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Immortals (US - BD RA)
Gabe watches good guys fight bad guys, decked in gold, in front of green screens.
The brutal and bloodthirsty King Hyperion (Mickey Rourke) and his murderous army are rampaging across Greece, demolishing everything in their wake with ruthless efficiency. Village after village falls to Hyperion's legions and each victory takes him one step closer to his goal: unleashing the power of the sleeping Titans to vanquish both the Gods of Olympus and all of humankind. It seems nothing will stop the evil king's mission to become the undisputed master of the world, until a stonemason named Theseus (Henry Cavill) vows to avenge the death of his mother in one of Hyperion's raids. When Theseus meets the Sibylline Oracle, Phaedra (Freida Pinto), her disturbing visions of the young man's future convince her that he is the key to stopping the destruction. With her help, Theseus assembles a small band of followers and embraces his destiny in a final desperate battle for the future of humanity. (from the official website synopsis)
As far as I'm concerned, sight unseen, Immortals has three things going in its favour – director, cast and my undying interest in Greek mythology. The first and most obvious plus is director Tarsem Singh, who hasn't made a genuinely good film outside of 2006's The Fall, but has an obvious eye for gorgo-ragious visuals, as evident in his music video catalogue, as well as his film debut The Cell, which is actually pretty good for about a third of its laborious runtime. Tarsem mostly does his part and creates a definitively beautiful and graphically extreme world, one I find myself preferring to Louis Leterrier's Clash of the Titans, especially when comparing the two director's more avant garde godly realms. While reveling in his extreme, at times pleasantly goofy, sets and costume design the director largely succeeds in at the very least creating something enjoyable to look at. But when Tarsem depends too heavily on digital effects to fill out his expansive, epic world he tends to inadvertently shrink it, creating limiting and cheap-looking images. For the most part, Tarsem and his editors Wyatt Jones and Stuart Levy succeed in creating stylized action beats that play out in long, sweeping shots, rather than over-cut, shaky-cam glimpses of blurry fisticuffs. Sadly, as the action picks up it becomes all the more obvious that Tarsem is a director for higher, not the major creative force on this project, he's clearly doing his best impression of Zach Snyder's 300 shtick at the behest of executive producer Mark Canton, who was hoping lightning would strike twice. This is sad because Tarsem has the potential to be a much more interesting filmmaker than Snyder, whose similarly stylized films are quickly devolving into graphic mud, like Sucker Punch. If it featured the same cast and screenplay I'm pretty sure I'd prefer Tarsem's version of Watchman, and would definitely be more excited about Man of Steel with him attached.
Speaking of the Man of Steel, the second reason I was curious to see Immortals is leading actor Henry Cavill, who is busy playing Superman for Zach Snyder right now. Like all nerds I like to know what to expect from an actor before he or she takes on such a coveted role. If Immortals is any indication Cavill is good enough at looking stoic, and he's certainly got the physical presence, I'm just not sure he can actually act, because Tarsem gives him so little chance to show any range of emotions. The rest of the cast fairs about the same, with the exception of Micky Rourke, who despite apparently hating the experience of making the film, has what appears to be a fine time chewing the scenery as King Hyperion. Even at half of a half ass his performance is amusing. I'm also a big enough Greek and Roman mythology nerd that I'm willing to give just about anything working from the source material a home video release chance. The problem is that screenwriters Vlas and Charley Parlapanides don't add any real humanity to the story. All the characters go through the motions with all the intensity of sleepy kittens, and the stakes of the war are never appropriately signified. Tarsem and the Parlapanides have fun filling the screen and script with epic numbers of soldiers, but never once are you going to care what happens between shots of clanging swords and epic vistas. The sense of overwhelming melodrama actually fits the source material, but doesn't carry any genuine weight, and turns exhausting, along with the terse and dopey dialogue, despite the best efforts of a decent cast. It was genuinely alarming how little I was concerned with anything that didn't concern graphic violence for the sake of graphic violence. The gorehound in me enjoyed films hyper-violence in terms of spectacle, but like Snyder's similar 300 violence, it offers little in the way of genuine pain or awe.
Immortals was shot using full HD Panavision Genesis digital cameras, which have in the past featured a bit of a digital ghosting effect problems to my eye. This 1080p, 1.78:1 image (in 2D) shows generally no sign of this problem. Occasionally things get a bit fuzzy, but I believe these were part of the 3D composition, and meant to appear out of focus. For the most part the digital source details are extremely sharp, as expected, including crisp edges and fine textures. The more complex digital backdrops and decorative elements of the golden armour are particularly stunning. And speaking of 'golden', there are scenes in Immortals that are almost monochromatic in their devotion to gold. Outside of the high contrast black and white elements, several minutes tick by without even a hint of an alternate hue. Outside of these shots there are plenty of poppy solid blue, green, and red hits throughout the film, and most of these are generally presented as the same hue with only subtle changes in gradation to set them apart from each other. These shades are mostly pure, and mostly cut heavily against each other, but there are moments where they bleed into the blacks, and I definitely noticed a touch of digital noise along some of the reddest edges. Outside of these, I didn't catch any real noticeable digital artefacts or damage. The only major problem I had with this transfer pertains to its utter blackness. Any nighttime sequence is so dark it's genuinely impossible to tell what's going on, which I'm assuming was the intended vision based on the sharpness of the white highlights in these scenes. Interestingly enough daylight scenes featuring utter blackness, like the one where Theseus and his friends are covered in oil, look perfectly stunning and crisp.
There's no mistaking the utter bombast of this DTS-HD Master Audio 5.1 soundtrack, which will tear your system a new one in the first couple of minutes of film time. The films scale is greatly assisted by subtle and not so subtle sound design, especially when in the midst of Hyperion's kingdom, where the clang of industry and the wails of pain fill the rear and stereo channels in reasonably realistic ways (as realistic as such a film can be). The gods' narration fills out the rear channels a whole lot more than I'm used to, which adds another nice touch of immersion, along with a more abstract, multi-channel flutter that accompanies the visions seen by the virgin oracle. The film's battle scenes feature a solid collection of directional elements and dynamic ranges, but the soundtrack is most impressive when the gods are doing godly things, like creating massive waves, breaking heads at amazing speeds, or gorily killing Titans in super slow motion. Even the basic weapons of the gods are intimidating, and rumble with much more bass than those of mortal men while being brandished. Trevor Morris' omnipresent score is big and brassy, throbbing out of the mix, and banging us over the head with bursts of low horns, and massive percussion.
Extras begin with It's No Myth (5:30, HD), a brief discussion of the film's source material with Cal State University lecturer J. Mark Sugars, Cal State University professor of comparative literature Dr. Nhora Lucia Serrano, UCLA lecturer Richard Rader, and (briefly) director Tarsem Singh and actor Kellan Lutz. These educational types run down the basics of Greek mythology, the reality found its themes and its place in modern storytelling, and is generally a good primer. Caravaggio Meets Fight Club: Tarsem's Vision (20:30, HD) is a four-part featurette covering the director's vision (including design and story themes), the visual effects (including new effects systems that allow effects compositions on sight), the stunts and the film's score. It features interviews with Tarsem, writers Vlas and Charley Parlapanides, actors Henry Cavill, Freida Pinto, Stephen Dorff, Luke Evans and Kellan Lutz, producers Gianni Nunnari, Mark Canton, Tommy Turtle, Ryan Kavanaugh and Jeff G. Waxman, art director Mark Manson, costume designer Eiko Ishioka, VFX producer Jack Geist, VFX supervisor Raymond Gieringer, cinematographer Brendan Galvin, stunt coordinator Artie Malesci, and composer Trevor Morris. Everyone makes telling comparisons to 300 throughout.
Next up is an alternate opening sequence (11:30, HD), which follows the final film relatively closely, but adds a bit of insight into the earlier years of some of the characters (Hyperion's history could've been included, but the young Thesius stuff is pretty boring), followed by two alternate endings (8:40 and 4:10, HD), and eight more deleted/alternate/extended scenes (8:10, HD). The deleted scenes add a smidge of character to the gods, and help establish the geography of the universe. I think I might've left parts of them in, but generally appreciate the film's quickened second half pace. The extras are completed with five still galleries from the Immortals: Gods & Heroes comic books, a trailer, and trailers for other Relative Media releases.
Immortals is uber-dumb, a textbook example of style over substance, and I'm not sure I could possibly care less about the plot or characters, but I still kind of enjoyed it. It could certainly be worse. I still have faith that director Tarsem Singh has a bright future. Anyone with this potent of a cinematic voice has to have at least one more The Fall in him. I mean, there are definitely comparisons to be made between him and Alejandro Jodorowsky, right? *Watches Mirror, Mirror trailer* Ohhhh, maybe not…
…Well, this Blu-ray disc looks and sounds pretty great, despite a bit of mud in the darkest sequences, and the brief extras actually cover quite a bit of the behind the scenes story. Fans should be plenty happy.
* Note: The images on this page do not represent the Blu-ray image quality.
Review by Gabriel Powers
Existing Posts
Watched this over the weekend and I've got to ask--did anyone else find it extremely boring? I must have checked how much time was remaining over half a dozen times.
I love this film. There; I said it. Bring on the hate!
Loved both The Cell and The Fall as well. Tarsem is definitely an interesting director. I can understand the critique against Immortals, but in the end, it's all about personal taste.
As for David Goyer: I can agree with you there. The Unborn is one of the worst films I've seen and Blade: Trinity was the worst of the trilogy.
Loved both The Cell and The Fall as well. Tarsem is definitely an interesting director. I can understand the critique against Immortals, but in the end, it's all about personal taste.
As for David Goyer: I can agree with you there. The Unborn is one of the worst films I've seen and Blade: Trinity was the worst of the trilogy.
Gabe Powers wrote: The only good films that have ever come out of his scripts were largely re-written by others (Blade, Blade 2, BB, Dark Knight).
Relax, his "Man of Steel" script got rewritten. I know some insiders who said that Jonathan Nolan and Kurt Johnstad's rewrites "saved the last third of the film", as well as punching up the dialogue.
But... check out "The Tudors." Netflix it or whatever, Cavill is severely underrated as the supporting role. At times he outdoes Jonathan Rhys-Meyers.
Relax, his "Man of Steel" script got rewritten. I know some insiders who said that Jonathan Nolan and Kurt Johnstad's rewrites "saved the last third of the film", as well as punching up the dialogue.
But... check out "The Tudors." Netflix it or whatever, Cavill is severely underrated as the supporting role. At times he outdoes Jonathan Rhys-Meyers.
The only worse thing to David Goyer's writing is his directing... need I remind the titles? Then, it's best he gets re-written every time rather than re-directed... although that could save a few pictures.
David Goyer is a terrible, terrible writer. The only good films that have ever come out of his scripts were largely re-written by others (Blade, Blade 2, BB, Dark Knight).
"If it featured the same cast and screenplay I'm pretty sure I'd prefer Tarsem's version of Watchman, and would definitely be more excited about Man of Steel with him attached."
I'm afraid Tarsem's "Man of Steel" would be worse than Snyder's. Plus, "Steel" doesn't have the writers that did "Immortals" -- rather the BB/TDK/TDKR duo of Christopher Nolan and David S. Goyer.
And if you want to see Cavill genuinely act, I highly recommend you go straight to "The Tudors" season 3. He did a great job as Charles Brandon in that season.
I'm afraid Tarsem's "Man of Steel" would be worse than Snyder's. Plus, "Steel" doesn't have the writers that did "Immortals" -- rather the BB/TDK/TDKR duo of Christopher Nolan and David S. Goyer.
And if you want to see Cavill genuinely act, I highly recommend you go straight to "The Tudors" season 3. He did a great job as Charles Brandon in that season.
Stephen Dorff stopped aging over a decade ago.
When I saw this theatrically all of the characters looked like cardboard cut-outs against the backdrops, and I didn't see it in 3D...
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 6th March 2012
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.85:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, DTS 5.1 French
Subtitles: English SDH, Spanish
Extras: It's No Myth, Caravaggio Meets Fight Club: Tarsem's Vision, Two Alternate Endings, Alternate Opening, Delted Scenes, Immortals: Gods and Heroes Graphic Novel, Trailers, Digital Copies
Easter Egg: No
Feature Details
Director: Tarsem Singh
Cast: Henry Cavill, Mickey Rourke, Stephen Dorff, Luke Evans, Isabel Lucas, Kellan Lutz, Freida Pinto
Genre: Action, Adventure and Fantasy
Length: 110 minutes
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text: Android data stealers often bilk users of information such as their operating system version, product ID, International Mobile Equipment Identity (IMEI) number and other information that could be used in future attacks. The data stealers consisted of 24.9 percent of all Android threat types in 2012, according to Trend Micro's analysis. DroidDream, detected by researchers at Lookout Mobile Security, Inc. in 2011, gained the most notoriety. The malware was found embedded in more than 50 mobile apps in the official Google Play store. It was believed to have been downloaded 5,000 times before it was removed. The malicious code was designed to break out of Android's application security sandbox to send information from the phone to a remote server. Variants of DroidDream still circulate on third-party Android app stores.

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I have upgraded openldap to latest stable version (2.3.38) and used Berkeley DB version 4.5.20. The problem remains. I realize my analisys wasn't correct since, as Howard Chu pointed out, the CSN contains both a timestamp and a counter. So the entryCSN:s are unique.
But, the problem remains and I have no idea why this happens. I somehow still suspect that the problem still is in the initial phase of the sync operation (refresh stage). It might be that, some of the not-yet committed modifications don't make it into the result set in the search operation. Later after another entry is added, the "lost" entries are never to be synced over.
I will test some more and try to provide more information. I have a test program that generates this problem but it is a little cumbersome. I will try to slim it down and use more common schema elements before posting it.
Quanah Gibson-Mount Principal Software Engineer Zimbra, Inc -------------------- Zimbra :: the leader in open source messaging and collaboration


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All News Releases By Date
EPA Orders a Stop Sale of Hampton Manufacturing, Inc's "Antibacterial H-42 Clipper Cleaner"
Release Date: 06/11/2013
Contact Information: Dawn Harris Young, (404) 562-8421 (Direct), (404) 562-8400 (Main), email@example.com
ATLANTA – The U.S. Environmental Protection Agency (EPA) issued a Stop Sale, Use, or Removal Order (SSURO)
to Hampton Manufacturing, Inc., located in Fayetteville, GA, to stop the sale of "Antibacterial H-42 Clean Clippers," a pesticide used to kill bacteria and HIV-1 (AIDS Virus) on cutting tools such as clipper blades, shears and manicure implements.
The SSURO was issued to Hampton Manufacturing, Inc. for selling and distributing a pesticide that was misbranded and whose composition differed from the stated percentage of active ingredient in violation of the Federal Insecticide, Fungicide, and Rodenticide Act (FIFRA). Specifically, testing revealed that the pesticide contained less than the stated amount of the active ingredient. Additionally, some labels had directions for use of the product in a spray application. The only directions for use, approved by the EPA, require the clipper blades, shears and manicure implements to be placed directly into the liquid product.
Before selling or distributing any pesticide in the United States, companies must register the pesticide formulation and label with the EPA. Each producer, seller and distributor is required, under federal law, to ensure that the registered pesticide is formulated and labeled in accordance with EPA requirements.
EPA's is committed to ensuring that pesticides in the marketplace meet FIFRA requirements, since the public cannot readily ascertain with the naked eye the effectiveness of antimicrobial pesticides. Due to the possibility of human health implications if the pesticides are not effective, the EPA continues to place a priority on actions regarding non-complying antimicrobial pesticides.
FIFRA is a federal law that requires the registration of pesticide products and pesticide-production facilities, and the proper labeling of pesticides. This requirement protects public health and the environment by ensuring safe production, handling, and application of pesticides and by preventing false or misleading product claims.
For additional information about pesticides, visit: https://www.epa.gov/pesticides/.
Connect with EPA Region 4 on Facebook: www.facebook.com/eparegion4
And on Twitter: @USEPASoutheast
Search this collection of releases | or search all news releases
View selected historical press releases from 1970 to 1998 in the EPA History website.


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In Treatment, There Can Be Too Much of a Good Thing
Aggressive lowering of blood pressure may put patients at risk for harm
Aggressive treatment of chronic diseases such as high blood pressure and diabetes has helped to reduce patient deaths. But a new study suggests some patients may be getting too much treatment, increasing their health risks.
The study, published Monday in the Journal of the American College of Cardiology, reviewed electronic health records of nearly 400,000 patients at Kaiser Permanente Southern California who were taking medication for high blood pressure, or hypertension. The report suggests patients whose blood pressure...


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Cole Myhra and Caleb Voss combined for five touchdowns in UW-Oshkosh's 37-14 playoff win over Bethel University (Minn.) on Saturday (Nov. 24) at J.J. Keller Field at Titan Stadium.
The Titans (12-0) will take their 14-game win streak to #3 Linfield College (Ore.) next Saturday (Dec. 1) in a national quarterfinal game of the NCAA Division III Championship. Linfield defeated #14 North Central College (Ill.) by a score of 30-14.
Just like last week, UW-Oshkosh fell behind early. The Royals (9-3) took a 14-0 lead on Mitch Hallstrom's fourth-down touchdown grab with 9:33 left in the second quarter. The Titans, who tallied 55 unanswered points against St. Scholastica on Nov. 17, then shut out Bethel for the last 39 minutes.
On Bethel's second drive of the game, Erik Peterson found Hallstrom for a gain of 31 yards. Then on 3rd-and-11, Hallstrom went in motion and caught Peterson's pass in stride for a 55-yard touchdown.
UW-Oshkosh's first five possessions of the contest ended with three punts and two interceptions. The second turnover was a pass off the receiver's hands that David Morgan snatched in the end zone.
The Royals drove to the two-yard line and decided to go for it on fourth down. Hallstrom went in motion again and got open on a crossing route to make it 14-0.
"We're very unemotional, and that's probably because of me," UW-Oshkosh coach Pat Cerroni said. "We stay very even-keeled."
The Titans needed a big play to change the momentum, and Ryan Stefaniak provided it during the final two minutes of the half. He stepped in front of a Bethel pass and returned it 23 yards into scoring range.
"I didn't get the play call," Stefaniak said. Coach Cerroni added that Stefaniak was supposed to blitz on that down.
On the next play, Myhra sprinted up the middle for 25 yards. He plunged into the end zone from one yard out to make it a 14-7 deficit at halftime.
Bethel had outscored its foes, 115-10, in the third quarter this season, but UW-Oshkosh posted a 21-0 margin in the period today. The Titans' opening drive went 73 yards, including a 15-yard scramble on 3rd-and-10 by Nate Wara. Myhra capped the march with a three-yard run to tie the score at 14.
Wara and Voss connected on the next two drives to put the game out of reach. On the first score, Voss caught an out route, spun away from a defender and bolted 36 yards for the touchdown. Voss then ran an out-and-up, and Wara tossed a perfect 27-yard rainbow in the corner of the end zone to give the Titans a 28-14 cushion with 4:03 on the third-quarter clock.
UW-Oshkosh's first series of the fourth covered 66 yards in six plays. Zach Kasuboski took a swing pass and ran 31 yards down the sideline. Then at the 16, Wara got the shotgun snap and pitched forward to Myhra. Cutting across the field, Myhra broke a tackle at the 5 and crossed the goal line for his third touchdown of the day.
The game's final score came when Stefaniak and Taylor Goodman trapped the Bethel tailback for a safety. Stefaniak finished with a game-high 13 tackles, while Goodman added 10 stops. The Royals were led by 12 tackles from Morgan and 10 from Seth Mathis.
UW-Oshkosh, ranked fifth by D3football.com, totaled 462 offensive yards. The Titans dominated the second half with advantages of 344-74 in yardage and 18-4 in first downs. Tim Filter and Zach Wettengel also had interceptions for the defense.
Myhra broke 140 rushing yards for the fifth straight game, compiling 177 on 26 carries. Wara finished 18-of-27 through the air for 232 yards, as Voss grabbed six balls for 93 yards.
Bethel, concluding its seventh postseason appearance, totaled 300 yards. The Royals mustered just 28 yards on the ground, as Marshall Klitzke recorded 19 yards on 16 carries. Hallstrom caught nine passes (one in the second half) for 133 yards, while Peterson completed 21-of-32 throws for 272 yards.
Written by Jon Feyen, UW-Oshkosh Sports Information


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Escalante Days bike rodeo, race and softball tournament
The Dolores Rotary Club is sponsoring a bike rodeo immediately after the Kiddie Parade on Friday evening Aug. 10. The event will begin about 6:30 p.m., and will be held in the parking lot behind Dolores Medical Center, located at 507 Central Ave. All participants will receive a helmet and a gift bag. Participants may also register for a bicycle drawing. On Saturday, Aug. 11, is the 14th annual Escalante Days Mountain Bike Race. The race will start at 9:50 a.m., at 5th and Central. There will be cash prizes for winners in the expert and singlespeed race categories, and prizes for first, second and third place finishers in beginner and sport race classes. Those beating the expert course record will be awarded a cash prize, as will the first rider to cross the cattle guard at the top of the hill. Proceeds from the race go to benefit Rotary youth, community and international service projects. Volunteers are needed. Contact Jason Strickland at email@example.com or 676-1129 to volunteer. Register online at www.active.com by Wednesday, Aug. 8, or on race day from 8 to 9 a.m. in front of the Dolores Medical Office. Preregistration entry fee is $35 and day of race entry fee is $45. Course maps and additional information are available at www.clubrunner.ca/dolores. For additional information regarding both events, please contact Neal Stephens at 564-4440. On Friday and Saturday, the Escalante Days softball tournament will once again take place in Flanders and Joe Rowell Parks in Dolores. Call 882-4018 for more information.
Medicine Horse golf tournament
The Medicine Horse Masters golf tournament will be Saturday, Aug. 11, at the South Forty Golf Course, located at 25500 Road H. Registration is at 8 a.m. with a scramble format/shotgun start at 8:30. There will also be a driving range challenge, closest to the pin and longest putt challenges. Cost is $25 per player ($100 per 4-person team). Entry fee includes nine holes of golf, course drinks and lunch. All event proceeds go to Medicine Horse programs. Please preregister by calling the local Medicine Horse Center at 533-7403.
Free backpacking trip
The San Juan Mountains Association, in partnership with the San Juan National Forest and BLM Tres Rios office, is offering a free backpacking trip the weekend of Aug. 11-12, led by certified interpretive guide MK Thompson. Whether you are new to backpacking or want to share your experience with others, this trip will be a fun and educational adventure. The trip will travel around the Four Mile Lake loop, a 12.4-mile loop in the San Juan National Forest. Optional side trips will explore peaks and other lakes. An optional informational meeting will precede the trip. Space is limited, so reserve your spot today by calling 759-9113 or e-mail firstname.lastname@example.com.
Ute Mountain Wolf Pack football
Ute Mountain Wolf Pack football in Towaoc is now accepting registration forms for youth tackle football. Ongoing registrations will be held at the Ute Mountain Recreation Center for kids aged 8 through 15. Cost of registration is $35 and practices begin in early August. For more information, call Nick Traweek at 564-5752 or 570-7437.
Local runners invited
All area runners are invited to join the Montezuma Milers Summer Running Group every Tuesday and Thursday evening throughout the summer. This informal, noncompetitive event offers runners of all skill levels the opportunity to meet other runners and to put on some mileage. Local high school cross-country runners are especially encouraged to attend to build a solid base for the fall season. Meet in front of the Cortez Recreation Center at 6 p.m. Contact coach Paul Koops for details at 565-4129.


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Architecture and design are becoming increasingly important for tourism. Nowadays, many travellers are interested not only in the historical sights that a city has to offer, but progressively also in extraordinary architecture, be it a new skyscraper, a museum or a residential building.
Architecture is playing more and more an important role for the identity and tourism of a city. Even in ancient times, temples were built to honour the gods. Just like other public buildings, they attracted large amounts of visitors. Architecture was, and still is, an expression of the lifestyle, way of life and culture of a certain epoch. Even today, many cities still exude the zeitgeist of past eras, and are a popular travel destination for precisely that reason. Over the past decades, however, there has been a shift in focus: While it used to be mainly the historical landmarks which attracted those interested in culture, it is now the modern architecture which is becoming increasingly relevant.
Cities are no longer associated only with their historical buildings, but are also branded by modern buildings and architecture. The building itself becomes an attraction, a symbol of the city, and a popular subject for photos. If you think of Australia, for example, one particular building comes to mind: The Sydney Opera House. The building in the shape of a sail on the high seas, which is perfectly adapted to its location in a coastal city, is regarded not only as a landmark of the city, but has become a global symbol of the fifth continent.
Extraordinary architecture also influences the travel behaviour in Europe. The Spanish city of Bilbao owes its record tourism numbers to the construction of the Guggenheim Museum, which resulted in the so-called Bilbao effect. The "Museo Guggenheim Bilbao", which was built according to the plans of architect Frank O. Gehry, is the reason for the Basque industrial metropolis experiencing a never seen before recovery after a period of economic decline. Even the exterior of the spectacular cultural building is a modern work of art in its own right, and worth the journey for anyone who loves unconventional shapes and forms.
New York's skyline is characterised by tall skyscrapers. The varied scenery begs to be photographed and attracts millions of tourists to the Big Apple each year. While there were 28 high-rise buildings in 2004, another 47 will be added in the coming years. Star architects Norman Foster, Zaha Hadid and Herzog & de Meuron are just a few of the many architects contributing to NYC's skyline with spectacular designs.
In order to ensure that you will not miss out on any architectural highlights during your next city trip, we recommend you put aside your classic travel guide this time around and consult a special architecture guide instead. Apart from presenting historical buildings, it also offers extensive information on contemporary buildings, allowing the reader to become a true architectural expert.
Do you want to invest in a special property and place value on architectural design? Then please contact Engel & Völkers. Our portfolio offers many interesting properties in the most sought after locations. As an international company, we operate in 37 countries worldwide, so it makes no difference to us where you want to invest: Our competent local consultants will help you find the right property!


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Brocade and Tulle Party Frock
Added Dec 19, 2011
By burdastyle
New York, New Yo...
Last week I went to The Nutcracker—and in New York City ladies really dress up for the ballet which makes the event so much fun. I was inspired to make a party dress with tulle like a ballerina's costume and combine it with a richly hued brocade. Seeing that brocade can be quite expensive, this variation was perfect for using just 1/2 yard for the bodice.
Made up of an overdress and an underdress, the Sibylle pattern is an excellent template for making a princess seamed bodice and full skirt. This version is super simplified—you leave out the over dress.
If you're a fan of ballet, check out this blog post on Black Swan, the gorgeous and eerie feature film by Darren Aronofsky.
Material Notes
1/2 yard brocade; 6 yards tulle
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Jan 8, 2012, 06.28 PMby nehapatel
I love your dress! I'm trying to make the dress right now but I'm having trouble finding material for my skirt – I really like your tulle skirt and I was wondering where you got your tulle from?
Dec 28, 2011, 02.55 AMby lyssiemarie16
i love your design! im def gonna try and make this- for sure!!!!
Dec 22, 2011, 05.34 PMby momartin
Love the shape… I'm thinking about using silk chiffon for bodice… and skirt overlay.
Dec 22, 2011, 10.02 AMby bernieandi
You look amazing. Such a pretty look!
Dec 21, 2011, 07.13 PMby monikago
yes, I also went to see the Nutcracker last week and loved the costumes. Dreaming of designing and constructing beautiful dance costumes. Love the brocade paisley bodice, will check out the pattern.
Dec 20, 2011, 08.30 PMby janul
I really like it, I´m into tulle a lot these days :)
Dec 20, 2011, 08.59 AMby dottty
O thats just gorgeous jj:)x
Dec 20, 2011, 07.32 AMby Sistu
Love your tulle frock!
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Night of the Livng Dead (UK - BD RB)
Marcus Doidge survives the Night of the Living Dead with this new Blu-ray Disc...
'They're going to get you Barbra'
Johnny (Russell Streiner) and Barbra (Judith O'Dea) have driven to Pennsylvania to lay flowers on their father's grave. Whilst at the gravesite they are approached by a strange lumbering man who is unusually grabby. Johnny is fatally injured and Barbra barely escapes (despite being chased by the slowest of pursuers).
Barbra finds her way to what seems to be an abandoned house with the strange man still on her tail. There she meets Ben (Duane Jones), who has had a similar incident involving strange grabby pale folk They soon discover that there are more people hiding out in the house including a little girl who's suffering from a bite that she's responding strangely to and her 'will not compromise' Dad. With the zombie numbers increasing outside the house and tensions rising inside the house, the group begin boarding themselves in to keep the increasing numbers of strange grabby pale folk from, well, grabbing them.
In 1968, Night of the Living Dead wasn't the first zombie movie, but it's pretty much the blueprint for everything 'zombie' that followed. It has the plot points that we all know so well from today's outings that grace our screens, whether they be cinema, TV or long running game series. It's got the broad mix of characters, a familiar place that they all gather together in, it's got the ticking time bomb character who's obviously going to turn and who's left just off camera so you don't think about them too much until they do and it has the oh so sweet moment where you realise a good blow to the head will sort out those groaning flesh eating nasties before they get their mitts on you.
I'll admit with a huge amount of embarrassment that I'd never seen this original classic until I got this Blu-ray to review. I'm not quite sure how that happened because even though I don't consider myself a massive horror or zombie movie fan, I've still managed to see pretty much all of the essentials (and some others that make me not a big fan of horror or zombie movies) over the years. That said, watching this for the first time I can see why it gained such admiration and historical importance in the movie world and as well as all that, it's really bloody good.
George A. Romero's first proper movie is just so beautifully realised despite its budget limitations. Initially, Night of the Living Dead feels very much in homage to the 50s B-Movie era, with its hokey dialogue, over-acting and use of black and white filmmaking, but this soon becomes something far more modern. The genuine feel to the news reports make this small event suddenly become so much bigger, the focus on the different characters' intentions and how they cause friction in the small group and even more refreshing, was the fact that Ben, a black character in a 60s movie is never treated as a black character in a 60s movie. He's just a guy—a guy who thinks he knows how to handle this insane situation and is just getting on with it while all around him fall apart. He's one hell of a character who's really the first person in the film that you get behind and for Romero choosing never to pull out the race card for a bit of extra drama, despite having enough content in the set up to be able to do it with ease, is just great.
I know it's a given, but another really awesome thing about Night of the Living Dead was the zombies. It was great to see them so simply handled as opposed to the CGI assisted, fast edited, over prostheticed, or 'cool' zombies that they have evolved into over the years. Here, you get classic slow-walking, vacant folks, but it's not too over the top with the arms out front and the groaning or covered head to toe in blood or what have you. There's a real sense that there's something functioning in there. The mere fact the first zombie we see has issues getting into a car and quickly reverts to the use of a rock sounds very twee written down, but within the movie, it adds that subtle amount of realism to the unfolding events and in many ways is more believable and memorable than a lot of the new movie attempts, where they're always try to outdo what went before.
Night of the Living Dead is truly a classic movie that deserves all of its praise. It has everything you'd expect from a zombie movie and is handled with a great deal of subtlety, which probably has more to do with its budget than actually artistic choice but because of that, it keeps you involved. It's well thought out, almost perfectly paced and has an ending that is just plain brilliant.
The Blu-ray is presented in its original 1.33:1 ratio and despite the age of the movie, looks pretty damn sweet in HD. There are no noticeable artefacts, specs, or dirt, and the details are generally clear especially on faces. Look out for the beads of sweat on Ben's face in some scenes—they really show off the HD transfer. Saying that, some of the wide shots suffer quite a bit, the film's age really begins to show as the image gets a little hazy and the detail in the backgrounds drop considerably and unfortunately this is all the more noticeable when these shots are spliced between the close ups that are a hell of a lot better.
In DTS HD Master Audio 2.0 Mono and Dolby Digital 2.0 Mono, the sound mix here is good for the most part. The dialogue is clear and crisp unless there are more than two people in a room and it starts to get a little muffled, especially if those people start shouting. The soundtrack is solid enough for a mono mix, but has that 60s movie ringing in the louder more intense scenes. When these get into the higher pitches, they can really attack your senses but all in all this comes with a lot of movies of this era and I'd imagine that it wouldn't feel the same without it.
As readers of the site may know from recent new item, Night of the Living Dead should come with the documentary 'One for the Fire: The Legacy of Night of the Living Dead', with a ninety minute run time. The check disc we received mistakenly only had a twenty-five minute version, which Optimum assures us will be fixed for the retail release on the 29th of September. After watching the twenty minute version it has to be said, I'm pretty glad I didn't have to watch more, mainly because it's like one of those documentaries that pop up on TV for a classic movie celebration where they gather the original cast together forty years later and get them to tell their tales in a really friendly and bizarre fashion. I'm sure fans will eat this up in a weird sort of way but for me only having just seen the movie for the first time and it not having a place close to my heart, this all got just a little too grating.
Well it may have taken me far too long to actually see Night of the Living Dead, but after checking out this Blu-ray release I'm glad to say that I finally have.
It's a great movie that deserves its praise, with video and audio that hits more than it misses, despite missing quite consistently. The one extra feature it has, is sickly sweet but informative and will probably find more love from the movies fans than it did from me but overall for a movie that was made in 1968 on a small budget, Night of the Living Dead is an acceptable Blu-ray presentation, despite the fact it probably deserved a bigger batch of features to fit its classic status.
* Note: The above images are taken from the Blu-ray release and resized for the page.
Review by Marcus Doidge
Suitable only for persons of 15 years and over
Disc Details
Release Date: 29th September 2008
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.33:1 Full Frame
Anamorphic: No
Colour: No
Audio: DTS HD Master Audio 2.0 Mono, English, Dolby Digital 2.0 Mono English
Subtitles: None
Extras: One for the Fire: The Legacy of Night of the Living Dead'
Easter Egg: No
Feature Details
Director: George A. Romero
Cast: Judith O'Dea, Duane Jones, Karl Hardman
Genre: Horror, Sci-Fi and Thriller
Length: 95 minutes
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On Gay Marriage, Times Are Changin'
As gay marriage continues to be a controversial issue in political and legal discourse, a quite drastic trend in public opinion is occurring right before our eyes: Public support for gay marriage has risen significantly over the past two decades in ways you may not have noticed. Columbia University political scientists Andrew Gelman (also a statistician), Jeffrey Lax, and Justin Phillips have published a compelling report in the New York Times that documents and discusses these trends. Be sure to look at the associated graphics. The article is related to Lax and Phillips' research, published in the American Political Science Review, on public support and policy responsiveness on gay rights issues at the state level. Here is a summary of the primary findings from the NYT article:
1. For the first time, a national public opinion poll (by CNN) finds majority support (narrowly) for gay marriage; on average, polls show roughly 45% support.
2. In 1996, just 25% of the American public supported gay marriage.
3. "The more important turning points in public opinion, however, may be occurring at the state level, especially if states continue to control who can get married."
– In 2004, no state showed majority support for gay marriage.
– By 2008, three states showed majority support.
– Today, 17 states show majority support for gay marriage.
– "Support for same-sex marriage has increased in all states, even in relatively conservative places like Wyoming and Kentucky."
Gelman, Lax, and Phillips forecast that these trends will continue in the future, as the under-30 population shows majority support for gay marriage across all states. "As new voters come of age, and as their older counterparts exit the voting pool, it's likely that support will increase, pushing more states over the halfway mark."
Of course, the times are changing not only in public opinion, but in public and legal policy as well. 5 states now allow gay marriage (IA, CT, MA, NH, and VT). While several states currently have bans on gay marriage, federal district court Judge Vaughn Walker's declaration of CA's Prop 8 as unconstitutional means that the courts — ultimately, the U.S. Supreme Court — will decide whether those bans will stand or not. And a federal district court judge in MA has struck down parts of the federal Defense of Marriage Act (DOMA).
All roads in this debate lead to a fundamental question: What will the Supreme Court do? The Prop 8 case is on a sure path to the Supreme Court. And the Massachusetts District Court decision on DOMA may also end up at the Court (see this post by CoOp contributor Glenn Cohen). While bloggers and legal commentators continue to speculate on what the Supreme Court will do, I actually have little doubt that in a few years, the Supreme Court will strike down Prop 8 (and by implication, other state bans), declare a constitutional right to gay marriage (via the 14th Amendment's due process and equal protection clauses), and rule that states cannot prevent citizens from getting married on the basis of sexual orientation. First, it is not at all a stretch to think that Justice Kennedy — who will likely write the 5 person majority opinion — will vote as such. His opinion in Lawrence paves the way for such a position (as Justice Scalia emphasized in his dissent), and I think he and the Court majority will apply the logic in the Loving v. VA precedent (prohibiting state bans on interracial marriage) to sexual orientation. That is, marriage is a fundamental right, and, as Judge Walker emphasized, no matter what legal standard you use (rational basis or strict scrutiny), there is no legitimate basis for preventing that right on the basis of sexual orientation. Also, I do not think that Ted Olson would take on a case of this magnitude — particularly one that goes against his usual ideological proclivities (though see his Newsweek article) — unless he knew there was a high likelihood of a payoff awaiting him at the end.
Sometimes it is difficult to assess social and policy change while you're in the middle of it. As Gelman, Lax, and Phillips have documented, momentum has been building for gay marriage in the public for a decade, and it is bound to continue building. Policy in the states has begun to follow suit. And ultimately, it is completely conceivable to think that the Supreme Court will complete the circle and declare that marriage is a fundamental constitutional right that cannot be abridged by states on the basis of sexual orientation.


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The school is working to start a new marine industries program, a reflection of excitement about job possibilities with the South Terminal project.
NEW BEDFORD — Greater New Bedford Regional Vocational-Technical High School is working to start a new marine industries program, a reflection of broad excitement about long-term job possibilities with the new South Terminal project.
An advisory committee met for the first time in October to develop a new curriculum, which would range from diesel engine repair and maintenance to studies in the marine environment.
Administrators are hoping to start the program in the fall of 2014 with about 15 freshmen, said Steve Walker, the school's science, engineering and technology coordinator, one of the people leading the effort.
"We're looking to the future where the jobs will be," Walker said. The South Terminal "might be just the boost to get it back and we want our students in on the ground floor."
The South Terminal, formally called the New Bedford Marine Commerce Terminal, is scheduled to be completed in 2014 and is designed to serve as a staging area for the nascent offshore wind industry. Boosters of the project estimate that it will create about 700 to 800 long-term jobs, in professions as diverse as ship and wind turbine maintenance and accounting.
Already, there is a shortage of qualified workers to perform ship repair and maintenance, said Chris Manghan, a 1983 Voc-Tech alum who now works for Hinckley Yacht Services and is helping to develop the curriculum.
"I've struggled to find help because there's nothing to be trained on unless you walk into a boatyard and say 'Train me,'" he said, adding that the only high school offering a similar program is Upper Cape Regional. "It's a good starting base for these kids. Once they get out, they'll have a basic knowledge."
In the next five years, recreational boating is also expected to grow, hopefully recovering to pre-crash levels and prompting demand for workers, said Toby Burr, the owner of the Burr Brothers Boats in Marion and an officer of the Massachusetts Maritime Trade Association.
"There's always a need for trained technicians, so people coming out of high school that have been trained in marine trades, whether it's electronics or mechanics or painting and rigging boats — that's great to have that," he said.
Voc-Tech offered a marine track until the late 1980s, but it focused on the fishing industry and suffered from logistical problems and a lack of funding, said Voc-Tech School Committee member Fred Toomey.
Now, the committee is hoping to secure funding for a broader program, he said.
"We're trying to be as diverse as possible," he said, adding that committee members were also talking to Dr. Brian Rothschild, of UMass Dartmouth, who has been involved in fisheries management, and Economic Development Council Executive Director Matthew Morrissey to hone the curriculum.
"We're looking to various aspects of the community to try to develop a more rounded program," Toomey said.


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Texas weather great for growing lemons
What a joy it is to look out your patio window and see a little lemon tree chock full of these bright yellow treats. And the blooms have a heavenly scent. The warm weather of Texas is perfect for growing lemon trees. But just like with any region where you grow citrus plants, you have to take steps to ensure the health of your tree if you want the harvest. One of the easiest ways to grow happy lemon trees and other citrus here is to plant them in containers. If the containers are on a base with rollers, you can even roll them into to garage or warmer area when there is the occasional freeze.
Those of you old enough might remember the song, "lemon tree, very pretty and the lemon flower is sweet … but the fruit of the poor lemon, impossible to eat …" But today you can find lemon trees with sweeter and juicier fruit than when that song was penned. Look for Meyer Lemon, which is a compact, almost thornless, small tree with an abundance of scented blooms and fruit. The fruit flesh is a light orange-yellow color. With a little searching, you can also find the Dwarf Meyer Lemon. The nurseries brag that it is grafted on Flying Dragon rootstock that makes it a much smaller 6-foot tree perfect for containers. The Iranian Lemon plant and the Variegated Meyer Lemon are other great options. The Variegated Spanish Pink Lemon (Citrus limonia) is one of the most beautiful citrus varieties. The foliage of this tree is variegated green and white.
The fruit is green and yellow striped with a pink interior. Pink lemonade, anyone?
No matter what the variety you choose, there are some basics that will keep your lemon tree productive. Plant into soil that is loamy with a generous amount of sand. The soil feeds the plant, and the sand helps it drain well. Be gentle with the roots and water every four days for the first month, then about once a week. Give your lovely lemon tree a location with a minimum of 8 hours of sun a day.
If you plant into a container, be sure to choose a large pot with good drainage holes. A slow-release fertilizer is a good idea. If you are interested in your tree growing larger, limit the amount of lemons the first year to six or so (5 gallon tree). It seems unimportant now, but in the fall when temperatures vary widely, protect your lemon tree with a blanket then a plastic cover when temperatures drop to 25 degrees. You will be rewarded with the sweet fragrance and the bright beauty of lemons in your own backyard.
Joette is an avid gardener and prides herself on staying up-to-date on the latest gardening activities and tips. To share your gardening news with Joette, call (409) 832-1400 or fax her at (409) 832-6222. Her e-mail is joreger [at] msn [dot] com.


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I have the following problem.
I have a component that is running in a Windows 2000 Server using MTS (COM+).
I am exporting the package so I can install it in windows 98 clients.
I already have tested MTS calling the object from a VB Application that is
running in the Windows 2000 Server and seems that the MTS is working fine


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Rewind Clip Of The Week: Meek Mill's Artist "Lil Snupe" Freestyles Off The Top On Cosmic Kev's Come Up Show! (Dude Is Nice)
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As we enter the holiday shopping season it feels like we see another "fastest Android phone" announced every other week. However, this year it is pretty clear that the fastest Android phones will be powered by Qualcomm's new Snapdragon S4 Pro chip. So far we have seen Xiaomi and LG announce Android phones with this new quad-core chip, but we only expect that LG will bring a device to the United States.
LG already announced their new Optimus G last week, and now they are hyping it up with a new teaser video. The flagship device will feature a 1.5 GHz quad-core Snapdragon S4 Pro with Adreno 320 GPU, new battery technology from LG Chem, 13.0 megapixel camera, and a 4.7-inch WXGA True HD IPS+ Display with 320ppi high pixel density (1280×768 pixels) and Stripe RGB IPS Panel.
Most of our audience prefers Android phones from Samsung, HTC, or Motorola, so LG has a huge opportunity to win over some new customers. The last time we hyped up a LG device was the T-Mobile Optimus 2X. It looked great on paper, but the final product shipped with all kinds of hardware and software issues, and it left LG with a bad reputation among the hardcore crowd.
If LG really does release a Nexus device as rumored, they could once again have the best Android device on paper. I'm not sure how many users would switch over from their favorite handset maker, but LG is making a strong case to at least demand their attention.
Watch the teaser and let us know what you think. Is there any way you would consider purchasing an Android phone from LG?


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Campagnolo's Super Record Ultra-Torque Bottom Bracket Cups are perfect for your Campy Ultra-Torque crankset (sold separately). They are constructed from anodized aluminum for light weight and excellent durability. They are available in English and Italian thread.• Italian: 70mm• English: 68mm
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Eric Stripay's family thought he was a bit crazy for opening a restaurant just when he and wife Stephanie were about to have their first child.
Harry was born in March 2012. Paradero Original followed in June. Both are kind of amazing.
Stripay, 36, is a culinary graduate of Johnson and Wales University in Rhode Island. He has spent most of his culinary career as a banquet chef, first in Boston hotels and then at the Ritz-Carlton Key Biscayne and the Surf Club in Miami Beach.
Talk about a career change.
A paradero is a bus stop or rest area in Spanish. To Stripay, it's also a place where people congregate, which sums up the plaza at Oakland Park Boulevard and A1A. It includes two bars as well as a bakery, where people sit outside with espresso and pastries.
Many of Stripay's customers buy his sandwiches and bring them next door to Archie's Place, where they can buy a beer. Paradero Original has quickly become part of the community.
Done with banquets, Stripay cooks what he wants and each dish follows an original recipe — thus, the other part of the restaurant's name. His menu is simple: St. Louis spare ribs, roaster chicken, three side dishes and six of the most-inventive sandwiches in town. He also serves roasted-tomato bisque ($3.95) and a serviceable Caesar salad ($5.99).
Those ribs ($7.99 for a quarter slab, $12.99 for a half and $19.99 for a full) start with a very careful trimming and a 12-hour dry rub before being slowly smoked in a mixture of hickory and mesquite. They're slightly sweet and fall-off-the-bone tender. The accompanying ketchup-based sauce is also house-made. His 3 1/2-pound roaster chicken ($7.99 for a half order, $12.99 for a full) start with a Chardonnay brine before being roasted with garlic and herbs.
While I wish there were some nonfried side dishes available, all three are well done: hand-cut fries ($2), thick buttermilk onion rings ($3) and some of the best sweet-potato fries ($3.50) I've ever had. They're thin and crisp and not overly salted.
His sandwiches ($5.95 each), served on fresh hoagie rolls, are his biggest sellers, with pulled pork leading the way. Pork shoulder gets an overnight dry rub before being roasted at 200 degrees for 12 hours. Stripay makes his own chorizo, which he serves on a roll with beer-smothered onions and mustard sauce.
His next two best sellers were inspired by trips to South America. Stephanie Stripay grew up in Peru. So while lomo saltado is traditionally served as a stir fry with rice, here it's served as a sandwich. And what a sandwich it is: tender, balsamic soy-marinated sirloin, tomato, red onion, aji amarillo, garlic and ginger. You have to try this.
You also have to try the Hangover: roasted pork loin, fried sweet potato, lime-marinated onions and that slightly spicy aji amarillo. Superb!
This is mostly a takeout restaurant. There's no dessert. You don't come here to dine, as much as you do to grab an incredible bite, which you'll likely eat with a cold beer next door.
And that's what makes Paradero Original.
email@example.com or 954-356-4632. Read his blog at SouthFlorida.com/sup and follow him on Twitter at @FloridaEats.
3335 E. Oakland Park Blvd., Fort Lauderdale
954-514-7585, ParaderoOriginal.com
Cuisine: American
Cost: Inexpensive
Hours: Noon-9 p.m. Monday-Saturday
Reservations: Not accepted
Credit cards: All major
Bar: None served
Sound level: Moderate
Outside smoking: Yes
Wheelchair accessible: Yes
Parking: Metered lot


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Prep Cook / Cook / Sandwich Artist / Production - Full-Time or Part-Time
Pilot/Flying J
Full-timeMemphis, Indiana 47143
Save time and take some hassle out of your job hunt.
Use filters and keywords to sort and save your popular/favorite searches.
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Since I was busy elsewhere during MoFo month, I asked some special friends to help out over here. We're a little behind schedule now, but I'd like to make an important exception for Senior Fluffypants, I mean, SPIKE, who has a whole lot to say about nooch, organic 'nip and living with a diva roommate…
Guest Post: Spike
Friend: Luciana, It's Raining Kale
Hey there,
My sister is pretty cool, but she is really, really interested in the humans. She loves rolling around on them, getting them to pet her and stroke her with that insane looking thing they call a brush. Get this–sometimes she even spends hours sleeping on them! Whatever shakes her catnip–I guess.


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kathleenJ wrote:The one where Homer pissed off the garbagemen and their service got cut off, and they had mountains of trash in their yard. ...right? I'm not quite sure on that.
Yup that's right. I like the line a few before that one.
Marge: Homer that crazy person that lives on our trash pile attacked me again.
Homer: That's not the way she told it.
Either way...at the beginning of that episode, what was the new holiday that got invented (that generated the first batch of garbage)?
"Something like oh I don't 'Love Day' but only better"
"Happy Love Day everyone!"
What was the gift (stuffed animal) Homer wanted for Love Day and what one did he acutally get.


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Watch The ::God Is Imaginary Videos On YouTube ::
In this thread, we're currently having a knock-down-drag-out fight in which one of the participants insists that greed is responsible for the majority of the world's ills. I'm going to take the opposing stance and point out the many benefits that I received because I decided not to be content with the absolute minimum.This is what I managed to accomplish in the last 20 years or so, when I came to My senses and started putting My own needs at the top of the heap rather than being a long-suffering helpmeet to people who didn't appreciate what I was doing for them anyway:It all started when I dropped a volunteer bookkeeping gig and turned down overtime at work. Reclaimed enough free time to pursue a business certificate at a local college and graduated with GPA of 4.3.Using the knowledge from the Sales and Marketing courses at the college, made successful application into an IT program a couple of years later. Salary went up considerably.The IT job gave Me the financial means to get safely out of a bad marriage and save up for a deposit on a new house.Took driver's lessons and bought a car, rather than sticking with bus or foot travel. In addition to making it easy to bring home groceries and cat litter, this facilitated music lessons and karate classes and enabled Me to take jobs that required a car. (I also don't think I would have built the 25-foot-long dragon sculpture in My front yard without access to a car, either -- Kind of hard to carry bags of concrete on the bus.)After quitting My most recent IT job because of health issues, I found work as a medical transcriptionist. This was a part-time gig through a temp agency. I went looking for a second part-time job in the field. This opened doors, and I ended up with a full-time permanent job with another large pay hike and fantastic benefits, and for which I gladly left the original temp job.TL;DR version: Education, divorce, career opportunities, driving, big-@ss dragon sculpture, purple belt in Shotokan karate, playing music all over Southern Manitoba, and money -- More than enough to share or give away.I think greed and selfishness get a bad rap because of a scarcity mentality -- The idea that somehow there isn't enough to go around, rather than lots for everyone. I think the universe is more than big enough for the most grandiose dreams, and that it's better to pursue those dreams than play at being altruistic and resenting every moment.Comments, please, and/or personal anecdotes on how greed has made *your* life better.


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If you're hoping to hear Steve-O's take on airline food or the presidential election when he performs stand-up Thursday at Zanies Comedy Club-Chicago and Friday and Saturday at Zanies-Rosemont, you're probably going to be let down. The former star of MTV's "Jackass" and "Wildboyz" — who made a name for himself with his painful-looking stunts, including swallowing a goldfish and regurgitating it — isn't that kind of comedian.
So what exactly can the audience expect from his shows?
Steve-O (real name: Stephen Glover) initially didn't want to get into specifics during our conversation over the phone. He felt he wouldn't do certain aspects of his show justice by explaining them and preferred to maintain an element of surprise. But after a bit of prodding, the graduate of Ringling Brothers and Barnum & Bailey Clown College, who has been sober since 2008, shed some light on his unique routine.
Storytelling: "The stand-up part is stories that are all 100 percent true. It's not observational comedy. It's crazy (stuff) that has happened to me, and the ridiculous world I've lived in as a semi-famous, drug-addicted, male slut. There's some incredible material there."
Stunts: "If 'Jackass' fans are going to see a Steve-O show, I feel like I owe it to them to give them some (stunts) too. I'm really kicking my own (butt) on this tour. I'm doing things that hurt six times a weekend. It's (messed) up. At the same time, I love doing it."
Nervous club owners: "I've been stitched up in Belgium after a stunt I did. I guess that was the only time I had to go to the emergency room. But there have been all kinds of burns. Some club owners will get really freaked out: 'Dude, you can't play with fire.' They have certain things they don't want me to do. It doesn't bother me. I'll just do different (stunts). I have a deep bag of tricks."
The occasional heckler: "Most of the time it's just drunk people. I really care about putting on the best show I can, so if somebody is (messing) up the show, I'm going to make them pay. I like to nip that (stuff) in the bud. I make an example out of them."
Audience interaction: "I include the audience a bunch. I go off-script and start asking people questions. I find it's hilarious to ask people questions because it makes them uncomfortable. People who sit in the front row will be a part of the show."
Twitter @aboutluisgomez


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Broadcasting and Media Production
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"The more I learn, the more I realize I don't know anything, and that's a good thing."


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Chris Gould checks out the Blu-ray Disc release of the latest Pixar animated flick
At some point in the future the human race has abandoned Earth due to an environmental catastrophe, and while they travel the galaxy aboard luxury space cruisers a team of industrial robots are tasked with cleaning up the planet. The last of these robots is WALL-E, who has been carrying out his programming in isolation (save for his pet cockroach) for the last seven hundred years. After so much time on his own, WALL-E has developed a distinct, quirky personality, which drives him to collect all manner of mundane objects and store them in his makeshift home.
One day, while going about his usual routine of crushing garbage and hoarding trinkets, WALL-E spots a spaceship landing nearby. Upon further investigation he discovers that the ship has deposited a newer model of robot, which seems fairly indifferent to his presence as it goes about its business. A curious WALL-E follows the new arrival and after one or two misunderstandings eventually learns that her name is EVE. Delighted to have a companion after so many years, WALL-E becomes infatuated with EVE, and as time passes he develops a 'love' for her that will take him across the galaxy and change the course of human history forever.
I'm not one for writing huge amounts in this section of my reviews—after all, you presumably came here to read about the quality of the disc, not my half-arsed musings on a film you've most likely already judged for yourself–but I feel the need to say a few worlds about WALL-E. I'll admit I'm not the biggest animation fan in the world—it's not that I dislike it, more that I don't actively seek it out—but I have enjoyed all of the Pixar films that I've seen (especially The Incredibles). Even so, the early trailers for WALL-E didn't exactly fill me with anticipation, as it looked like just another 'cute' movie for kids. However, when the film rolled around it had garnered such positive word of mouth I figured I might as well give it a shot. I'm glad that I did, because I was wrong to dismiss it as just another children's movie—it really is so much more.
Quite apart from being a 'kids' movie, I believe that the film is actually more suited to slightly older children and, dare I say it, adults. I was utterly captivated by the feature, which is no mean feat when you consider that's there's virtually no dialogue for the entire first act. I was so engrossed in the story that didn't even find the environmental message—the one thing that people seem to complain about—particularly bothersome. Sure it's bit heavy-handed, but you get the feeling that it was never originally intended to be the message behind the film. Whatever its perceived failings, beauty is in the eye of the beholder, and for me WALL-E is pretty close to perfection. It does loose a little bit of its impact on the small screen, but I still laughed and cried along with the charters and the quality of the design, animation and sound effects is second to none. For me, WALL-E easily matches any of the year's big live-action films.
Disney presents WALL-E as an AVC-encoded 1080p transfer at its theatrical ratio of 2.40:1. Reviewing Blu-rays is getting harder and harder, as virtually every new release looks just about as good as you could realistically expect on a home format. However, WALL-E might just be the most visually impressive film on the format to date.
Thanks to the direct digital-to-digital transfer, WALL-E looks pristine. There are obviously no film artefacts to worry about, but I didn't spot any digital nastiness either. Every scene is incredibly detailed, which is all the more impressive given that every element of the picture—no matter how insignificant—had to be created from scratch. As the film progresses, the scorched, earthen tones of the desolate wastelands seen in the opening act give way to the cleaner, almost sterile interior of the Axiom, evoking memories of 2001: A Space Odyssey. However, once WALL-E escapes the confines of the lower decks the transfer really comes to life and the image positively bursts with colour. Shadow detail is fantastic throughout, and although the blacks aren't quite as inky as some transfers, they are faithful to the theatrical experience.
The first time you watch WALL-E a lot of the incredible work that's gone into creating the environment will probably go unnoticed, but each subsequent viewing will reveal hidden treasures and depth you wouldn't expect from an animated feature. At times the photo-realism is such that watching WALL-E on Blu-ray is actually akin to watching a live-action feature. I was worried that the move to the small screen might detract from some of that greatness, but I needn't have feared. This really is a truly breathtaking transfer, the quality of which sets new standards for animation on Blu-ray.
The back of the slipcover claims English DTS 5.1 as the film's main track, but in reality we get a DTS-HD Master Audio 6.1 effort (at least according to BDInfo). I'm limited to 5.1 at home, so the benefit of the sixth channel was lost on me, but I'm sure that it can only enhance what is probably the soundtrack of the year.
Unlike a live-action film, none of WALL-E's effects were recorded 'live'. Instead, every single sound for every little action has to be painstakingly designed and perfected. If Ben Burtt and his team don't walk away with the Oscars for best sound editing and mixing at next year's Academy Awards, it will be a huge surprise. Never before have I found a soundtrack as engaging as WALL-E's, which is an amazing achievement when you consider that the first half of the film has virtually no dialogue, instead relying on inventive sound design to draw the viewer into the film.
The track is finely nuanced, with the rears benefitting from just as much attention as the front channels. Panning is excellent and used to great effect throughout the film, with incredibly precise placement of the sound effects. Dialogue—whether human or robot—is always perfectly positioned in the mix and the livelier scenes pack just the right amount of punch. Bass heads might have preferred a little more oomph at the low end during certain scenes (such as the rocket ship taking off), but I think that would have run the risk of unbalancing things. As it is the track is pretty much perfect, with no one element dominating the others. Even Thomas Numan's outstanding score blends seamlessly with the effects to create a thoroughly entrancing aural experience.
Disc one's bonus offerings kick off with a 'Cine-Explore' option (for those with Profile 1.1 players and above), which is basically another way of saying 'video commentary'. Director Andrew Stanton talks us through the movie, with various concept drawings and the like popping up at appropriate moments. Owners of older players aren't left completely out in the cold, because Stanton's commentary is still available in an 'audio only' version. The second commentary is a 'Geek Track', in which four of Pixar's 'geek squad' production staff point out all of the ultra-nerdy things you might have missed. At least two of the people on the track speak Huttese, which might give you an indication of the level of geek we're dealing with.
Next up we have Presto, the animated short that accompanied WALL-E's theatrical run. In it, a hapless magician struggles with an uncooperative rabbit with hilarious results. Meanwhile BURN-E tells the story of the unfortunate repair droid that WALL-E encounters as he boards the Axiom. The runtime is extended with new footage created especially for the home release, showing the little bot trying his damnedest to fix the ship (with predictably comical results). BURN-E can also be viewed with accompanying cinematics and commentary, if you so desire. Both of these short features are amusing in their own right, even after repeat viewings.
Finally on disc one we have a selection of 'Sneek Peeks', or in other words, trailers for other Disney releases. Trailers include: Up, On Blu-ray Disc (a Disney showreel), Pinocchio 70th Anniversary Platinum Edition, Bolt, The Princess and the Frog, Tinkerbell and the Lost Treasure and Disney Channel: Wizards of Waverly Place.
Disc two's content is divided into two sections: Humans and Robots. 'Humans' is where the bulk of the interesting material resides, kicking off with a series of five deleted scenes (23:08) with optional introduction by director Andrew Stanton. The scenes vary in their completeness from almost final to rough storyboards, with the first scene being closest to the final product. In fact, the first scene is one of the most interesting, because had it not been for the alteration the third act of the film would have played very differently. I had to laugh at the third scene, as it features a pretty decent impression of William Shatner, who really should have voiced the character in the completed film (if only for my amusement).
'The Imperfect Lens: Creating the Look of WALL-E' (14:30), focuses on the extreme measures Pixar took to ensure that Wall-E looked as 'realistic' as possible, even going so far as to enlist the help of noted cinematographer Roger Deakins. Deakins was brought in to help the animators with lighting effects, but more than that is the terrific amount of effort that went into making WALL-E look like it had actually been photographed in traditional 35mm anamorphic. As evidenced by the finished product, the effort certainly wasn't in vain.
'Animation Sound Design: Building Worlds from the Sound Up' (18:44) comes next and focuses on the person responsible for crafting some of the most memorable sound effects in movie history, none other than Ben Burtt. Not only does the featurette explore WALL-E's sound design, but also the techniques used by the masters who worked on the earliest Disney animated features. It was fascinating watching the collision of the practical, hands-on effects of old with the ultra-modern computer-aided tools at Burtt's disposal (although he's not afraid to go back to basics when necessary). The featurette even featured a few hi-def shots from the Star Wars films, which was nice.
'Captains Log: The Evolution of Humans' (07:57) takes a look at the evolution of the human characters featured in the film. The humans actually started out as gelatinous alien blobs, before being reworked into the human characters seen in the film. Director Andrew Stanton touches on how the aliens were his preference at the start of the production, but he also talks about the need for the audience to connect with the characters, which ultimately necessitated the move from alien to human. However, it's clear that WALL-E was originally envisioned as a much darker story.
'Notes on a Score' (10:39) focuses on composer Thomas Newman's work on the film. Director Andrew Stanton is on hand to tell us how much he admires Newman—with whom he previously worked on Finding Nemo—and how they share a very similar creative outlook. Neman's WALL-E score plays just as big a part in creating the film's immense atmosphere as Ben Burtt's sound effects, so it was interesting to watch him at work as he played with various compositions to find the best fit.
'Life of a Shot: Reconstructing the Pixar Process' (05:08) is a brief featurette that takes one short scene from the film and has the various people involved in creating it talk about their role. Actually, only a fraction of the people involved actually get any real screen time, simply because so many people worked on the film at any given time. This one really drives home the sheer number of people required to create an animated film.
'Robo Everything' (05:45) deals with the design challenges involved in bringing the Axiom's robotic inhabitants to the screen. It's incredible how much work went into crafting the robots, even those that don't get much screen time. Andrew Stanton's idea was basically to have a robot to fulfil every human need that would usually require social interaction, and a lot of the bots' jobs were based on those of the staff of a real cruise ship.
'WALL-E and EVE' (07:01) is the final featurette in this section, and as the title suggests it deals with the relationship between the un-cool WALL-E and the hyper-efficient EVE. Whereas WALL-E's design came about after the Pixar guys examined bomb disposal robots and tank treads, EVE is much sleeker, almost organic in her movement. Once again it's easy to forget just how much work does into designing the characters in a film like WALL-E, but not after watching this featurette.
The 'BnL Shorts' (09:02) are a series of five satirical short films that can be viewed either individually or as a whole. Mixing animation with live-action footage in much the same way as the film, these shorts offer everything from an overview of the Axiom from the Captain's point of view to the history of the Buy n Large Corporation. Next up we have some '3D Set Fly-Throughs', which offer the viewer unparalleled access to all of the key locations featured in the film. Fancy a closer look at the Axiom's docking bay, or maybe WALL-E's makeshift home? Well, this is for you.
The 'Gallery' option provides access to character designs, layouts, backgrounds, visual development and publicity stills. I'm not really a huge fan of still galleries, but if you're into the creative process they're sure to delight. Seven theatrical trailers are also included, three 'domestic', one French Canadian, Japanese, Italian and the Superbowl Spot with Woody and Buzz Lightyear.
Finally we come to the last feature in the 'Humans' section, and indeed the stand-out feature on the disc: 'The Pixar Story by Leslie Iwerks' (01:28:30). This is a feature-length documentary that examines the company's rise to power starting way back in the 70s. We're introduced to a young John Lassiter as he studies under the great Disney animators known as the 'nine old men' at the California Institute of the Arts (where he met future collaborator Brad Bird), before graduating to work for Disney itself. Lassiter recounts the events that lead to his eventual dismissal from Disney and his journey to Lucusfilm's computer animation division (later renamed Pixar), which was subsequently acquired by Apple CEO Steve Jobs for the bargain price of ten million dollars. The documentary includes plenty of archival footage and interviews with everyone from Lassiter and Jobs to George Lucas and the surviving members of the 'nine old men', making for a truly fascinating document of Pixar's history.
The 'Robots' section contains all of the materiel aimed at the younger viewers, such as 'WALL-E's Treasures and Trinkets' (04:56), which is basically just WALL-E and friends goofing around for a bit. 'Lots of Bots' (03:07) is an animated storybook narrated by Kathy Najimy and John Ratzenberger. It offers the viewer a choice between watching passively or interactively, depending on their mood.
The 'Axiom Arcade' includes four retro games: 'EVE's Bot Blaster', 'WALL-E's Dodge and Dock', 'M-O's Mop-up Madness' and 'BURN-E's Break Through'. The games are a throwback to the old 8-bit arcade games you might have played on computers like the ZX Spectrum, playing like WALL-E themed versions of Asteroids and such. The controls are simple enough, but can be a little fiddly using the remote (or at least my remote). However, on the whole the games are good fun, especially compared to the useless games usually found on Blu-ray titles.
The final feature in this section (and the disc) is 'Bot Files', which details twenty-eight of the robots featured in the film along with their respective functions. Useful if you want to know more about the myriad of robots that populate the Axiom. There is also at least one Easter eggs included in the set, details of which can be found elsewhere on the site (or by clicking the link in the 'Disc Details' section of this page).
Barring any major surprises in the next four weeks or so, WALL-E is almost certainly my Blu-ray of the year. Every facet of the release is a resounding triumph, from the quality of the film to the outstanding package assembled by the folks at Disney and Pixar. I never thought I'd see the day when an animated family film would sit at the top of the year's best releases, but that day is most definitely here. I don't believe in giving perfect tens to any film or disc, simply because I don't think anything can ever be 'perfect', but as previously stated, WALL-E comes pretty damn close. There's really not much more to say. If you own a Blu-ray player and a high-definition TV you owe it to yourself to pick up a copy as soon as possible.
* 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
Wow - Platinum award eh?
Must be good then
Ta for the review Chris!
Must be good then
Ta for the review Chris!
What's a Belgian audio track????? A French audio track in which "quatre-vingt-dix" (ninety) is spoken as "nonante"?
this has to look beautiful on blu ray.
I just bought WALL-E on Blu-Ray for myself.
I don't give 10/10 scores. Nothing is truly 'perfect'.
The PQ deserves a 10 in opinion. it is a PERFECT transfer
Saw it for the first time last night, on Blu-ray as it happens.
Loved the film so much, didn't think I'd get so involved in an animated film.
Absolutely stunning. Looking forward to seeing how I feel about it on subsequent viewings.
Loved the film so much, didn't think I'd get so involved in an animated film.
Absolutely stunning. Looking forward to seeing how I feel about it on subsequent viewings.
Intergalactic Ponce wrote:
It would have been really interesting if Pixar had tried to integrate real people into the CG Axiom or maybe do head replacements on CG bodies. Technically difficult but it would have pushed Pixar into a new area.
I think they did that in Happy Feet if i'm not wrong.
Nice review but I guess I'll be the odd one out and say I was feeling this movie at all.
It would have been really interesting if Pixar had tried to integrate real people into the CG Axiom or maybe do head replacements on CG bodies. Technically difficult but it would have pushed Pixar into a new area.
I think they did that in Happy Feet if i'm not wrong.
Nice review but I guess I'll be the odd one out and say I was feeling this movie at all.
I still think it's an odd thing, in the film, to have humans represented by 'a real person' Fred Willard and also CG creations. Did humans evolve into smooth plasticky beings over the course of 700 odd years.
It would have been really interesting if Pixar had tried to integrate real people into the CG Axiom or maybe do head replacements on CG bodies. Technically difficult but it would have pushed Pixar into a new area.
It would have been really interesting if Pixar had tried to integrate real people into the CG Axiom or maybe do head replacements on CG bodies. Technically difficult but it would have pushed Pixar into a new area.
I've had this one hidden in my loft for the kids Christmas present for ages now. Cheers Chris - you just made the wait even harder!
Suitable for all
Disc Details
Release Date: 24th November 2008
Discs: 2
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 2.40:1
Anamorphic: No
Colour: Yes
Audio: DTS-ES 5.1 Belgian, DTS-ES 5.1 Dutch, DTS-HD Master Audio 6.1 English, English, Audio Descriptive, Flemish Dolby Digital 5.1 EX
Subtitles: Dutch, English, English HoH, French
Extras: Director Commentary with Cine-Explore, Geek Track, 'BURN-E', 'Presto', The Pixar Story, WALL-E's Treasures and Trinkets, Lots of Bots Storybook, Axiom Arcade, Bot Files, WALL-E's Tour of the Universe Sneak Peek, Deleted Scenes, Behind the Scenes, 3D Set Fly-Throughs, BNL Shorts, Trailers, Galleries
Easter Egg: Yes
Feature Details
Director: Andrew Stanton
Cast: Ben Burtt, Elissa Knight, Jeff Garlin, John Ratzenberger, Kathy Najimy, Fred Willard, Sigourney Weaver, MacInTalk
Genre: Animation
Length: 98 minutes
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The BEaUty of the Internal Cleanse
October 4, 2018
Hosted by Bonnie Bonadeo
[Download MP3] [itunes] [Bookmark Episode]
Guest Information
Episode Description
We clean our external bodies, the makeup off our face and our teeth, but did you know to clean the liver and the bowels could be one of the most important cleanse you can do. Join me, my Co-Host Gloria Coppola and our Guest Stefanie Kerwin, Naturopath, Medical Herbalist, Homoeopath, Natural Health Educator and Author as we explore the BEaUty of the internal Cleanse.
BEaUty- Inside and Out
Thursday at 2 PM Pacific Time on VoiceAmerica Variety Channel
BEaUty Inside and Out will explore everything you ever wanted to know about beauty. We will go within and uncover why we don't see the beauty in ourselves from a spiritual and holistic approach to external products, services, tips and tricks that support and enhance our beauty from the outside in.
BEaUty Inside and Out will promise to be educational, informational, transformational and maybe even a little controversial. We'll open the door to conversations on societal beliefs, standards and expectations of how beauty plays a role in everyone's lives and how to find that BEaUtiful expression of you from the inside and enhance it from the outside.
BEaUty Inside and Out's approach will have guests ranging from spiritual advisors, holistic and wellness specialists, doctors, makeup artists, hairdressers manufactures of the latest beauty products and more. From food choices to applying false eyelashes we will educate you so you can find the BEaUty of BEing U.
Bonnie Bonadeo
Bonnie Bonadeo is President and founder of AraKara LLC, The Beauty Agents, Beauty Goorus Consulting and Co-founder of Naked Audience Productions Coaching and Training Company. Bonnie's career has spanned over 25 years in beauty, as a cosmetologist to becoming successful sales, marketing professional and trainer in beauty.
Bonnie has facilitated corporate trainings as a speaker, and has produced and directed live events from 25 to 25,000. She is the go-to person connecting people to the power of beauty. Her mission is to connect YOU to finding the BEaUty in U. Bonnie specializes in Public Speaking, Leadership, Sales and Branding Programs in all industries. She believes that beauty translates to all people and all industries from how we see ourselves to how we see others.
As a Best Selling International Author of Success in Beauty, The Secrets to Effortless Fulfillment and Happiness, Bonnie shares her story that success is not always a beautiful path but those hardships can lead to authentically connecting to your own beauty. She graced the cover as one of the 2013 Enterprising Women in Beauty in Salon Today Magazine. Bonnie has PR mentions in Cosmopolitan, Oprah's O Magazine and the New York Times, Forbes and several trade journals. She holds certifications in Emotional Intelligence, Business Management and Entrepreneurship from USC. She currently resides in Phoenix, Arizona with her 16 year old son Devin and their 6 year old Chihuahua named Lille.


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Things kicked into gear in earnest Monday at ICSC's RECon with the opening of the Leasing Mall. For the most part, people I talked to remained cautiously optimistic about the industry's prospects. At the same time, attendance did seem noticeably down from last year in spite of ICSC maintaining that pre-registration levels matched last year's figures. I heard a lot of people saying that they had truncated their trip this year--perhaps cramming their meetings into one or two days rather than staying here for all four. Others told me they knew of some people that registered, but then ultimately decided not to make the trek.
Still, despite the apparent drop in attendance, there is plenty of dealmaking occurring. Developers Diversified Realty, for example, had 1,400 meetings set up. Other major owners and developers remained equally busy.
And there are clear signs for optimism. While retailer closings are at their highest levels in several years, there have not been a ton of bankruptcies. Further, there do remain a healthy number of new concepts out looking for space. Owners of top-tier properties especially seem in a good position having experienced very little erosion of their tenant base or of their property values in the past 18 months.
Lastly, there's some definite good news on the debt front. While the commercial mortgage-backed securities market remains locked up, several REITs in recent weeks have been able to tap the credit markets with new bond offerings. Westfield and Simon Property Group, for example, have both issued new bonds and found healthy demand from bond investors for the offerings. That's a sign that perhaps the credit crunch is beginning to pass.


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Style # 212026
With metal zipper detail and a feminine A-line silhouette, this playful bebe dress is the perfect addition to your workweek wardrobe. Style it with a nude pump and a matching tote bag.
- 100% lyocell
- Center back to hem: 35" (89 cm)
- Exposed zipper
- Dry clean
- Imported
- Model is 5'9" and is wearing a US size S
Multi Pocket Zipper Front Dress is rated out of 5 by 2.
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Date published: 2013-07-12
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Date published: 2013-06-23