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Ong Bak: The Beginning (UK - BD)
Chris scratches his head in an attempt to understand exactly what he just saw
Thailand, 1421. In a time of political upheaval, the treacherous and power-hungry Lord Rajasena plots to overthrow his rival Lord Sihadecho. To this end his dispatches assassins who succeed in killing Sihadecho and his entire family, save for his son Tien. The boy manages to escape, but is soon captured by a group of slavers and forced to battle a crocodile for their amusement. Tien is saved by Cher Nung (Sorapong Chatree), a guerilla leader who recognises the boys innate physical abilities. Taking Tien as his adoptive son, Cher Nung trains him in a variety of martial arts until he reaches maturity and passes a series of trials. A now adult Tien (Tony Jaa) takes his place as leader of the group and sets out on a bloody quest for revenge, first against the slavers, and then against Lord Rajasena.
Now that's a pretty heavily condensed version of the plot, which has to be one of the most convoluted and needlessly confusing I've experienced in recent memory. In fact, I should probably have saved that line for my summary, because it's just about the only way to described Ong Bak: The Beginning. The story is a complete mess, Jaa's acting is woeful, and it feels like someone axed a good thirty minutes of plot out of the film. There's also a completely irrelevant romantic sub-plot that has absolutely no pay-off. However, in spite of these flaws, the film does what it says on the tin with regards to arse-kicking action. It takes a while for things to really get going thanks to a ton of needless flashbacks, but once Jaa starts hitting people in the face you start to remember why you forgive his lack of acting ability. The final battle is particularly impressive, as he fights a veritable army of enemies with a wide variety of styles and weapons (and an elephant). Personally I think the film would almost have been more enjoyable if they'd excised what little plot there is an concentrated on the fisticuffs, but perhaps that's just me.
Ong Bak: The Beginning arrives with a fairly impressive 2.35:1 widescreen transfer (1080/24p AVC) with a consistently high bitrate that hovers around 30Mbps for most of the film. Detail is generally very good throughout, allowing you to pick out every line in the craggy faces of the older actors, stitching in fabric, detailing on weapons and the like. Having said that, there are a number of scenes where things appear to go out of focus for a short while. This seems to be either an intentional stylistic choice or a flaw inherent to the source, rather than a transfer issue. The image has been heavily manipulated in post-production; colours are alternatively enriched and drained depending on the particular scene, and daytime sequences have had the contrast pumped right up to give that bleached out appearance that seems to be favoured nowadays. It does make the image look a little uncanny, but it was obviously an intentional creative decision. The darker scenes fair reasonably well, but they have also been manipulated as blacks often appear blue or grey. The image is generally free from unsightly artefacts—edge enhancement and DNR are not problematic—but there is occasional light banding during the darker sequences. I've seen both negative and positive appraisals of the US disc's video quality, and my opinion falls somewhere in the middle. A lot of the 'problems' are due to stylistic choices and post-processing, so while the transfer might not be to everyone's taste it seems unfair to be overly critical. It's clearly the most enjoyable aspect of the release, and I was pleasantly surprised.
This is the first Sony title I've seen since Doghouse that doesn't feature a lossless/uncompressed soundtrack. Instead, we're given a choice between Dolby Digital 5.1 and 2.0 Stereo tracks in the original Thai. I went with the 5.1 for this review. The track is pretty engaging right from the outset, with almost constant use of all five channels for ambient and discrete effects. Rain falls all around the seating position, the jungle environment sounds very atmospheric, horses run past you, arrows fly over your head, bodies fly across the soundstage, and so on. Unfortunately there are a number of issues that negate any of the positives, the first of which concerns the bass. With a martial arts film such as this, you'd expect every punch and kick to be reinforced by a positively bone-crunching thud from the sub, but bass is actually a little bit muddy throughout. Dialogue is also problematic, and is often indistinct against the rest of the mix. This issue is compounded by the music, which is suitably upbeat (if somewhat forgettable) and fits the action well, but has a tendency to overpower the effects and dialogue. I'm not sure if these shortcomings are inherent to the original audio or a result of the lossy encoding. I would have liked a lossless track for comparison purposes, but reviews of the US disc seem to suggest that its Master Audio track has many of the same problems. Whatever the cause, the end result just isn't that impressive. Oh, before I forget, subtitles are easy to read and flow quite nicely, even if they are a little 'colloquial'.
Behind the Scenes Footage (25:05 SD): Hmm, this is basically just twenty-five minutes of raw on-set footage of the actors doing their thing. Everyone speaks Thai and there aren't any English subtitles, and I found it quickly got old. Not the best of starts.
Photo Galley (02:08 HD): A series of photos are displayed in high-definition with accompanying music.
Trailer (03:52 HD): The film's theatrical trailer is presented in high-definition with accompanying Dolby Digital 2.0 audio. It does a decent enough job of showcasing the various set-pieces, and actually goes as far as to name many of the on-screen moves (rather amusingly).
Teaser (02:39 HD): Think the trailer, but shorter. That's about it really...
Press Interview Clips: There are four interviews on offer, including Tony Jaa (06:17 SD), Sarapong Chatree (01:09 SD), Panna Rittikari (05:46 SD), and Primrata Det-Udom (02:13 SD). They're not particularly memorable.
Ong Back: The Beginning is a convoluted mess of a picture, but it does feature some pretty impressive (and brutal) martial arts action. If that's your thing you might want to check it out, but to be honest the disc's fairly lacklustre presentation and bonus material only really warrant a rental at best. All I can say is, roll on the Blu-ray release of Tom yum goong, a Jaa film that actually has a bit of a plot.
* Note: The above images are taken from the Blu-ray release and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.
Review by Chris Gould
Existing Posts
Definitely an empty film plotwise and in it's order of events. Good thing people don't really watch his movies for that stuff. But would really be nice if Tony Jaas films had more plot.
No subtitles on the extras? That's rather poor.
The US disc will most likely be better on that account.
The US disc will most likely be better on that account.
Suitable only for persons of 15 years and over
Disc Details
Release Date: 15th February 2010
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.35:1
Anamorphic: No
Colour: Yes
Audio: Dolby Digital 5.1 Thai, Dolby Digital 2.0 Stereo Thai
Subtitles: English HoH, English
Extras: Behind the Scenes, Interviews, Trailer, Teaser, Photo Gallery
Easter Egg: No
Feature Details
Director: Tony Jaa
Cast: Tony Jaa
Genre: Action
Length: 98 minutes
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Markham Web Content Viewer (JSR 286)Actions
- ${title}
Rouge Valley Mills and Vinegar Hill
Rouge Valley Mills and Vinegar Hill
The streets in this area were originally laid out to provide access to the two main mills that were located south of Highway 7 – Markham Mills and Glen Rouge Mill.
Markham Mills
The Milne family operated wool and flour mills from 1824 when Peter Milne acquired the property. Peter had no milling experience -- he ran a general store. His brother Alexander ran the woollen and flour mills. When Alexander married and set up his own mills at the corner of what is now Lawrence Avenue and Leslie Street (Edwards Gardens) in Toronto, Peter hired millers to run his site. Peter died in 1845, leaving his wife Elizabeth and their oldest son, Thomas, to manage the operation.
In 1866, a fire caused severe damage to the mills. Only the grist mill was rebuilt, later to be operated by Thomas Milne's sons, Grant and Archie, under the name Milne Brothers. In the early 1900s, the brothers manufactured a breakfast cereal called Wheateen.
Archie built a steel and concrete arc dam in 1911 to generate power for the growing village. It was the first of its kind in the area. Its embankments were washed out by Hurricane Hazel in 1954.
Today, this area west of Main Street South is known as Milne Park.
Glen Rouge Mill
To the east of Main Street South, there was another grist mill operated by Archibald Barker.
Barker sold the mill in January 1857. There were a number of owners with full or half interest in the mill throughout the 19th century. Glen Rouge Mill was demolished around 1920. The site is now a conservation area.
Vinegar Hill
While there are many colourful theories on the origin of the name, the most likely explanation is that the steep incline of Main Street South was named Vinegar Hill or Vinegar Dip after a cider mill was constructed on the east side of the valley.

subset: commoncrawl


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ProfessorsBettelheim, Chadwick, Crockett, Davis, J., deSoto, Foster, Hunter, Johnson, M., Kistemaker, Kuraoka, Laplante, Mann, Perez, Pratchenko, Raciti, Walters, Wilson
Associate ProfessorMarshall
Assistant ProfessorsDawson, Downing, Kavuri-Bauer, Levine, Mullins
B.A. in Art
Minor in Art
M.A. in Art
M.F.A. in Art
The Department of Art offers a wide variety of courses of study leading to the Bachelor of Arts, to teaching credentials, to the Master of Arts in Art with an emphasis in Art History, and to the Master of Fine Arts in Art with an emphasis in Studio Art. Accredited programs in the fine arts and art history are taught by leading Bay Area artists and scholars. Students in the undergraduate program in art may choose an emphasis of study from art history, ceramics, conceptual and information arts (including experimental digital media), painting, photography, printmaking, sculpture, and textiles. Students in the credential and liberal studies programs with an emphasis in art may select courses from the art education area. Elective courses in glass and metal arts augment the above emphases in studio art. The Department of Art is oriented towards the fine arts and does not offer courses in graphic art or design. However, many courses make an excellent foundation for further study in applied fields. Students in the department learn to develop their awareness of the visual world through hands-on studio experience and study the history and theory of the visual arts. Some of the courses are offered in cooperation with the General Education program of the university and many are structured for various levels of experience. A Minor in Art is offered for students who want to pursue a secondary interest in art on an organized basis. The Department of Art is accredited by the National Association of Schools of Art and Design (NASAD).
The Art Department offers four scholarships for studio students. The Jules H. Strauss Memorial Scholarship supports undergraduate students in photography and the Martin Wong Scholarship in painting and ceramics. Graduate students in any area may be considered for scholarships awarded through the Leo Douglas Stillwell, Jr. Endowment Fund. The Christine Tamblyn Memorial Scholarship for Interdisciplinary Creative Work is available for undergraduate or graduate students. Scholarships are awarded for creative ability on a competitive basis. For further information, contact the Art Department.
Art Department facilities were remodeled and expanded in 1994. First floor studios in the original wing of the Fine Arts Building feature indoor spaces for sculpture; wheel and glaze rooms, and a hand-building studio for ceramics; and a hot glass shop. The second floor remodel includes a textiles dye laboratory in addition to loom and surface design studios; refined spaces for art education and art metal; and specialized studios for photography and painting. Printmaking studios and the department offices are located in an expanded portion of the second floor. A 3,800 square foot department gallery facility and computer laboratories for the conceptual and information arts program are in the new Fine Arts Building addition. Additional space for graduate studios and outdoor ceramics activities are on the grounds of SFSU's Romberg Tiburon Center in nearby Marin County. The Art Department maintains a well-equipped slide library as well as an instructional archive of historic prints, drawings, and photographs.
The Art Department offers one of the most diverse and vital programs for the study of the visual arts in Northern California. The program fosters development of specialized skills, encourages personal creative direction, and promotes understanding of the history and cultural traditions that shape artistic expression. Courses in many traditional art media, in innovative and multidisciplinary techno-media, and in the history of art provide training for a variety of related careers. These include fine artist and teacher of art as well as potential careers in technical illustration, computer graphics, sculptural or ceramic fabrication, photo documentation, and art writing. Training in art often prepares students for careers in applied design in diverse fields. Artist-trained designers work with textiles, furnishings, book/CD-Rom publishing, fashion, Website, digital, and multimedia applications to name a few. Related expressive media such as theater, cinema, and television also rely on trained artists for visual design and direction.
Art Department courses in exhibition design are offered in the professional environment of the department gallery and provide intense, practical, and theoretical training for gallery and art museum careers. Art and art history students with an interest in working with visual artifacts, and with the diverse professional aspects of presenting art and artists elect courses in this popular area.
Opportunities for the graduate with a B.A. in Art vary depending on the student's initiative and inclinations. Students dedicated to creative expression or scholarly research in the history of art may elect to pursue graduate education. Others may find opportunities for technical or on-the-job training in the related fields detailed above. Graduate degrees open the door to teaching positions at the college-university level. Those students who elect unrelated careers will find access to more rewarding cultural life experiences through their visual arts education.
The B.A. provides innovative studio concentrations in varied traditional and new disciplines as well as programs and course work in art education and art history. An art major requires a minimum of 46 units of art courses, including a minimum of 28 units of upper division work. For students transferring from other institutions, a minimum of twelve units in residence is required. Students are expected to choose an Area of Emphasis by the junior year, after they have finished a suitable program of lower division work. Majors are required to be advised yearly. Graduating seniors are required to submit a senior project in order to complete the degree program.
The Area of Emphasis allows for intensive study in one specialty in the visual arts, with a degree of breadth sufficient for understanding and awareness in other areas. Students are encouraged to decide on their Area of Emphasis by the junior year, and to discuss their choice of emphasis with an adviser in that area. In some instances, the Area of Emphasis will request a portfolio of work completed to date, evidence of preparation for upper division study, etc. Since some areas are very crowded, students transferring at an advanced level from other institutions should contact an adviser in their proposed Area of Emphasis upon application for admission to this institution. The Area of Emphasis programs may be structured to fit individual needs after conferring with an adviser in the area and obtaining the adviser's approval. Under special circumstances, a dual emphasis may be selected and six units from other departments in the university may be included in the major.
The course requirements for each emphasis are listed below. On-line course descriptions are available.
The history of visual form examined in relation to the values, beliefs, and institutions of specific cultures.
|Art History (must include a minimum of 6
upper division units)
Must include one course focusing on the 20th/21st centuries chosen from the following:
|The Artist in the 20th-21st Centuries: Cultures in CollisionCultures in Fusion
|History of Architecture
|Western Art: Special Areas
|Appropriate topics:
Women and Art: The 20th/21st Centuries
Art in the 80s: The Post-modern Dilemma
History of Photography
Performance Art
Dada and Surrealism
|American Painting and Sculpture: 1940 to the Present
|African Art History
|Must include a non-Euro-based course (3 units minimum)
|Art Productions
|Area of Emphasis Requirements
200 level studio courses are integral to most of the emphases listed below. These courses provide introductory experiences in selected areas of the Art Department. They focus on perceptual skills, modes of consciousness, and creative expression. Some attention is given to traditions and heritage of the discipline, to contemporary issues and forms, and to imaginative problem solving. Courses are designed to provide a broad experiential and conceptual orientation to the visual arts.
|Textiles 1
|Drawing 1
|Drawing and Printmaking 1
|Sculpture 1
|Ceramics 1
|Glass 1
|Photography 1
A program devoted to the place of the visual arts in elementary and secondary education and in general human development. A minimum of 46 units in art is required for the major and to prepare for the Single Subject Credential in Art. Students must work closely with an Art Education adviser to plan the 46-unit major program prior to enrolling in the sequence of courses listed below.
Ceramics, Conceptual and Information Arts, Painting, Photography, Printmaking, Sculpture, or Textiles Emphases: Students selecting any of these emphases must take:
Studio emphases are described below.
Ceramics: Offers a foundation in ceramic information and techniques and provides a base upon which the student can build professional skills in ceramics.
Conceptual and Information Arts: Prepares artists and media experimenters to work at the cutting edge of technology. Students learn contemporary digital production skills, but they do so in the context of questioning the cultural context of technology and in experimenting with newly emerging technologies. Courses cover topics such as web art, interactive media, non-linear narrative, digital video, experimental sound, alternative interfaces, electronics and robotics, and art and biology. Additional information at: http://userwww.sfsu.edu/~inforarts/.
Students in the Conceptual and Information Arts Emphasis are expected to take the ART 410/412 introductory core and ART 610/612 advanced seminars.
Painting: Emphasizes visual awareness and understanding through studio study of painting and drawing media. Painting/drawing is offered as a productive endeavor in itself, as well as a means of acquiring visual skills that may be applied to other disciplines. Attention is given to diverse histories and traditions and their effect on contemporary practices.
Photography: Emphasizes contemporary cultural concerns within the context of photographic history and processes. A variety of photographic technologies are engaged, from nineteenth century handmade processes, black-and-white and color formats to digital imaging hardware and software. Students are encouraged to explore and experiment during the development of individual projects and group critiques.
Printmaking: Provides in-depth studio practice in one or more of the major processes in fine art printmaking and the extensions of the field. It emphasizes cultural awareness and critical problem solving within the context of historical and contemporary printmaking processes and thought. Students are encouraged to investigate alternative printmaking processes, such as bookarts, mixed media applications, and photographic/digital based print processes as planned progress towards advanced work.
Sculpture: Emphasizes cultural awareness, conceptual development, and artistic expression evolved through research, analysis, dialogue, and hands-on investigation utilizing a wide range of traditional and exploratory materials, processes, and creative strategies.
Textiles: Allows students to learn about textile techniques, their traditions, and contemporary application. Areas of studio focus include 4, 8, and 16 harness loom constructions (both manual and computer assisted), and a variety of surface design processes such as dyeing with fiber reactive dyes, resist dyeing, discharge, painting, and screen printing. Teaching draws on study and physical examples which emphasize a multicultural approach.
Dual Emphasis I: A dual emphasis is available for students with cross-over interests in any two studio areas listed above, such as painting/printmaking. The emphasis consists of a planned combination of courses, approved in advance. Approval must be by advisers in both areas, one of whom must be a full-time regular faculty member. Courses in Dual Emphasis I must total a minimum of 46 units, including at least twelve upper division units in one studio area and nine upper division units in the other. Two elective related courses (six units) is possible. In addition, the student is required to take two lower division studio courses. All other requirements for the B.A. in Art, as listed above, must be satisfied.
Dual Emphasis II: A dual emphasis is also available for students with cross-over interests in Studio and Art History. The emphasis consists of a planned combination of courses in both areas, approved in advance by advisers in Art History and Studio. Courses in Dual Emphasis II must total 46 units to be distributed as follows.
To initiate a dual emphasis, the student is expected to consult advisers in the appropriate areas and to draft a contractual proposed course of study on a Dual Emphasis Advising Form. The program must be approved by the advisers and the chair of the department in advance. Copies of the form are retained by the student, the advisers, and the department. Students should seek continued advising each semester to assure satisfactory progress in the proposed course of study.
For students transferring from other institutions, a minimum of twelve units in residence is required.
|Units chosen from: ART 201, 202, 204, 205
|Units in Art History focusing on the 20th-21st century selected from the following:
|The Artist in the 20th-21st Centuries: Cultures in CollisionCultures in Fusion
|History of Architecture
|Western Art: Special Areas
|Appropriate topics:
Women and Art: The 20th-21st Century
Art in the 80s: The Post-modern Dilemma
History of Photography
Performance Art
Dada and Surrealism
|American Painting and Sculpture: 1940 to the Present
|African Art History
|Units selected from the 200-level studio courses listed above
|Units of upper division electives which may include three units of Production courses
Two graduate programs are offeredan M.A. with an emphasis in Art History and an M.F.A. in Studio Arts. The three-year professional M.F.A. curriculum is an integrated course of study across a spectrum of studio arts and their adjunct fields of theory, history, and criticism. The M.A. prepares students for doctoral studies and for careers in galleries, museums, and other community institutions. Specializations are available primarily in modern and contemporaryincluding feministart; a variety of Western European and Asian art topics; and the arts of Africa and the African diaspora, the Caribbean, and the Native Americas; and art of the Spanish-speaking world.
This program leads to an M.A. in Art with an emphasis in Art History. The degree is intended to prepare students for Ph.D. programs in art history and for careers in community art programs, galleries, auction houses, and museums. The curriculum culminates in a thesis with a specialization in one of the following areas:
Within each area of specialization, individual programs of course work and independent study are arranged to meet the needs of the specific student.
Applications for classified status in the M.A. program are accepted beginning October 1 for admission the following fall. Applicants are required to file two applications, one to the university and one to the Art Department.
The university Graduate Admissions Application and the Art Department M.A. Application are due by early February for the following fall. Call the Art Department for the exact date. Admission requirements are described in the Master of Arts (Art History) General Information brochure. Department application forms and the brochure may be obtained by writing to: Art Department, M.A. Admissions, San Francisco State University, 1600 Holloway Avenue, San Francisco, CA 94132. Information and applications are available on both the university and Art Department web sites.
In addition to these two applications, the requirements for admission to the M.A. in art history include the following:
Acceptance of an applicant for an M.A. degree in the Art Department is contingent upon acceptance to classified status. No more than twelve units taken in unclassified post-baccalaureate status at the university are applicable towards the M.A. Only six units of upper division courses approved on advisement are acceptable for the degree.
A departmental review of each student's progress is required at the end of the each year in the program.
Level One: satisfied with the written application to the department for acceptance into the program. It must include a written statement of purpose and a sample of the applicant's art history writing. Level Two: satisfied with the thesis requirement.
Foreign Language Examination: written translation with dictionary or a satisfactory score on GRE examination. Examination must be taken before ART 898.
In order to complete the M.A. in Art History, students must satisfy all university and Art Department requirements. Students who anticipate completing the thesis in one semester, and graduating the same semester, should enroll in ART 898 (Master's Thesis). If an additional semester is required to complete the degree requirements, the student must enroll in ART 897 (Research Projects in Art) the next semester. Any additional time required to complete the thesis which includes advising and/or re-submission of the thesis must be accompanied by enrollment in ART 897. The Art Department requires students to be enrolled during the semester in which they graduate.
On-line course descriptions are available.
|Seminar in Art Theory
|Art History: Images and Meaning
|Seminar: Methods in Art History
|Seminar in Art History Research Applications
|Upper division (400 level or above) and graduate art history courses by advisement
|Electives (may include art history or other subjects on advisement)
|Master's Thesis
|Minimum total
The three-year master of fine arts program is designed to provide professional training for the student pursuing a career as an artist or artist/teacher. Students are accepted into the program in the following areas of emphasis or combinations thereof: ceramics, conceptual and information arts, new practices, painting, photography, printmaking, sculpture, and textiles. While affiliation with a single area of emphasis is the norm, a broad approach to art-making and the development of a coherent, informed understanding of issues relevant to many forms of creative expression is encouraged throughout the program.
Applications for classified status in the M.F.A. program are accepted beginning October 1 for admission the following fall. Applicants are required to file two applications, one to the university and one to the Art Department. Admission to classified status requires acceptance by both the university and the Art Department.
The university Graduate Admissions Application and the Art Department M.F.A. Application are due by early February for the following fall. Call the Art Department for the exact date. Admission requirements are described in the Master of Fine Arts General Information brochure. Department application forms and the brochure may be obtained by writing to: Art Department, M.F.A. Admissions, San Francisco State University, 1600 Holloway Avenue, San Francisco, CA 94132. Information and applications are available on both the university and Art Department web sites.
The Art Department's M.F.A. admission application requirements include:
Level One: the first level requirement is satisfied with ART 700. Level Two: the student satisfies the second level requirement with ART 705.
In order to complete the M.F.A., students must satisfy all university and Art Department requirements. Art Department requirements are described in detail in the M.F.A. General Information brochure. In addition to satisfactory completion of the course of study, the Art Department requirements include satisfactory performance on yearly departmental reviews, a creative work exhibition and review, and creative work documentation. The Art Department accepts transfer units on a course-by-course basis, only upon advisement, and in accordance with the limits established in the section entitled Transfer of Credit for Previous Graduate Work of the M.F.A. General Information brochure. If the creative work project is not complete in the final semester of the program, students must enroll in ART 899 in the semester they intend to graduate. The Art Department requires students to be enrolled during the semester in which they graduate.
|Studio Requirements
|Seminar in Art (taken each of six semesters at 3 units/semester on advisement.)
|Graduate Visiting Artist/Scholar Studio (taken twice at 3 units/semester)
|Studio electives: two courses of three units each. May be taken in Art or in any other department, by advisement.
|Tutorial in Studio (taken twice at 3 units/semester)
|Creative Work Research
|Creative Work Project
|Minimum studio total
|Academic Requirements
|Seminar in Art Theory and Criticism
|Seminar in History of Art
|Directed Experience in Public Roles for Artists
|Academic electives: may be taken in any department and may include additional academic art courses in theory, criticism, history, and directed experience, by advisement
|Minimum academic total
|Minimum degree total
1600 Holloway Avenue, San Francisco, CA 94132 (415) 338-1111
Last modified July 05, 2012 by firstname.lastname@example.com


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Kadija Fornah is in her first season as the assistant men's and women's volleyball coach at Lees-McRae College.
A native of West Palm Beach, Fla., Fornah comes to Lees-McRae after posting one of the best individual careers in Wake Forest University history, finishing her four-year tenure ranking third on the program's all-time kills list. Fornah went on to play professionally in Aprilia, Italy from August 2012 to May 2013, and most recently served as a coach for All American Volleyball.
Fornah also has gained coaching experience with Set Point Volleyball Club, as well as several camps. As a student at Wake Forest, Fornah was invited to the NCAA Career in Sports Forum, where she learned skills such as crisis management, relationship building and communication.


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PHAAA - Planetary Healing Artists Association of Australia inc. is a not for profit organization that creates a forum for artists including visual artists, performers, writers, healers, and other creatives in the community to share ideas for a sustainable future in a creative way. The main purpose is supporting an environmentally sustainable planet. WE WELCOME YOU TO JOIN US at 7.30pm, 1st Thursday bi-monthly upstairs at St Kilda RSL, 88 Acland Street, St Kilda.
Monday, June 20, 2016
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SoluMed.com . . . the Premier Medical Equipment eMarketplace for International Trade  ©
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There are no Upcoming Shows listed for this comedian.
Tony Dijamco
For over sixteen years, TONY DIJAMCO has been entertaining crowds all over the country and now all over the world with his sardonic sense of humor and eclectic performance style. And as you might tell, a love of language and words. A lifelong fan of the art of stand-up comedy, TONY DIJAMCO considers himself first and foremost an entertainer. His experience, style, and neurotic insecurity to not "eat it" on stage have given him the ability to perform in front of any audience. From high school career days to rowdy one-nighters and from sold out theatres to late show Fridays, TONY DIJAMCO has performed, seen and succeeded in front of it all.
Growning up, TONY DIJAMCO had all the ingredients in to making a stand-up comic. The skinny,Catholic school, middle child of a divorced mixed marriage (Mom is Irish/ Dad is Filipino). Not to mention his full fledged "geek" persona, TONY DIJAMCO had no choice, but to become a stand-up comic. And he wouldn't have it any other way. His mix of real life characters and real life adventures, have made him unique favorite all over the country. You may have never heard of TONY DIJAMCO, but once you see him; you'll never forget him.
Tony Dijamco's Upcoming Shows
Tony Dijamco is Known For
|FIRST RUNNER-UP "San Francisco International Comedy Competition"
|NBC's "Last Comic Standing"
Tony Dijamco's Video RSS Feed
Tony Dijamco's Videos
- http://www.youtube.com/watch?v=A1_jA68V14I&context=C4e34fa4ADvjVQa1PpcFM9U9ibCuBVFSgEqB-c4fDyyNM891V1JgM=


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You're probably already familiar with it, but Moab Brewery is kind of hit-or-miss.
There are a number of good breweries along the I-70 corridor on your way to Utah, I've hit a lot of them over the years. I'm actually writing about our last trip to the Colorado Western Slope on my blog (brew-trek.com) right now, you can also read about our other trips to breweries in Durango, Alamosa, etc.A couple of places that I think are can't miss along I-70 are Crazy Mountain in Edwards, and Palisade Brewing just East of Grand Junction.Have fun!
San Luis Valley Brewing Co.
Quote from: mtnrockhopper on August 17, 2012, 01:05:01 AMSan Luis Valley Brewing Co.Very, very good IPA.


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The GlenOak and St. Thomas Aquinas girls cross country teams qualify for next week's state meet after runner-up finishes at the Boardman regional.
St. Thomas Aquinas appeared safe after the girls Division III race at Saturday's Boardman regional cross country meet.
There were nervous moments for the GlenOak Golden Eagles a little more than an hour later. Their path to next week's state meet wasn't as clear cut after the Division I race. Head coach Scott Ferrell could only say it was close.
GlenOak made it with much room to spare.
The Eagles came in second as a team to earn their first state berth since 2006. GlenOak finished just nine points behind champion Nordonia and 89 ahead of fifth-place Boardman. The top four teams advance.
Aquinas also was regional runner-up. The Knights finished 22 points behind first-place Gilmour Academy.
For GlenOak, the wait for official confirmation felt agonizing. As the results were announced, Ferrell took a walk by himself toward the course.
Qualification brought a feeling of joy and relief.
"Everybody did exactly what they could do," Ferrell said. "They stayed within themselves early and finished it hard in the last half of the race."
Hannah Thompson came in fourth in 19:16.18 to lead the Eagles. Grace Werren finished 20th, Hannah Werren 31st, Jetaiya Smith 42nd and Lauren Lautzenheisher 50th.
Thompson ran outside the state qualifying positions early, but she made up ground as the race wore on.
"From being here before, I knew it would go out fast," Thompson said. "I just decided to go out the way I always do. I trusted everyone's judgment and knew that if we just ran our regular race plan, we could do it.
"Along the whole race, we had girls saying what place we were all in. I knew when I had to move."
A cold morning with winds gusting up to 30 mph greeted Aquinas and the other girls Division III runners. It had no effect on the Knights.
Athena Welsh came in second in 19:34.38 to lead Aquinas. She finished just over six-tenths of a second behind United's Allison Parks, who also won the district meet.
Kalee Soehnlen came in eighth for Aquinas, Molly Pusateri 13th, Amanda Vincent 26th and Kacee Soehnlen 30th.
"It is so surreal right now," Welsh said about the Knights finishing second and earning a state berth. "We have worked so hard this year. We put in the hours all summer. We all just turned it on today."
Aquinas head coach Eldon Jones talked with his runners about everyone having a good day on the same day.
"This is pretty close to that," Jones said. "Hopefully we have one more week for that to happen."
Aquinas finished fifth in the final state coaches poll. The Knights will aim for their best finish ever at a state meet next week at National Trail Raceway in Hebron. They came in sixth in 2010.
"I'd love to think we could be in the top five, maybe better," Jones said. "Top five I could live with."
Central Catholic's Rachel Reolfi qualified for the state meet as an individual. She finished 11th in Division II.


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How well do we know K. H. Mácha's legendary poem May? It seems like all of us Czechs are able to recall its first lines. Is that really all? And if so, is that enough? Are we aware of its content, details, its atmosphere and universal character? The company 420PEOPLE present a new piece that goes far beyond their experience in the field of contemporary dance. Václav Kuneš, the company's choreographer, got together with the actor, and in this case also director, David Prachař and they have created May, a piece in which they both also perform.
May is a modern and dynamic dance-theatre piece inspired by Mácha's famous verses, accompanied by live music and singing. (P. Fajt, O. Anděra).
Directed and choreographed by: David Prachař and Václav Kuneš, music: Pavel Fajt, Ondřej Anděra; performing: Jan Kačer, Nataša Novotná, Zuzana Herényiová, Václav Kuneš, Milan Odstrčil, David Prachař.
The sets include three graphic designs by Adriena Šimotová - Cítění kosti (1983), Dutá hlava (1983-84), Mrtvá hlava (1984).
Many thanks to Ms Marcela Sulak, the publishing house Twisted Spoon Press and Mr. Howard Sidenberg, for providing us with the English translation of K. H. Mácha's May.
Each performance is followed with an open discussion with the audience.


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Captain's ReportThe Five-in-One from Sea-DooBy Capt. Triston HuntTest CaptainThe 2005 Sea-Doo 3D Premium has a lot to offer with five interchangeable components, each providing a different riding experience. According to the company, the Sea-Doo 3D Premium is the only watercraft to offer many riding experiences in one watercraft. The original the 3D offered three unique modes Vert, Moto, Kart, and this year they added two more: Shoq and Knee. It's like having a fleet of PWCs in one, making it a whole lot of fun!Tim McKercher, the marketing manager of Sea-Doo says "It's like a home video game, when you get tired of playing with one, just change." When testing the 3D Premium I found it really that easy to switch "experiences" because the handles and levers are well marked and parts fit together smoothly. This multifunctional PWC accommodates riders of all levels. Although not all "experiences" are for rookies, Sea-Doo has made it as novice-friendly as possible by balancing the weight of the steering column from an adjustable spring to change the tension of the handle in order to suit individual needs.Five Interchangeable Experiences Shoq is a stand-up mode that locks the steering column in place, making this experience easier for beginners. Experienced riders will also enjoy Shoq as it provides more leverage, allowing really aggressive turns.Vert is Sea-Doo's term for a traditional stand-up ride with no seat in place leaving the deck unobstructed and wide open.Like riding a motorcycle on the water, Moto's low profile makes aggressive turns very easy. On a specially molded tray inserted in the rider tray, while in the Knee position the rider feels as though he is on a powered kneeboard. Kart was my favorite experience on the 3D Premium. Sitting so close to the water, it felt like I was traveling 90 mph when my top speed was really around 50. The company advises against wave jumping while in Kart, with a warning sticker on the seat. Landing hard in a seated position could hurt your back according to the company representative.SpecsThe 3D premium is a fairly compact PWC, with a length of 107 inches, a width of 44 inches, and a height 36.25 inches. It weighs just 585 pounds, which makes it easy to tow, even behind smaller vehicles. Don't let the compact style of the 3D fool you, it is very powerful. The 110-hp 782cc Rotax engine is not the biggest in Sea-Doo's fleet but is more than capable of handling the job at hand. She went from 0 to 30 mph in 3.3 seconds, and reached a top speed of 50.2 mph.After spending the better part of a day with the Sea-Doo 3D premium, I was impressed. With five different components, each offering an experience truly unique from the others, the five-in-one concept of the 3D provides several options at an affordable price. It is obvious that tons of thought went into this PWC and they did a good job of bringing the concept to life. If you are in the market for something really fun take a look at the 2005 3D Premium from Sea-Doo, it will be worth your time.
Test Result Highlights
- Top speed for the Sea-Doo 3D Premium (2006-) is 50.2 mph (80.8 kph), burning gallons per hour (gph) or N/A liters per hour (lph).
- Time from 0 to 30 of the Sea-Doo 3D Premium (2006-) is 3.3 sec. seconds.
Standard and Optional Features
Full Warranty Information on this brand coming soon!
(It's quick and FREE!)


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According to by Carl H. Marcussen, PhD, Senior Researcher, Centre for Regional and Tourism Research, Denmark and his report updated 31st of May 2005 Online Sales in tourism has increased by as much as 40% from 2003 to 2004.
His summary is as follows:
"Online travel sales increased by as much as 40% from 2003 to 2004 and reached EUR 17.7 billion in the European market in 2004 – or 7.4% of the market (up from EUR 12.6 bn. or 5.3% in 2003). A further increase of about 26% during 2005 to about EUR 22.2 billion may be expected (9.1% of the market). The European online travel market could reach EUR 27.0 bn. or 10.8% of the market by 2006. The UK accounted for 37% of the European online travel market in 2004, with Germany in second place at 20%. The ten new EU member countries have been included in the European online travel market and contributed a little under 2% to the total in 2004, after growing quickly during 2004. The direct sellers accounted for 67% of online sales in the European market in 2004, more than ever before. In 2004 the breakdown of the market by type of service was as follows (with 2003 in brackets): Airtravel: 57.9% (58.0%); Hotels 15.2% (16.4%); Package tours 16.0% (15.8%); Rail 9.0% (7.9%); Rental cars 2.0% (2.0%). Concentration in the European online travel market has increased, following several acquisitions."


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Dubai, UAE; May 24, 2012 – Armani Hotel Dubai, located in Burj Khalifa, the world's tallest building, in co-operation with Swiss Art Gate UAE, presents "The Rhythm of Earth - Passage" an art exhibition with works by Swiss artist, Jean-Marc Schwaller. The opening of the art exhibition will take place on Tuesday, June 5, 2012, 7 - 9pm at Armani/Ristorante, the hotel's signature Italian restaurant, together with the Swiss artist and in the presence of H.E. Walter Deplazes, Charge d'Affaires, A.I.
Jean-Marc Schwaller's exhibition of monumental oil paintings at Armani Hotel Dubai, follows the recent display in the Broadway Gallery New York. His paintings appear to be hewn and then smoothed as if with a knife but without the density of the material ever diminishing the translucency of his light. While for many the smaller pieces may prove to be 'easier' than the spaces of the larger paintings – and the artist does exhibit a series of smaller watercolours – he is at ease with himself when he can give unbridled rein to the freedom and the poetic spirit within him.
J-Marc Schwaller's work finds its predecessors in the work of Mark Rothko and Barnett Newman. Much like these modern masters, his motifs explore the compositional potential of colour and form on the human psyche.
J-Marc's work is bold and vivacious. He employs a gestural mark against saturated colour fields, creating a luminous intensity that pulsates in front of the viewer. Using thin, seamless glazes contrasted with thick impastoed marks, his work stands out among his contemporaries. His work is sublime and emotionally contemplative. But most of all, they are some of the most moving paintings one can see. Moving, aptly describes the sensuous surfaces that seem to emanate light from within and project light as well. This quality is most noticeable in his process. His process allows for addition and subtraction, erasure and palimpsest, uniquely curtailing the crevices that arise. This feverish attention to the overall effect of the work is a direct result of an existential yearning for communion with the natural world.
J-Marc Schwaller said about his recent work: "I start off with a concrete idea, for example "water gardens," where I find the idea of reflection, of vegetation. I then paint the essence of the image in a grand gesture on the body of the canvas, all of which is connected like a web, combining colour, light and energy. I work on the ground and paint with my whole body. The iridescence that emanates from my paintings depends on the colour and gesture.
What I seek in painting is colour and light. The light of a table will be more intense if it is contrasted with darker tones.
I don't want the viewer to feel the "effort" or "difficulty" of the painting technique, rather I want it all to blend, giving the impression that it all came together in one motion. The colour and movement are inseparable elements in the structure of the piece.
Currently, I've been working for an exhibition at Abu Dhabi and Dubai which will be unveiled in June."
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text: This easy going song features a melody played by an acoustic steel guitar and vibraphone, accompanied by a steady rolling Rhodes piano, electric guitar, bass and drums. An ostinato-like synthesizer sequence gives this folky tune a slightly modern touch. It's suitable for radio, tv, corporate medias, advertising and your holiday video.


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CNC Tool Holder
Drawers Cabinet
Our CNC and machine tool storage and transport products provide the safety, organization and efficiency that are vital to optimum productivity on the floor. Accessories like protective tool holders, drawers, shelves, and mounting brackets further expand their versatility. For maximum flexibility, tool trays with tool holders go from drawers to transporters to tool stations and bench stands. Tool storage cabinets and transporters feature rugged construction that stands up to demanding manufacturing environments.
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Wide range of accessories: create a customized tool trolley
Slotted steel sheet side panels: easy adjustability of accessories
Two fixed and two swivel lockable casters: optimum traction and maneuverability
800kg. load capacity: for the most demanding uses


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Tagged: Three Straight Complete Games
Cliff Lee throws his third straight complete game shutout as he two-hits the BoSox, leading the Phils to a 5-0 win.
Cliff Lee throws his third straight complete game shutout, the first Phils' pitcher to do so since Robin Roberts did it in 1950, as he threw a two-hitter against Boston, as the Phils defeat the Red Sox, 5-0.
The Phils took the lead in the second as, with one man on, and with two men out, Dom Brown hits a two-run home run, his fifth home run of the season, knocking in Shane Victorino, who was safe at first on a force out, 6-4, as Ryan Howard, who had earlier singled, was forced out at second base, then moved up to second on Josh Beckett's throwing error on a pick-off attempt, giving the Phils a 2-0 lead. The Phils then took a 3-0 lead in the fifth as, with a man on third, and with one man out, Cliff Lee helped his own cause by hitting a sacrifice fly, knocking in Brown, who had earlier doubled, then went to third on Carlos Ruiz's fly out to right. The Phils then made it a 5-0 lead in the sixth as, with one man on, and with two men out, Victorino hits a two-run home run of his own, his ninth home run of the year, scoring Placido Polanco, who had earlier singled. That would end up being the final score as Lee pitched a complete game shutout on the BoSox, allowing only four men to reach base, Kevin Youkilis with a lead-off walk in the second, before going nowhere, Marco Scutaro with a lead-off single in the sixth, ending Lee's no-hit bit, before being wiped out at second base on a Beckett's doubleplay grounder, 6-3, Dustin Pedroia with a lead-off walk in the seventh, before being wiped out at second base on a one-out Youkilis doubleplay grounder, 6-4-3, to end the inning, and a lead-off double in the eighth by Darnell McDonald, who then stayed at second base as Lee got Jason Veritek to ground out to short, 6-3, for the inning's first out, then struck out Mike Cameron, looking, for the inning's second out, before ending the inning by getting Scutaro to ground out to third, 5-3. Lee then ended the game with a 1-2-3 ninth, as he got Pedroia to lined out to third for the game's final out.
Cliff Lee (9-5, 2.66) got the win as he pitched his third straight complete game shutout, the first Phils' pitcher to do so since Hall of Famer Robin Roberts did it back in 1950, as he gave up just two hits and two walks, while he struck out five BoSox batters. Josh Beckett (6-3, 2.20) took the lost as he went six innings, giving up five runs on five hits and a walk, while striking out one. Franklin Morales and Bobby Jenks pitched two scoreless innings, giving up a hit (Jenks) and a walk (Jenks), while striking out four (two batters apiece) between them.
The Phils had only six hits in the ballgame, with Dom Brown leading the team with two hits, a double and a home run, kn0cking in two runs. Placido Polanco (Single), Chase Utley (Single), Ryan Howard (Single) and Shane Victorino (Home Run, 2 RBIs) had the other four Phils' hits. Cliff Lee knocked in the other Phil run with a sac fly.
The Phils (50-30, 1st NL East) will continue their interleague play series with the Red Sox (45-33, 2nd AL East) with a night game tonight at Citizens Bank Park. The game will start at 7:05 pm EDT. The Phils will send to the mound Vance Worley (2-1, 2.83), who is coming off a no-decision against the A's on June 24, as he pitched six shutout innings, giving up a hit and four walks, while striking out four, in the Phils' walk-off, 1-0 win. He will be trying to pitched the Phils to their third straight win. The Red Sox will try to counter with John Lackey (5-6, 7.36), who is coming off a lost against the Padres on June 22, as he went only three and one-third innings, giving up five runs on four hits and four walks, while striking out four, in the BoSox's 5-1 lost. He will be trying to come back from his last start, while trying to keep the Phils from winning the series. The Phils will be going for the series win against the BoSox.


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Technical Implementation Notice 14-22
National Weather Service Headquarters Washington DC
1050 AM EDT Fri May 2 2014
To: Subscribers:
-Family of Services
-NOAA Weather Wire Service
-Emergency Managers Weather Information Network
Other NWS Partners, Users and Employees
From: Tim McClung
Science Plans Branch Chief
Office of Science and Technology
Subject: Change to Global Wave Ensemble System
Effective June 17, 2014
On or about Tuesday, June 17, 2014, beginning with the 1200
Coordinated Universal Time (UTC) cycle, the National Centers for
Environmental Prediction (NCEP) will introduce several major
upgrades to its Global Wave Ensemble System. These changes will
affect the quality of output products, the spatial grid of output
products, the naming of the system and output files, and
introduce new products. The key changes for the Global Wave
Ensemble System are as follows:
1. Name change
The system will no longer be identified by the acronym MENS
(Multi-wave ENsemble System). It will now use the new acronym
GWES (Global Wave Ensemble System). This will impact output file
names as described below.
2. Wave Evolution Physics
- new physics package for wave growth under wind seas
- new physics package to account for swell dissipation for
swells propagating long distances.
- new physics package for wave dissipation due to wave
The new physics packages are outlined in Ardhuin et al., 2010.
Previous upgrades made to NCEP's wave forecasting systems
GLW/GLWN and MULTI1 have shown that the new physics significantly
improve model skill for wave height, especially in regions of
strong storm wind forcing. This will reflect in crucial
improvement in forecast performance for extreme wave prediction,
an important feature considering the widespread usage of NCEP's
wave ensemble system by the National Hurricane Center (NHC).
3. Spatial resolution change
The upgrade will increase the spatial resolution from a regular
1 x 1 degree global domain, to a 0.5 x 0.5 degree global grid.
4. Output products changes
4.1. File name changes
The change in the acronym used to identify the system will result
in changes to the names of output files. These files will also
become larger files because sizes are affected by the spatial
resolution increase. Gridded output will also include new
parameters representing spectral partitions, which will provide
users a more accurate description of wave systems. This change
will bring the wave ensemble system to the current state of other
wave models in terms of type and number of output parameters in
gridded output files. In most cases, the effect on the filename
is that "mens" is changed to "gwes" in the filename. The webpage
outlines the current files available and shows the new filenames
for these products.
4.2 Change to spectral output files
The spectral output files for the individual members and the
ensemble products will now be compressed. Output filenames will
end in "gz," with an example gwes00.t00z.spec_tar.gz.
4.3 Location change of output files
With this implementation, the location of the output data on the
ftp servers will be changed. Data are currently available in a
general directory named "wave". With this implementation, the
GWES data will be put in a directory named "gwes." The full
directory paths are listed below.
The output data from these models will be disseminated on the
NCEP server at:
and on NOMADS at:
where YYYYMMDD is the 4-digit year, month and day.
Sample output files from the new physics are available at:
A consistent parallel feed of data will be available on the NCEP
server once the model is running in parallel in early May. The
parallel data will be available via the following URLs:
NCEP urges all users to ensure their decoders can handle changes
in content order, changes in the scaling factor component within
the product definition section (PDS) of the GRIB files, changes
to the GRIB Bit Map Section (BMS), and volume changes. These
elements may change with future NCEP model implementations. NCEP
will make every attempt to alert users to these changes before
For questions regarding these model changes, please contact:
Henrique Alves
NCEP/Marine Modeling and Analysis Branch
College Park, Maryland
For questions regarding the dataflow aspects of these data sets,
please contact:
Rebecca Cosgrove
NWS/NCEP Central Operations
College Park, MD
NWS Technical Implementation Notices are online at:


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Requiem For a Dream (UK - BD RB)
Marcus sits down to watch a film he's been avoiding rewatching for 11 years...
Harry Goldfarb (Jared Leto), his girlfriend Marion (Jennifer Connelly) and best friend Tyrone (Marlon Wayans) are having a great summer. They have a steady supply of drugs and plans to make themselves rich. Even Harry's mother (Ellen Burstyn) has had some good news, she's been selected to go on a TV quiz show. Everything is great. That is until a local drug feud makes the drugs in town sparse and the trio of friends suddenly realise their casual drug use is more than a habit and Harry's mum's all new diet pills have more of an effect on her than just losing weight. Hold on tight, this is going to get intense.
Y'know what, I think I've been subconsciously avoiding rewatching Requiem for Dream. Not in a negative way, I think the movie is awesome but I think since having my first run in with it back in 2000, the thought of sitting down to watch it again is akin to knowingly going back to school and being bullied or something.
Requiem for a Dream is that overbearing to me, it builds and builds and builds and even though the pay off is somewhat epic, it's an epic of bleakness and sadness and pain and absolute horror.
That opening act, with its celebration of a bright summer full of drug use and happy-go-lucky attitudes and love between friends and a mother's chance to go on TV is fast and fun and full of life and even on this rewatch when I knew where this all goes I still got caught in the false sense of security that the almost feel good story generates. These young modern characters have it all, friends, honesty, fun and an idea to make their lives better. Of course we discover this is all bullshit. Once the casual drug use is taken away and the character's realise it isn't a casual thing at all, the bright summery world is gone.
Aronofsky leads us down a dark side alley we didn't even know was there in his story. When these characters' lives begin to fall apart and their need for drugs rises, Aronofsky gives us a sucker punch to the gut but it doesn't end there. It's followed through with a hard clump to the face and when we hit the floor we get a good kicking. With the ever intensifying score, the quicker cuts and the slower painful depictions of all the bad shit that these character are now going through in their world of darkness and turmoil Requiem for a Dream suddenly becomes one of the most beautiful looking nightmares cinema has ever created. Honestly if there's anyone in your life that you feel is abusing their drug habit, or is going off the rails or is just hovering around making a bad choice: watch this with them. Show them how wrong it can all go. Nothing hits utter despair like this film.
Everything about the fallout of this tale is horrifying. Harry's infected arm didn't need to have another needle in it to freak me out but he still does it (and it freaks me out). Marion's downward spiral makes me feel more and more uncomfortable with every awful choice she makes and on a side note "ass to ass" is a go to phrase between some of my friends when we want to signify how bad things have gotten. Ellen Burstyn's performance is absolutely gut wrenching to watch as the unintentional drug abuse takes over her mind and if there's a scarier thing than her refrigerator in movies, I ain't seen it. That thing is the devil, I swear! In the grand scheme of things Marlon Wayan's character seem to have got the best deal at the end (ending up stuck in a racist prison) but that shows just how bleak and twisted Requiem for a Dream gets by the end because you start weighing up the overbearing bleakness and THAT seems like a good option compared to the other characters' fates?? Seriously what is wrong with my brain after this movie?
To round this section off, I'll quote a what a friend said when I mentioned I'd rewatched Requiem for a Dream. "I've only seen it once, ten years ago but I could tell you absolutely everything that happens in it". It perfectly sums up the impact this film has. It gets in your head and stays there and I don't know what's wrong with me but somehow it's utter bleakness makes me love it.
During the opening credits, the image looked a bit of a washy, hazy mess mess. The transfer had a grubby unloved look to it and I wasn't at all impressed. Post opening credits thankfully everything gets a whole lot cleaner. There's some rich detail, especially in the close ups of characters' faces and the drug preparation imagery. Small things like the cop's gun that Harry snatches has some fantastic detail on the leather belt strap and Harry's mother's red dress is wonderfully bright, popping out of the drab backgrounds.
Generally skin tones are very natural but in some of the darker or weaker lit scenes they can be a little off. That said, Jared's black hair and indeed Ellen Burstyn's dyed red hair are very detailed and full of rich colour. However in the second half of the film when the green and greys sneak in, the bleak image can look quite hazy outside of some of the more shadow filled scenes that have deep blacks and create a very nice looking image.
Well there's no way we can start the audio section of this review without first hitting Clint Mansell's incredible score. Despite its overuse in other movie trailers (but boy does it always work) this still has the desired effect to the film it was made for and man alive it's never sounded so good. The uneasy mood the score creates with its aggression and repetitive building nature is a thing of wonder here, with multiple layers, small tonal touches and a power that early on in the movie sometimes even overpowers some of the dialogue. It's just a classic score and here it's another character that's strong presence is pretty much constant.
To add to the incredible edits and cuts in this movie we get short sharp hits of audio to shock us whenever we change season. The word 'summer' should not make my heart stop but these cuts hammer home every time. Ambience in scenes is also strong but it's the things to startle us that hammer out of all the channels. Ringing phones, ticking clocks, closing doors everything is there to shock us or to amp up the tension and nothing gets more shocking or full of tension than Harry's mother's refrigerator, which is a loud aggressive monster that constantly makes me feel uneasy. Stop moving dammit!
We open with trailers for Control, Amelie, Lost in Translation
and Eternal Sunshine of the Spotless Mind then we're onto the film's features.
The first commentary by Darren Aronofsky is quite a laid back discussion about his film and the book it's based on. he covers the shoot, the story, the design of the cuts and his actors and while it's a pretty standard track it's very good one for any Aronofsky fans.
The second commentary track with cinematographer Matthew Libatique looks more at the film's visuals. This is quite a technical track but covers everything about the visual style of every scene.
The making of (35:23 SD) is mainly on set footage with commentary from Aronosky regarding what we're seeing. Setting up scenes, working with actors, how many takes it took to get what he wanted - it's good stuff.
'Memories, Dreams and Addictions: Ellen Burnstyn Interviews Hubert Selby Jr' (19:56 SD) is a pleasant little chat between the actress and the writer of the book/screenplay.
Lastly there are nine deleted scenes with optional Aronofsky commentary as well as two trailers and two TV spots.
Requiem For a Dream is a fantastic film that has Darren Aronofsky beat us up and leave us to sort ourselves out as we recover from his epic of bleakness and dark dark endings for his characters. Somehow in amongst all this turmoil, I love this film. Not a love that demand I watch it as often as possible but a love that revolves around me knowing the film is there to be loved but we don't have to see each all the time and we're both fine with that.
The disc looks pretty great and is an obvious upgrade over the DVD, even with its softer hazier moments and the audio is a track that kicks the shit out of your senses in all the right ways. As for the extras, they are simply lifted from the DVD but it's all good stuff, so those looking for a simply upgrade this isn't a bad little release.
* Note: The below images are taken from the Blu-ray release and resized for the page. Full-resolution captures are available by clicking individual images, but due to .jpg compression they are not necessarily representative of the quality of the transfer.
Review by Marcus Doidge
Chris Gould Editor Join Date: May 2001 Location: United Kingdom Posts: 7,171
The feel-good film of the decade!
Pat Gleeson Member Join Date: March 2006 Location: Ireland Posts: 21
Great review as always Marcus. I feel the same way about 'Schindler's List' I really love that film, but find it hard to revisit ...
Marcus1138 Contributor Join Date: June 2008 Location: United Kingdom Posts: 910
Yeah that is another one. Generally any war based movies hit me like that. Appreciate them but rarely revisit. They don't scare me like this though.
State Member Join Date: September 2010 Location: United Kingdom Posts: 25
The bleakest and hardest film to watch that I've ever seen is Funny Games.
richyrich101 Member Join Date: September 2011 Location: United Kingdom Posts: 51
Love the film! I always try and show this to some un suspecting fool, at least once a year!!
First herd about this from this website about ten years back on an alternative top ten Halloween horror list.
First herd about this from this website about ten years back on an alternative top ten Halloween horror list.
losthighway Member Join Date: January 2008 Location: United Kingdom Posts: 309
I remember seeing this at the cinema and that orgy sequence being unbelievably hard to watch. It's worth reading the original book because Darren stays pretty faithful to it, whilst actually elevating the source material with his distinct style. I really liked it but not sure i'm too fussed about upgrading if the extras remain the same as the DVD... and speaking of feel-good films, i've just bought HENRY, although that has a wealth of extras which appear not to have been on the DVD SE from a few years back.
Suitable only for persons of 18 years and over
Disc Details
Release Date: 17th October 2011
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.78:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1
Subtitles: English
Extras: Commentaries, Making of, Deleted Scenes, Memories, Dreams, & Addictions: Ellen Burstyn Interviewing author Hubert Selby, Trailers
Easter Egg: No
Feature Details
Director: Darren Aronofsky
Cast: Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans
Genre: Drama
Length: 101 minutes
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So what might be applicable? SA Doctors need lab results, need to do research, need to store and retrieve patient records (on demand)... How do you get a connected, low cost, easy to use, low maintenance technology infrastructure into South Africa's hospital system? And then keep it there?
We've been using Ubuntu Linux (a proudly South African distribution of the Linux operating system - with our very own billionaire Mark Shuttleworth as the brains) around the office a bit - mainly to do tricky techy stuff, but I've been absolutely blown away with the new version (6.06 I think). It's funky, it's African, it's VERY easy to use (provided you don't mess with settings / use installed packages - which are more than ample for everyday use) and it runs on fumes.
I've personally run Ubuntu on a P3 256mb RAM - like lightning on the highveld.
So here's the challenge:
Well done, chaps, excellent job. How about a project? We could secure funding (Government?) for an independent, empowered, Section 21 company to create an Ubuntu network of computers linking all SA's primary, secondary and tertiary care hospitals together.
- It's low cost because the operating system is free.
- It's low cost because it runs on the kind of computers America is throwing away.
- It's low maintenance, because once the networking protocols, any required software and web browser have been installed - the OS can be locked down and user logins/passwords managed fairly easily.
- It doesn't get viruses. Including the ones spread by the nasty germs on the kettle in the tea room (whole new post, different time).
- It could network and interlink over a low cost dialup, sponsored by Telkom.
- It could encourage the open source community (multiverse, universe... I get confused) to get together and develop some simple software for storing patient records, lab results, X-Rays and making them available to the right channels at the right time.
- It doesn't crash!
I think I'm onto something - if I dare say so myself. South Africans are too ready to throw away local solutions when faced with more expensive, inappropriate overseas ones. A project like this, while creating jobs and uplifting infrastructure would equip and empower our medical industry to fight a battle they're not getting a lot of help with. And we'll be doing it, the South African way.
Baragwanath is 2km wide. How would you like to run a kilometre (the phones just don't get answered) and wait in a queue (only 5 terminals work currently) for those lab results as your patient lies gasping on the slab?
This is a call. Who's in? Are the folks at Ubuntu interested in pursuing a project like this? Is there anything going on at the moment?
If I'm not mistaken - movements like this ARE the spirit of Ubuntu. Leave a comment, we're really interested in your views...


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|photo credit: 416style
There is an excellent article, "The Importance of Water to Human Life and to the Operation of the Human Body" where you learn that next to air, water is the most important element for life to survive. Water is essential to the functioning of every cell in your body: 2/3 of your body weight is water, including 75% of your brain, 83% of your blood, 22% of your bones, 75% of your muscles, and 90% of your lungs.
Because water is such a broad and important topic, it is difficult to know where to begin. I decided to approach water from an unusual perspective, so I chose a quote from Wilson A. ("Snowflake") Bentley whose picture book biography Snowflake Bentley is featured on our book list this month: "Of all the forms of water, the tiny six-pointed crystals of ice called snow, that form in such quantities within the clouds during storms, are incomparably the most beautiful and varied." And Snowflake Bentley should know: he spent his life photographing snowflakes.
Bentley was born in 1865 in Vermont where he lived his entire life. According to the award-winning author, Jacqueline Briggs Martin, Vermont, the heart of the "snowbelt" receives 120 inches of snowfall each winter. Although he had little formal education, Bentley had a microscope which he used to study flowers, raindrops, and grass – but most of all, he loved to look at snowflakes—and he never found two that were alike.
When Bentley was 16, he discovered a camera with its own microscope, and convinced his parents to spend their savings on the camera that cost as much as ten milk cows.
|photo credit: ViaMoi
The next winter, Bentley unsuccessfully attempted to photograph snowflakes. However, a year later he found a way to make it possible for everyone to see "the great beauty in a tiny crystal." Winters passed–some winters he could take only a few pictures, and some winters he was able to take hundreds.
Bentley gave speeches about snow and published pictures in magazines. However, he never became rich because he spent his money on his pictures. Ironically, after a long walk to photograph snowflakes, Snowflake Bentley died of pneumonia.
The Caldecott Medal is awarded annually by the American Library Association, to the artist of the most distinguished American picture book for children. Snowflake Bentley won the Caldecott Medal in 1999.
I met author Jane Kurtz when the Museum opened the exhibit Lucy's Legacy: The Hidden Treasures of Ethiopia. Jane, the daughter of a missionary, grew up in Ethiopia, and many of her books provide insight into that country. Jane and her brother Christopher wrote Water Hole Waiting, the simple story of life on the African savanna and the importance of water to life.
|photo credit: doug88888
When morning arrives, the monkeys are ready to eat and drink. However, mother monkey grabs her child's paw to keep him away "from hippo's yawning jaws," as the hippos drink and swim in the water hole. When the hippos leave, the monkey tries again to visit the water hole, but are held back because "the grazers" (including zebras) are running down the path. But the zebras have to be careful, too; crocodiles are waiting for their breakfast! Again, mother monkey holds her child back. And so, the day at the water hole progresses from early morning until evening when the monkeys finally get to drink.
The Authors' Note provides additional insight into life at a watering hole. It appears that animals take turns with different species drinking at different times; however, during the dry time, different species may drink together. Children will understand when the Kurtzes explain, "…whether you're a thirsty monkey hanging back while a lion drinks or a person hiding near a water hole hoping to spot a parade of animals, waiting is never easy."
The large, colorful illustrations almost give an insight into the animals' personalities—look at their eyes and expressions! I am not sure I could last all day watching the water hole, but if the animals resemble the illustrations, I would certainly try.
Because I like the simplicity of the Kurtzes' book, I also chose another on the same topic: The Water Hole by Graeme Base. Base is an Australian author whose alliteration-filled alphabet book Animalia and picture book mystery The Eleventh Hour are favorites with teachers, children and parents. The pages of all three books feature amazing borders to complement the incredible illustrations.
The Water Hole is a counting book that takes you around the world looking at animals and birds in their native habitats, all drinking at water holes.
One hippo is the first to drink at the shrinking water hole located in Africa. Look beyond the hippo to find the giraffe, the lion, the chimpanzee, the impala, the cheetah, the elephant, the wildebeest, the crested crane and the leopard, all native to Africa, camouflaged in the background. How do you know which animals to look for? The border tells you!
Two tigers are visiting their ever-shrinking water hole in India, with ten animals camouflaged in their background. The book proceeds through three toucans from South America, four snow leopards from the Himalayas, etc., completing the around the world journey with ten kangaroos in Australia, where the water hole has stopped shrinking because it is completely dry.
And, when the water hole dries up all the animals are forced to leave. Later, it begins to rain. (Look for a map of the world in the raindrops.) And, what happens when the water hole fills up? You know—everyone returns as animals and birds from every continent share one water hole.
Don't forget: Water is good for you and it's cheap! Drink up!


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From the article, "I purchased a Wii a little over a month ago. In my time with this console, there are things I've grown to like and dislike about it. Considering how low Wii U sales are right now, I hope this piece can help you decide whether this is something you want to buy right now. So without further ado, let's let into it."
"I know some people have extra external or internal hard drives sitting around, but we shouldn't have to resort to that. Flash storage is cheap and Nintendo should have indulged a bit more on its hard drives."
Nice written piece. The author addresses some pros and cons about the Wii U good stuff. ;)
I just bought a brand new in box 2TB external drive for my WIIU on e-bay yesterday for $80 bucks. Seagate. Was a nice find, and now I can download all I want yay!
One can't help feeling the Wii U would have faired a lot better had it been released early 2011.
My reasoning is that Nintendo clearly wasn't ready for Wii U's launch. It takes roughly 2 years for software technologies to improve, and developers to create something astounding.
Sadly, the Wii U's best moments will be in the wake of PS4 and Xbox's impending intimidating shadow. Agree or not, that is a matter of fact.
On second thought, Xbox Next's PR isn't doing very well at the moment, and if rumours ring true, then Wii U will be everybody's favourite 2nd console.
j know my wii u will have plenty good games to play on pretty soon.
ps4 and wiiu are my consoles of choice gor next gen. its been like this for the past 3 gens and i don,t see any reason 4 me to change that.
sony and nintendo are really the true gamer consoles.


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Fujifilm Launches The X-E2 And XQ1 Cameras
The X-E2 features a 16.3 Megapixel APS-C sized X-Trans CMOS II Sensor with an original colour filter array. This eliminates the need for an optical low pass filter that typically minimises moiré but does so at the expense of resolution. Instead, the X-Trans CMOS II sensor can capture unfiltered light from the lens.
Quality is further improved by the Lens Modulation Optimiser (LMO). Its processing of the various lens parameters as well as data from the screen centre to the edges, corrects diffraction blur when shooting with a stopped down aperture and compensates for the slight blurring in the lens periphery.
An aperture ring on the lens and a shutter dial on the top of the body allows full shooting control while keeping your eye to the viewfinder.
In addition to achieving an AF speed of 0.08 seconds, the X-E2 has a rapid startup time (0.5 seconds), virtually no shutter lag (0.05 seconds), and high-speed continuous shooting of 7.0 fps (up to 28 frames).
Accurate framing and focus checking is assured via the high resolution 2.36 million dot OLED viewfinder and Fujifilm's original optical design gives a distortion-free field of view. The LCD monitor size has been increased to 3.0" but the body is thinner. It has a high viewing angle and 1.04 million dot reinforced glass. The scratch-resistant surface reduces reflections and improves visibility.
Manual focus has been made easier by the inclusion of Digital Split Image technology. This helps the user achieve sharp focusing by simply adjusting focus to line up the four stripes displayed in the central part of the live view and match the left and right split images. Focus Peak Highlight, the highlighting of the outline in high contrast areas of the subject during focusing, further assists the user achieve sharp shots.
The X-E2 shoots Full HD video (1920x1080) up to 60fps and the AF tracking performance in movie mode has been improved with good focusing speed, accuracy and smoothness.
Quick tracking of the subject is possible in a variety of situations, such as when panning and zooming, or when the subject moves closer to or further from, the camera.
Film simulation settings and exposure compensation (±2) can be used during movie recording, and a high bitrate (36Mbps) has been set.
You can transfer images wirelessly from the X-E2 to your smartphone or tablet after installing the free FUJIFILM Camera Application app. There are no troublesome ID andpassword settings; just press the Wi-Fi button on top of the camera and then add the images directly to your blog or share them with friends on your social networking site.
You can also use the X-E2's built-in Wi-Fi to save your photos to your PC.
Through the in-camera RAW development function, a RAW image can be converted to JPEG without a computer, while 14bit RAW capture enables RAW conversion with richer tonality.
The X-E2 will ship in November for $1,000 in body-only form, or $1,400 when paired with an 18-55mm f/2.8-4 zoom lens.
Photographers looking for a more pocketable shooter will want to look at the XQ1. The ultra-small (at just 100mm (w) x 58.8mm (h) x 33.3mm (d) camera features a newly developed F1.8 4x zoom lens and the same type of 2/3" X-Trans TM CMOS II 12 megapixel sensor and EXR Processor II as used in the FUJIFILM X20 camera.
The XQ1's sensor is able to deliver an AF speed of just 0.06 seconds.
The camera's sensitivity ranges from ISO 100 to ISO 12800.
Image quality is enhanced by the Lens Modulation Optimiser. It corrects even marginal optical defects and diffractions caused when the lens aperture is narrowed. This maximises the resolving power of the lens for edge-to-edge image clarity.
The camera also boasts a shooting interval of 0.3 seconds until the next frame can be taken, while shutter lag is just 0.015 seconds.
It supports Wi-Fi connectivity and is equipped with a 3.0" 920K dot Premium LCD with an 85°vertical and horizontal viewing angle.
The XQ1 should arrive later this month for $500.
Fujifilm X-E2 Key features list:
- 16.3 megapixel APS-C X-Trans CMOS II Sensor
- Original colour filter array to control moiré and false color
- EXR Processor II
- FUJIFILM X Lens mount
- Lens Modulation Optimiser for improved image quality
- Extra high resolution 2.36 million dot OLED electronic viewfinder
- ±3 Exposure Compensation dial
- 3-inch (1.04 million dot) LCD (High contrast, High Brightness and Wide viewing angle)
- Built-in pop-up Flash (hotshoe attachment also available for external flash)
- ISO 200 – 6400, extended ISO 100, 12800, 25600, Auto (max range of ISO400-6400 when using ISO Auto)
- AF speed 0.08sec
- Q (quick) button to easily access shooting menu settings
- In-camera RAW converter
- Film simulation modes (Velvia, ASTIA, PROVIA, Monochrome, Sepia, Pro Neg.Std & Pro Neg.Hi)
- Artistic features inc. Multiple exposure, Panoramic shooting, and 8 Art filter effect
- Selection of Bracketing functions (AE / ISO / Dynamic Range & Film Simulation)
- Full HD Movie
- Microphone/shutter release input (Φ 2.5mm)
- Approx. 350 shots per battery charge
- Available in solid Black or two-tone Black and silver
Fujifilm XQ1 Key features list:
- 12 megapixel X-Trans CMOS II Sensor
- Original colour filter array to control moiré and false colour without an optical low pass filter
- EXR Processor II
- F1.8-F4.9 4x optical zoom equivalent to 25-100mm in 35mm format
- 4x intelligent digital zoom (16x combined with optical zoom)
- Lens Modulation Optimiser for improved image quality
- Wireless transfer of images using FUJIFILM Camera Application app
- 3" 920K-dot premium LCD with 85°vertical and horizontal viewing angle
- In camera RAW converter
- Built-in Super Intelligent Flash
- Five Film simulation modes (Velvia, ASTIA, PROVIA, Sepia and Monochrome)
- Eight Advanced Filter Effects: Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key, and Partial Colour
- Full HD Movie


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NEW YORK (MarketWatch) — The euro traded near a nine-month low versus the U.S. dollar Tuesday, falling after a gauge of German investor sentiment dropped more sharply than expected.
The euro EURUSD, -0.4402% changed hands at $1.3369, down slightly from $1.3384 in North American trade late Monday. The shared currency slipped as low as $1.3336 after the Center for European Economic Research, or ZEW, said the lead indicator produced by its monthly survey of German investors fell to 8.6 in August, from 27.1 in July — the lowest reading for the economic-expectations index since December 2012.
"With the ZEW warning that growth will be lower than expected in '14, with reduced investment by German companies impacting industrial production and incoming orders, the backdrop for the largest economy in Europe looks increasingly less secure, a scenario which has ramifications for the region as a whole," said Jeremy Stretch, currency strategist at CIBC in London.
Concerns over the European Union's trade conflict with Russia over Ukraine was blamed for the decline. Economists noted, however, that the ZEW survey has little predictive power historically, with investors usually paying closer attention to the Ifo Institute's monthly survey of business leaders for clues to economic sentiment.
The dollar index DXY, +0.35% , a measure of the U.S. currency against a basket of major rivals, rose to 81.512, up slightly from 81.452 late Monday. The U.S. unit was little changed versus the Japanese currency USDJPY, -0.28% at 102.24 yen.
The British pound GBPUSD, -0.5847% traded at $1.6814, up marginally from $1.6787 late Monday.
Here's what traders are watching Tuesday:
- The U.S. Labor Department on Tuesday said job openings at U.S. workplaces rose to 4.67 million in June -- the most since early 2001. Federal Reserve Chairwoman Janet Yellen often cites the survey when she talks about the state of the labor market.
- The National Federation of Independent Business's gauge of small-business sentiment edged higher in July.
- The International Energy Agency on Tuesday said oil demand would rise less than previously thought this year due to a weaker global economic recovery.
More from MarketWatch:
3 dividend-rich ETFs to own in volatile markets
Brett Arends: 30 'reasons' not to worry about a market crash
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A teenager stabbed his victim nine times after luring him into a trap by arranging a fake date with a girl, via text message.
Marcus Kirwan has been sentenced to life in prison for luring David Byrne to a youth centre pretending to be another teenage girl. On March 19, 2011, 19-year-old Byrne was set up by Kirwan and a number of other youths. He was chased into a dead end at a Dublin apartment complex.
Kirwan, who was also 19, stabbed the victim in the face once, and eight times in his back. His heart and lungs were punctured. One of the fatal wounds was over seven inches deep.
Byrne, of Davitt House in Drimnagh, South Dublin, died in hospital.
Justice Garrett Sheehan's mandatory sentence of life was greeted by gasps in court. Kirwan showed no reaction as he was led away.
Byrne's father, David Hayes, told the Irish Independent of his joy and delight at the verdict.
"We've been waiting for this day for a very long time…Justice is done."
He said he was proud of his son and told, "I wish that he's happy up there now."
Byrne's mother, Ann, died of cancer a month after his murder. His aunt Angela described her nephew as a gentle giant.
"He cared for his Mam, who had cancer…He was just a lovely boy."
In court, Kirwan of Cooley Road, also in Drimnagh, pleaded not guilty to murder, at Emmet Court, Inchicore in Dublin.
After only 13 minutes the jury returned a verdict of guilty.
The jury had heard from several residents from Emmet Court, through the case, who had witnessed the chase and assault.
Sonya Byrne, one of the witnesses, picked out Kirwan from an identification parade. Another,
Thomas Quinn, said he saw someone "digging" Byrne in the back. Imes Kmiecik saw three people running away from the scene. She said the last person had a 12 inch knife in their hand.
The chase was also caught by several CCTV cameras.
After the attack Kirwan was also captured on CCTV examining stains on his hoodie which the prosecution suggested was blood. He then takes off his hoodie.