.)
I've tweaked the index for the online column, reconfigured the text into a new template with surviving art, and linked certain film titles to any CD or DVD reviews already extant at KQEK.com. Next week you should also be able to read the print column (as jpeg scans) - a column that was a whole different animal.
More importantly, with rare exceptions, I haven't changed any words, nor toned down any of the rants or repetitions, leaving whatever flaws or myopic predictions intact, because it's sometimes fun to see how wrong one can be, or when one gives up on specific criticisms simply because the major DVD labels don't always make bright decisions, be it in 2003, or 2009. (Amazing how not much has been learned as we move into the slow, clumpy popularity of Blu-ray - opinions for which I'll save for a future blog/rant.)
So among the material covered and fully reviewed in the archives are:
- Powell and Pressburger's Thief of Bagdad (Criterion)
- all four editions of the documentary series Music for the Movies from Kultur (The Hollywood Sound, Bernard Herrmann, Georges Delerue, and Toru Takemitsu)
- great jazz scores by Courtney Pine and Wycliffe Gordon in Criterion's Paul Robeson boxed set
- Criterion's Pandora's Box (featuring four newly commissioned scores)
- a portrait of filmmaker Tony Palmer, via his epic Wagner mini-series, and the Shostakovich bio-doc Testimony
- a portrait of Stelvio Cipriani, via the DVD releases of Death Walks on High Heels, Colt 38, Special Squad, and Convoy Busters
- and more, so check 'em out!
From Shorts to Features – Part Two
Hecker eventually wrote and directed his first feature, Bart Got a Room (Anchor Bay/Starz) ten years later, wherein he mined his uncomfortable teen years for a refreshing take on guy-getting-girl-for-prom plot.
At under 80 mins., it's a short gem that hopefully won't disappear amid the banal star-studded comedies cranked out by the major studios every month. Hecker's sense of humour is sly, subtle, and never condescending towards his characters, and Bart Got a Room also showcases Hollywood, Florida as a colourful suburban seniors haven.
Oh, and William H. Macy sports the worst hairdo in filmdom.


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Music + Video
Watch: Mitch – Jersey | Music Video
If you haven't gotten familiar with the artist known simply as Mitch, know would be a good time to do so. Today the young songwriter/producer and more returns with a brand new set of visuals, offering up a fitting clip for his new single "Jersey." The track finds Mitch hitting us with his smooth style while giving us something visually fitting.
The bass driven track finds Mitch as a "player" who just might be ready to hang up his Jersey. The video is a perfect introduction to Mitch's forthcoming project, Space, due out April 20th. Do yourself a favor and check out the visuals in the clip below.
While you're at it, stay tuned for much more from Mitch and pick up the single right on iTunes. Stay tuned for more new music coming soon.


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I need a wheelchair. Or better yet, an electric scooter so my arms don't have to do anything either.
Yup. The gym has officially kicked my ass this week. Here I was, all excited to get back into lifting and to build back some of the muscle and strength I lost while training for BMO. Annnnd now I can barely lift my arms to take a sip of water. I have to ease myself down onto the toilet when I have to pee.
Regardless of the DOMS I'm experiencing, I'm super pumped to be back in the weight room! I of course still did some strength training a during my BMO training, but it focused more on improving my running as opposed to improving my beefy-ness. I'm back to doing a 4-day split with some HIIT. I'm trying to stay away from steady state cardio for the next little while and am having a lot of fun swinging, slamming and punching things to get my heart rate goin' 🙂
The program I'm doing isn't one that I've created. Even trainers need a trainer every now and then 😉 After putting myself through a rigorous training regime the past 12 weeks and with another one coming up in a month or so, I wanted to give myself a little bit of a mental break and just do as I was told. I don't know about you, but I find it a bit easier to get things done when someone else is "telling" me to do them, as opposed to things I tell myself I need to do.
In Monday's post (which you can find here) I mentioned that I have some exciting news, so it's time to share! As of tomorrow we are six weeks away from the first day of Summer (I'm resisting the urge to make a "where has the time gone?!" remark here) and I know a lot of you are steppin' up your fitness game to get your bikini bod ready. Some people go on restrictive diets or do tons and tons of cardio in an effort to lose weight so they can look good in a bikini.
But what does that do for your health? How much energy do you have left to do things other than lie in the sun in a bikini? Are you really learning the skills to live a life that allows you to look good AND feel good?
In my opinion, no.
Take a moment here to envision your ideal Summer. What do you see yourself doing? For me, I see myself doing a lot of outdoor activities with my friends; multiple trips up the Grouse Grind, some kayaking and stand up paddle boarding, a few hikes through the North Shore mountains, and of course hangin' out on the beach and feeling comfortable with my body.
These things can't be achieved with quick fixes. Improving your energy and maintaining a healthy body composition requires a change in lifestyle. It involves a bit of knowledge when it comes to nutrition, a bit of planning when it comes to grocery shopping and dining out, and an understanding that we do not need to have a six-pack and single digit body fat levels to feel good about ourselves.
I've put together a six week program to help you prepare for the best Summer of your life where you'll have the energy to do the things you want to do, and feel good while doing them! Check out my video below for some more information. I'm hoping to have it available for purchase on here by next Tuesday, so keep an eye out for it! 😉
An important part of living a balanced, healthy life is enjoying the foods you eat. At the end of the day food is meant to fuel us; I eat multiple meals in a week solely for the energy they provide as opposed to the way they taste. Every once in awhile you'll catch me wincing as I gulp back a not-so-tasty but oh-so-nutritious green smoothie, and occasionally when I sit down for my dinner at work I'd give ANYTHING to not eat the chicken breast and vegetables that are staring back at me. But I remind myself of the nutrients that I'm getting and the fact that there will always be time for indulgences, and suddenly it doesn't seem so bad.
But when I can combine function with taste when it comes to food, I'm one happy camper! After yesterday's leg day all I wanted was pancakes. Big, fluffy pancakes full of sugar, white flour, and maybe some blueberries too. But I knew those wouldn't make me feel so hot, so I decided to whip up a batch of Tone It Up's protein pancakes so I could still satisfy my pancake craving without breaking my calorie budget or feeling like a bag of crap.
These babies did not disappoint. Topped with a sauce made from peanut flour and almond milk and surrounded by chopped strawberries, this was just what I needed to replenish my body's carbohydrate stores and give me a good shot of protein. As I mentioned before, this pancake recipe comes from the Tone It Up girls so I can't take credit for it, but I thought I'd still share it with you lovely people!
You Will Need:
1 scoop protein powder – I used Pro Line Vanilla Whey Isolate; no artificial sweeteners and 31g of protein!
1/4 cup egg whites
2 tbsp almond milk – I haven't tried this with other forms of non-dairy milk, but I'd imagine it would still work!
1 tbsp ground flax seed
As much cinnamon as your heart desires
1/2 medium banana
1. Heat a small amount of oil in a medium frying pan over medium heat – I used coconut oil
2. Combine all of the above ingredients except the banana in a medium mixing bowl and mix well.
3. Mash the banana into the batter.
4. Cook like regular pancakes! You can make one big pancake, or if you're a volume eater like me, you can make many small pancakes 🙂
For the peanut butter sauce I used two tbsp of Just Great Stuff powdered peanut butter. This is just peanuts that have been ground and de-fatted, with a tiny amount of coconut sugar added for sweetness. I mixed this with 1 tbsp of almond milk and drizzled it over top of the pancakes so it got all sexy-like.
Do you ever find yourself craving odd things during or after a workout? Have you ever baked with protein powder? And what's one awesome thing you want to do this Summer? GIVE ME ALL THE DEETS!


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British Ties
Keith Passant caught working a stream.
Fly #2
Flies #3 & #4
Red-eye Damsel Nymph
Fly #5
Fly # 6
These flies brought about a conversation on the ONTHEFLY list and eventually brought on the Simple but Fishy Swap. It seems that many of the flies we use have these same qualities, a simple and elegant design that is easy to tie and catches fish. If you would like to see some of these simple but effective patterns check back as the patterns come in for the Simple But Fishy Swap.
So tie up a bunch of these simple effective patterns you know we will.
Author's Bead Head Wooly Bugger with flash for bass, another easy fly to tie. Same fly minus the flash material. These flies are tied on size 1 Eagle Claw Lazer Sharp worm hooks and are used on a sinking tip line for bass suspending along weedbeds and drops.


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Factors Affecting Maternal Mortality in Texas
It's almost common knowledge now that the Maternal Mortality rate in Texas has doubled since 2011 and is now the highest in the developed world. Here's a few of my thoughts on this horrifying statistic, as I sit in my office in the world's largest medical center.
Texas' maternal mortality task force was just created in 2013. Most other states have had their task forces analyzing data for decades. This means we are way behind in performing a root cause analysis. The task force members (12 physicians, 1 midwife, 1 community advocate and 1 social worker) are trying to find commonalities to answer the question "why are these women dying?" It is not until the "why" is known, that substantial progress will be made (i.e., money budgeted) to address how to prevent the factors causing the problem. We are also behind in analyzing the statistics. The task force is now reviewing medical records, rather than just the death certificates alone, as pertinent information was missed. For example, if the coroner did not know a woman had given birth in the months prior to death, maternal mortality would not have been registered. Of note, the check box for "recent pregnancy" was only added to the death certificate in Texas in 2006. Thus far, the difference in numbers with this more detailed investigation of cause of death is proving to be small, so the observed trend remains unchanged: Texas maternal mortality rate is rising.
Access to Healthcare
Texas has the highest rate of uninsured patients in the country. There is a difference in how Medicaid is distributed in Texas- our eligibility standard has a lower income requirement, meaning that fewer women will be covered by Medicaid compared to other states that participated in Medicaid expansion under the Affordable Care Act. We therefore have more women without health care coverage before pregnancy. Once pregnant, many women will qualify for Medicaid coverage for the duration of their pregnancy. Over 50% of births in Texas are funded by Medicaid.
Since the 2011 cuts in the family planning budget, Texas lost 82 clinics, which may very well have impacted women's access to annual MD visits which enable the detection of medical conditions such as high blood pressure, and for counseling on healthy practices for women of child-bearing age, such as folate supplementation. Additionally, a Texan's ability to be diagnosed as pregnant and to be referred for timely prenatal care may have been delayed by the clinic closures.
During pregnancy, consultations with specialists are hard to obtain. For example, if someone who has a high risk condition such as high blood pressure and needs to see a cardiologist, it can be very difficult to arrange a visit with this specialist because many cardiologists will not accept Medicaid, and for the few that do, the woman may have to wait weeks to be seen.
The temporary Medicaid coverage is terminated at 2 months after delivery. It's important to note that the majority of the maternal deaths studied from 2011-2012 occurred after this 60-day post-partum coverage period. It is very difficult for many women to get healthcare coverage and without resources, they don't have the follow-up medical visits that insured patients will have, especially in the setting of pre-existing medical conditions such as diabetes and high blood pressure. As a result, serious medical problems can go untreated. For example, a patient who was admitted to the ICU for dangerously high blood pressure (called a hypertensive emergency) 2 weeks after giving birth will no longer have health insurance 6 weeks later. Her medical needs will still be very profound, but she does not have a way to pay for her medications. Her risk of maternal mortality is high. Patients with high risk conditions such as this also very badly need contraception to avoid repeat pregnancy and its attendant risks. The need to seek out resources for financial assistance for medications, all while dealing with medical problems, physical recovery from childbirth and a newborn is tremendously burdensome. As a result, many put contraception lowest on the list of priorities.
As a nation, we are getting heavier with more medical problems like heart disease and diabetes. These medical problems are the leading causes of maternal death, accounting for 30% of all maternal mortality in the US. Our obesity rate has risen an alarming 300% just since 1990. Seventy percent of Texans are overweight or obese. According to U.S. News, we rank as the #8 fattest state in the US. With obesity comes many other chronic medical conditions, including diabetes. These conditions only worsen with age, if left insufficiently treated. So, along with a trend of pregnancy in older women, you can imagine that the complications that go along with this combination will become more apparent.
We await the findings of the Maternal Mortality panel. In the meantime, Congress and the President are proposing further cuts to Medicaid. While the effects of such cuts cannot be studied in advance, it doesn't take a medical degree to imagine that further barriers to health care for Texas women is only going to make matters worse.
Codi Wiener, MD is a practicing OB-Gyn at Texas Children's Hospital in Houston, Texas, and a physician advisor to I'll Have What She's Having.


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Robert T. Szalewicz
Robert T. Szalewicz, of Cumming, GA and former area resident died Wednesday Jan. 9, 2019 at his home.
Born May 24, 1954 in Oil City, PA., he was the son of the late Francis (Frank) & Lucille Pilewski Szalewicz.
Robert was an Eagle Scout and was a graduate of Venango Christian High School.
He also graduated from the University of Pittsburgh at Titusville.
Robert had worked as an accounts manager in the insurance industry, last working for Liberty Mutual.
He was married to the former Irene Frangos and she preceded him in death.
Mr. Szalewicz was of the Catholic Faith.
He enjoyed stamp collecting and golfing.
He was a member of the Theta Chi Fraternity.
He is survived by his mother Lucille Szalewicz, a resident of Oakwood Heights in Oil City, PA. , and formerly of Seneca.
And by several cousins.
Interment will take place in Calvary Cemetery.
Memorials may be made to a charity of one's choice.
Online condolences may be made at www.reinselfuneralhome.com.
The Reinsel Funeral Home is assisting the family with the arrangements.
Copyright © 2019 EYT Media Group, Inc. All rights reserved. Any copying, redistribution or retransmission of the contents of this service without the express written consent of EYT Media Group, Inc. is expressly prohibited.


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Freeborn & Peters LLP attorneys have vast experience representing a broad array of parties and constituencies in bankruptcy proceedings throughout the country.
The firm has represented debtors, secured and unsecured creditors, pre and post-bankruptcy lenders, bondholders, holders of subordinated debt, equity holders, principals, employees, retirees, contract parties, and asset and debt purchasers. Freeborn & Peters attorneys also have significant experience representing both ad hoc and official committees of various creditor and equity constituencies, as well as liquidation and creditor trustees, chapter 7 trustees, and receivers. Our experience representing debtors has involved all aspects of complex reorganization and liquidation proceedings under chapter 11 of the Bankruptcy Code – whether pre-arranged or pre-packaged bankruptcy proceedings, section 363 sales or cases resulting from the filing of involuntary bankruptcy petitions.
Representative Matters
Numerous sales under Section 363 of the US Bankruptcy Code, including the sale of a telecommunications company that was named "Large Transaction of the Year" by the Chicago/Midwest Chapter of the Turnaround Management Association.


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To paraphrase a saying, backstory is like a penis. Just because you have one, it doesn't mean you take it out and show everybody. Unfortunately, too many authors fall into the trap of doing just that—providing readers with every bit of backstory on their world, their characters, their settings, and so on.
Let's face it, a lot of blood, sweat, and tears—and sometimes cursing, screaming, and head banging—go into writing. It doesn't matter if it's a flash fiction piece or a novel, writing isn't for the faint of heart. So, when it comes to all of the effort we expend on building everything from the ground up, it only stands to reason that we want to include it in the final product.
That is exactly what we shouldn't do.
Backstory, while fascinating to the author, primarily serves to bog down the narrative and pace with extraneous information. For the most part, it doesn't progress the plot. It can also be frustrating for some readers, who just want the author to get to the point and not bore them with anything that isn't truly necessary. That can lead to readers putting down the piece and never picking it back up. Otherwise known as the kiss of death. No one but the author is going to be as enamored of the backstory as the author is. Sorry to burst your bubble, but it's true.
Now I'm not saying to have zero backstory whatsoever in a piece. Dribs and drabs here and there can really help to flesh out a world or characters. It gives a depth that makes everything feel dynamic and alive. It can set characters apart from one another. It can give meaning to the hero quest being pursued by the protagonist. It can make an antagonist more sympathetic or believable. It can make an otherwise dull story titillate the imagination.
Remember, though, dribs and drabs. If you've got whole paragraphs or pages of backstory, that's the big no-no. The easiest way to gauge your level of backstory—because let's face it, authors aren't good, impartial judges of their own work—is to have a piece critiqued or beta read. Find someone or a group you trust and ask them to be honest with the intention of making your piece the best it can be. Then cut, cut, cut.
(I feel I would be remiss if I didn't add a note that not only relates to backstory but also to other removed/edited parts of all pieces. Never, ever, ever, ever—and I mean never!—delete something once it's written. Cut and paste it into a blank document. Save it. You never know when it'll prove useful. This includes that lovely backstory that you've slaved over and can't bear to part with for any reason.)
All authors fall victim to the siren song of backstory. It's inescapable. But, fret not! It can serve a purpose, both for the author and for the reader who truly wants to be immersed into the world of their favorite book or author. If you don't do this, I recommend starting a bible for each work you create. This has the initial purpose of helping to give life and depth to your characters and world. It also has the secondary benefit of helping you remember vital details that need to be maintained if your project goes beyond the length you had set for it. If you're writing a series, a bible is a must! Don't believe me? Try remembering everything about everything you've written from one book to another. It's impossible, even for the most meticulous of authors.
Another benefit of the bible is to give backstory a place to exist. With your backstory living in the bible, it gives closure. The information is alive and serving a purpose. Later, you can include that information in related short stories, or in the glossary at the back of your book, or as content for your website. Backstory always has its purpose, even if it isn't where you think it should be.
Ultimately, the author gets the final say (usually) in what goes into their work. Just make sure that what makes it in serves the purpose or all writing—entertaining the reader. That's seldom achieved by waving around your backstory willy nilly.
Shannon Iwanski
Shannon Iwanski is the former president of the Tulsa-based writing group Nevermore Edits, a member of Oklahoma Writers' Federation, Inc., and Editor-in-Chief of Inkubus Publishing, LLC. To learn more about him and his plans to turn the world into a dystopian society, check out shannoniwanski.com.