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The dataset generation failed
Error code: DatasetGenerationError
Exception: ArrowInvalid
Message: JSON parse error: Missing a closing quotation mark in string. in row 11
Traceback: Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
df = pd.read_json(f, dtype_backend="pyarrow")
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
return json_reader.read()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
obj = self._get_object_parser(self.data)
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
obj = FrameParser(json, **kwargs).parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
self._parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
ujson_loads(json, precise_float=self.precise_float), dtype=None
ValueError: Trailing data
During handling of the above exception, another exception occurred:
Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
for _, table in generator:
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
raise e
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
pa_table = paj.read_json(
File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 11
The above exception was the direct cause of the following exception:
Traceback (most recent call last):
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
parquet_operations = convert_to_parquet(builder)
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
builder.download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
self._download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
self._prepare_split(split_generator, **prepare_split_kwargs)
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
for job_id, done, content in self._prepare_split_single(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
raise DatasetGenerationError("An error occurred while generating the dataset") from e
datasets.exceptions.DatasetGenerationError: An error occurred while generating the datasetNeed help to make the dataset viewer work? Make sure to review how to configure the dataset viewer, and open a discussion for direct support.
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Home>Alfa Horizon>News & Events
» Kochi : News Article :
............................................................................................................................................................................................................................................................................................................
Emerging Kerala 2012 - Mega Investors Meet
Sep 25: Kerala geared to promote itself as an emerging investment destination. In spite of the downturn in World Economy, its visible contributions to Indian economy are significant. Government of Kerala decided to go for the “Emerging Kerala” branding to make it the “Investors’ Own Destination”.
The first edition of Emerging Kerala summit, an investors meet, will be held from April 19 to 21, 2012 at the Le Meridien International Convention Centre, Kochi. The logo for the event was launched by the Chief Minister of Kerala, Oommen Chandy in Thiruvananthapuram. The event will be organised by the Kerala State Industrial Development Corporation (KSIDC), would highlight investment opportunities available here and advertise to the world its state of readiness to receive investors. It has successfully campaigned itself as God’s own country and now became the most sought after destination in the world tourism map.
Development is a mass movement in Kerala. With robust infrastructure, quick rederessal of business issues, co-operative Governance, fast track Economic Development, God’s own Country is a preferred Investment hub for almost every business venture for which, there is transparency and openness. Emerging as ‘Investor friendly’ place in South India, Kerala highlights a luxurious lifestyle of leisure, pleasure, business and Investments.
State Government’s strategy includes, showcase the excellent investment opportunities in the sectors like Food and agro processing, gem and jewellery, rare earth minerals, textiles and garments, shipbuilding and related industries, electronics, gas-based infrastructure, green energy and pharmaceuticals, infotainment, logistics parks, environment technologies, airport infrastructure and airplane and helicopter services, etc…. All these will lead to immense opportunities in man power and service sector.
The mega investor’s meet will also focus on tourism, healthcare service and trade retailing, knowledge/ education sector and IT and IT-enabled services, attract investments in the future industries like biotechnology and nanotechnology.
The state government has set up a committee led by the chief minister to monitor and review the progress of the campaign. The council of ministers and government secretaries are members of this committee.
Cargo traffic grows 12% at Kochi Port
Plans for development projects for Kochi
Kochi Metro gets PIB approval
CPT unveils Willingdon Island redevelopment projects
Boom time entices global giants to Kochi
Rs 65-cr JV set up for New CFS
Vallarpadam all set to spread wings
PM for Speedy Execution of Container Facility at Vallarpadam
Gateway Distriparks setting up container freight station at ICTT Vallarpadam
Get ready for a Metro ride
GIDA to develop Three Islands
Second phase work on Vytilla hub to begin soon
Kochi catches up with big four centres of capital trade market on NSE
State to give land for Puthuvypu thermal plant
NCX service from China via Singapore to Vallarpadam soon
Bullet Train To Hit Kochi Soon
Mainline Vessel Operators see ICTT as Transhipment Hub
Cochin Container Freight Station May Open This Year
Capacity growth of LNG plant on track
Kochi port invites expression of interest for free trade warehousing zone on BOT basis
BPCL plans to set apart Rs 20,000 cr for Kerala projects
Vallarpadam to get cabotage waiver soon
First oceanarium project in India to come up in city
ICTT Growth Potential
Kochi Metro will go on, says HC
Four lakh to use Kochi Metro Rail
PM inaugurates Vallarpadam ICTT
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| 0.63641
| 0.63641
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Edith Van Horn Papers
Identifier: LP001698
Abstract Labor and women’s rights activist Edith Van Horn began her career in the labor movement during World War II, when she left graduate school to join the war effort as an assembly line laborer for Goodyear Aircraft, where she joined United Auto Workers (UAW) Local 856. Ms. Horn later held posts as chief steward of Douglas Aircraft UAW Local 17, chief steward of Chrysler’s Dodge Main Local 3, where she was the first woman to serve on Local 3’s executive board, as a delegate to the UAW...
Mildred Jeffrey Papers
Abstract Mildred Jeffrey worked as an organizer for the Amalgamated Clothing Workers of America, as Educational Director of the Pennsylvania Joint Board of Shirt Workers, as a consultant to the War Labor Board, as Director of the United Auto Workers (UAW) Women’s Bureau, and as Director for UAW Community Relations and Consumer Affairs Departments. Ms. Jeffrey was also active in the Democratic Party and was a founding member and chair of the National Organization of Women’s (NOW) political arm, the...
Olga Madar Papers
Abstract A member of United Auto Workers (UAW) Local 50, Olga Madar served as director of recreation programs, social services and women's activities, and as director of the International Union's Recreational Department. Ms. Madar was the first woman to hold a position on the UAW International Executive Board, and the first woman to serve as UAW International Vice-President. Ms. Madar's papers reflect her career with the UAW and her commitment to advocacy for women, minorities and senior citizens.
Names: Coalition of Labor Union Women (U.S.) X
Reproductive rights 2
Women in the labor movement 2
Automobile industry and trade 1
Detroit (Mich.) 1
Detroit -- social conditions 1
Equality 1
Local elections 1
Politics, Practical 1
Retirees 1
Sex discrimination 1
Social history 1
National Organization for Women 2
Blue Cross Blue Shield 1
Democratic Party (Mich.) 1
Detroit Public Schools 1
United States. Congress. House. Committee on Un-American Activities 1
United States. Equal Pay Act of 1963 1
United States. National War Labor Board (1942-1945) 1
Van Horn, Edith 1
Wayne State University 1
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__label__cc
| 0.555251
| 0.444749
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Search BUFVC Search for
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Canal Conflict
NoS ID
Story no
MOVIETONE CARD TITLE: Canal Conflict. DESCRIPTION: In Suez, Egyptian oil tanks continue to blaze after the Israeli shelling. This followed the sinking of the Israeli destroyer, Eilat, by Egyptian missiles....
News on Screen Cinema news Online Moving image
Holy Land: A Year in the West Bank (2014)
Peter Cohn
History; Politics & government; Religious studies
Sale, DVD (Region 1 NTSC, 80 minutes), $295
A documentary about the Palestine-Israel conflict in the West Bank. The film focuses on the issue of the Israeli settlements: its protagonists are both Israeli settlers and the Israelis and Palestinians who...
DVD Find Other To order
Torn Apart (1990 Film)
aka: Forbidden Love
Jack Fisher
Danny Fisher; Doran Eran; Jerry Menkin
Feature film re-locating Romeo and Juliet to modern Israel and the Israeli/Palestinian conflict. Romeo is an Israeli Jew and Juliet a young Palestinian. The film doesn’t follow the text but alludes to many...
Shakespeare Shakespeare productions To order
Lebanese conflict - ambassador on bombing (1982)
Interview with Yoav Biran, acting Israeli ambassador to London, on the bombing of Beirut, latest ceasefire in the Lebanon, possible resolution to the conflict and the Palestinian question. Male interviewer...
LBC IRN Radio Online Audio
Books and Articles
This is a collection of some of key books and articles on British newsreels and cinemagazines. The BUFVC publications can be ordered here. A fuller bibliography that includes essays, newspaper articles,...
Other Record only
Iron Wall, The (2009)
Geography; Politics & government
Sale, DVD (Region 2 PAL, 52 minutes), £20.00
A succinct documentary on Israel’s settlement programme, encompassing the underlying dynamics of the Israeli-Palestine conflict. In 1923, Vladimir Jabotinsky - father of the Zionist right - wrote: "Zionist...
Jerusalem: The East Side Story (2008)
Mohammed Alatar
Arabic studies; History; Politics & government
This documentary, produced by the Palestine Agricultural Relief Committees, looks at the Israeli government’s policy regarding the city and its inhabitants and includes interviews with Palestinian and...
Avenge but One of My Eyes (2006)
aka: Nekam Achat Mishtey Eynay
Film Studies; Politics & government
Sale, DVD (Region 2 PAL, 100 minutes), £15.99
A powerful documentary examining the mental and physical borderlines found in Israeli society. Shot in the Occupied Territories by Israeli director Avi Mograbi, the film draws parallels between the Israeli -...
Some of the Palestinians (1976 Film)
Mamoun Hassan
Myrtle Winter Chaumeny
Film (16mm)
Shows the lifestyle of a number of Palestinian refugees, including a doctor working in a busy clinic near Aleppo, a bereaved wife who explains how her family were recently killed in an attack on a camp in...
Life in Occupied Palestine (1997)
Anna Baltzer
Arabic studies; Politics & government; Women’s studies
Sale, DVD (Region 1 NTSC, 66 minutes), $195.00
In this film, Anna Baltzer, a graduate of Columbia University and the Jewish-American granddaughter of Holocaust refugees, documents her experience as a volunteer with the International Women’s Peace...
News on Screen: 5
Find DVD: 16
Shakespeare: 1
This Week: 10(locked)
LBC/IRN: 69(locked)
BUFVC CMS: 1
Radio: 69
Cinema news: 5
Shakespeare productions: 1
Other: 17
Online: 74(warning)
To Order: 17
Record only: 1
Moving Image: 5
Audio: 69
Israeli–Palestinian conflict
Lebanese Civil War
Related searches have been automatically generated using the OpenCalais semantic analysis service.
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cc/2022-05/en_head_0055.json.gz/line8
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__label__wiki
| 0.87357
| 0.87357
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Casey Stengel
The Official Website of Casey Stengel
CMG Worldwide Welcomes You to the Official Website of Casey Stengel
Stengel was the youngest of three children and was an avid athlete in his youth, playing on the basketball, football, and baseball teams at Central High School in Kansas City, Missouri.
Stengel quit high school at 19 and went on to play professional baseball. He joined the Kansas City Blues of the American Association. He played in the outfield, but in 1910, he was sent to Kankakee, Illinois of the Northern Association. Later, he was sent to Shelbyville, Kentucky. then to the Maysville, Kentucky team of the Blue Grass League. Stengel was not batting very well at the time, but he exhibited much heart and passion for the game. He joined the Dodgers in 1912 and finished his season with a .316 batting average.
Young Stengel was really starting to become a big name on the field, and in 1913, he demanded, and received, a $2,100 contract. The money proved worth it, as Stengel hit the first home run out of Brooklyn’s Ebbets Field that year while batting .272 overall. The next two years he continued to bat for Brooklyn and partly due to his exceptional leadership skills and natural drive for the game, he helped the Dodgers win the 1916 National League pennant.
The runs continued to be scored, but in 1917, Stengel was traded to the Pittsburgh Pirates. Stengel played for the Pirates for 39 games before he went into the U.S. Navy to serve his country and coach the baseball program at the Brooklyn Navy Yard. In 1919, he went back to the Pirates, but was soon traded to the Philadelphia Phillies. He postponed playing on the Phillies until 1920, but then he was traded again to the New York Giants.
Stengel’s time with the Giants was beneficial for the team, as he had a batting average of .368 and .339 during the 1922 and 1923 seasons. He even had an on base percentage of over .400, and helped contribute to the Giants’ 1922 World Series victory.
Charles “Casey” Stengel made clowning around on the baseball diamond commonplace, long before the famed San Diego Chicken hatched out of its egg. Commonly known as the “Old Perfessor,” he will forever be remembered for his comical antics. Before his career in baseball, he was a dentist in his hometown of Kansas City. He once said, “I was not very good at pulling teeth, but my mother loved my work.”
Prior to ever writing his first lineup card as a manager, Stengel actually had a fairly successful playing career. He played in three World Series with the Giants and was a top-notch outfielder with the Dodgers, Pirates, Phillies, Braves, and Giants. In a game with Montgomery of the Southern league, Stengel lowered himself in an outfield manhole when no one was looking. As a fly ball sailed in his direction, he magically appeared out of the ground to shag it. The crowd gave him a standing ovation, and “Ol’ Case” had pulled off another one.
Stengel’s success as a manager far outweighs the notoriety he received as a player. After stints with Brooklyn, Boston, and Milwaukee of the American Association, he landed the job with the New York Yankees. He won 10 pennants in 12 years, including five straight world championships. Following three dismal seasons with the expansion New York Mets, Stengel finally called it a career. He died in 1975 at the age of 85. Baseball surely misses this great player and manager but mainly the smile he brought to everyone’s face.
by Casey Stengel
“Being with a woman all night never hurt no professional baseball player. It’s staying up all night looking for a woman that does him in.”
“All I ask is that you bust your heiny on that field.”
“Don’t cut my throat, I may want to do that later myself.”
“Don’t drink in the hotel bar, that’s where I do my drinking.”
about Casey Stengel
“He’s one of the smartest men in baseball, in business, in anything he’d try.”
— Edna Stengel, Casey’s wife
“He could fool you. When Casey wanted to make sense he could. But he usually preferred to make you laugh.”
— Yogi Berra
“I don’t think anybody could have managed our club like Casey did. He made what some people call stupid moves, but about eight or nine out of ten of them worked.”
— Don Larsen
“If Casey Stengel really is dead, which, as he once said, most people his age really are, I’d like to bet his liver still is quivering. His personal filter was so marvelous that he gave us younger guys an inferiority complex as well as a hangover.”
— Bob Broeg
As the exclusive licensing agent for Casey Stengel, CMG Worldwide is dedicated to maintaining and developing a positive brand image for our client. CMG is a leader and pioneer in its field, with over 35 years of experience arranging licensing agreements for hundreds of personalities and brands in various industries, including sports, entertainment, music, and more. We actively seek out commercial opportunities that are consistent with our brand positioning goals, and we are committed to pursuing strategies that meet the goals of our clients, as well as our licensing partners.
Please contact us today if you are interested in licensing opportunities with Casey Stengel. For a full list of CMG Clients, please visit our website here.
© Casey Stengel 2020
CMG Worldwide
In its fourth decade of licensing and clearing intellectual property rights, CMG Worldwide is the recognized leader in its field. CMG helps you navigate through and effectively manage the licensing process, while providing peace of mind that you have addressed all the outstanding clearance concerns.
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__label__cc
| 0.736821
| 0.263179
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Huw Warmenhoven Archives - Christians for an Ethical Society
Panel Forum 16 October 2019: The impact of information technology and social media
A Joint Forum with the Catholic Social Justice Commission based on their 2019-20 Social Justice Statement
Speakers: Paul Bongiorno AM, Beth Doherty, Huw Warmenhoven and Toni Hassan
When: 7.30pm 16 October 2019
The Australian Catholic Bishops’ Social Justice Statement for 2019 – 2020, Making it Real: Genuine human encounter in our digital world, affirms the positive possibilities for encounter and solidarity offered by new digital media, while warning of those elements of our digital world that may be harmful. These include information overload; social isolation; marginalisation of the vulnerable; consumerism and fake news.
The Statement reminds us that the new digital media cannot be seen as neutral or ‘unaffected by any moral considerations’. While many users do not realise it, the core business of social media platforms is to sell advertising and maximise profits. People’s personal lives may be reduced to data that is traded for profit or power, and it is used to target and influence us in ways previously unthinkable. Pushing users to more extreme positions and promoting fake news and conspiracy theories sells, but this is at odds with human solidarity.
The Statement amplifies Pope Francis’ call to us to ‘boldly become citizens of the digital world’, with the image of the Good Samaritan as our inspiration. We are called not only to love our neighbour, but to bring the love of God to the new global neighbourhood. The Statement points out that we are called not just to be inhabitants of this new digital world, but active citizens shaping it. All of us – whether we are users, communities, industrial or political leaders – have a role to play in rejecting hatred, divisions and falsehoods. We have a duty to foster a neighbourhood that promotes those human attributes and social values that lend themselves to genuine human encounter – love, understanding, beauty, goodness, truth and trustworthiness, joy and hope.
Paul Bongiorno is a veteran political journalist. He writes weekly columns for The Saturday Paper, The New Daily and other publications as well being a regular commentator on ABC Radio. He is also a contributing editor to Network Ten. He has been a journalist for 45 years and in that time has won four national Walkley Awards for journalistic excellence.
Beth Doherty is a journalist and educator who currently works as a religious education teacher at St Clare’s College, Canberra. She is the author of Tweet others as you would wish to be tweeted: A scripture-based guide to social media for the Church, published by David Lovell in 2015 under the auspices of the Australian Catholic Bishops Conference.
Huw Warmenhoven is the Youth Coordinator in the Archdiocese of Canberra and Goulburn. He has worked over the past 7 years in developing Youth Ministry in Catholic school across Australia, Europe, Africa and the Pacific. He has a passion for communicating the timeless Gospel in our time, inviting young people into the mission of the Church and responding through faith to contemporary social justice challenges.
Toni Hassan is an adjunct research scholar with The Australian Centre for Christianity and Culture, Charles Sturt University. She is an emerging artist, journalist and author of Families in the Digital Age: Every parent’s guide (Hypbrid, 2019).
Download Forum Flyer
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cc/2022-05/en_head_0055.json.gz/line11
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__label__wiki
| 0.638162
| 0.638162
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Iowa Theatre
102 3rd Street SE,
Theatre Cedar Rapids (Official)
Previously operated by: RKO
Architects: George L. Fisher
Functions: Live Performances, Live Theater
Previous Names: RKO Iowa Theatre
Town Theatre
Isis Theatre
World Theatre
The Iowa Theatre first opened its doors on June 6, 1928 as a vaudeville and movie house. The originally 1,800-plus seat theatre (later reduced to 1,500) was beautifully furnished with ornate antiques and offered one of the first crying rooms for mothers with fussy babies. A Rhinestone Barton theatre organ dominates the orchestra pit–and is the only one of its type still in operation today. Live acts were performed in front of the silent movie screen to the accompaniment of the organ.
A year after it opened, vaudeville acts took a backseat to the more popular moving pictures. For the next 50 years, the Iowa Theatre, with its hallmark two-story ear of corn on the corner facade, was one of Cedar Rapids' largest and most popular movie houses. Shortly after closing its doors as a movie theatre in 1980, the Iowa Theatre became the new home to the Cedar Rapids Community Theatre.
Over $2.5 million was raised in two capital campaigns to re-adapt the facility to a 513-seat, handicapped-accessible, proscenium-stage theatre. Rehearsal space, dressing rooms, a new green room and administrative offices were added. Much of the original grandeur was retained, while adding state-of-the-art lighting, sound and stage rigging systems.
Four years ago, the scene shop was moved to a spacious off-site location. In addition to the mainstage season, the facility remains busy throughout the year with other events, ranging from stand-up comedians to puppet shows to symphony chamber concerts.
Today, the Iowa Theatre Building is still home to Theatre Cedar Rapids, which is among Iowa’s largest community theatres.
Contributed by Paul Salley
Recent comments (view all 22 comments)
kencmcintyre on May 5, 2009 at 4:58 pm
Here is a November 1961 ad from the Cedar Rapids Gazette:
http://tinyurl.com/cwwhe4
Jakorns on May 18, 2009 at 7:30 pm
The building took substantial water on the main floor of the auditorium and lobby, and the basement of the entire building was flooded. All the electrical for the building was knocked out and the building is still empty. The renovation plans basically will move the electrical above the main floor and expand the lobby space into the storefronts on the main level
spectrum on January 11, 2010 at 6:58 pm
The CR-ATOS website has more updates on the organs. Consoles for both the Paramount and Theatre Cedar Rapids organs were damaged “beyond repair” and the soplor chamber of the Barton received heavy water damage. CR-ATOS and Cedar Rapids Barton inc. are working together on restoration and conservation the Barton at theatre Cedar Rapids, which will include a replica of the original console. The city of Cedar Rapids recently approved a restoration plan for the Paramount and in early 2010 planning efforts will begin for the restoration of the Paramount Wurlitzer and replication of the console.
The renovation of the Theatre Cedar Rapids and the Barton has already commenced, and is scheduled for completion by spring 2011.
Here is a photo of the partly submerged console of the Barton at the Theatre Cedar Rapids:
Here is a photo of the toppled console of the Paramount Wurlitzer:
A more detailed set of articles on the restoration progress of both theatres and organs with more photos and updates can be found at the main CR-atos page: http://www.cr-atos.org/
Jakorns on March 13, 2010 at 9:09 pm
Theatre Cedar Rapids reopened with Mel Brooks “The Producers” in February 2010. The original chandeliers that hung in front of the organ chambers were located in the warehouse of a local antique collector and were refurbished and donated to the theater. They are back in their original location.
The ticket lobby had the 1965 decoration removed and plaster work and lighting fixtures were restored to the 1928 appearance.
New restroom areas were added in the lower levels of the theater lobby (they had been sealed off in 1965 and were not reused in the 1983 remodeling).
The new color scheme of the theatre echos earlier colors used by the theater and is quite attractive. The ugly plastic reflector panels that were hung in front of the proscenium in 1983 were removed.
The stage floor was rebuilt with a new removable trap section. New mechanicals were added and a new lift for the organ console has been installed (ready for the return of the organ next year).
The theater lobby was expanded into the store fronts of the building and the theater now has the capability to host catered events. New rehearsal and dressing room space was aquired in the basement and upper levels of the building. It is quite an impressive reuse of the space and very functional.
Here is a link to the Cedar Rapids Gazette article about the reopening and some really nice pictures.
Here is a video from FEMA who provided $4 million towards the renovation.
Jakorns on February 27, 2011 at 1:48 am
The replacement console for the organ is currently under construction and the solo chamber is being rebuilt.
Joe Vogel on December 28, 2011 at 2:22 am
O.F.Paulson Co., currently listed in the Firm field, is a construction company. The Iowa Theatre was designed by George Fisher, an Omaha architect who was at one time partnered with Louis Mendelssohn and Harry Lawrie.
The August 11, 1928, issue of Motion Picture Times has an article about the Iowa Theatre, with three photos.
Joe Vogel on February 21, 2012 at 4:29 am
There are two photos of the Iowa Theatre after its post-flood renovation on this page of the web site of Ryan Companies US, Inc., the construction firm that did the restoration and associated remodeling. The design of the project was by OPN Architects.
The book Cedar Rapids: Downtown and Beyond, by George T. Henry and Mark W. Hunter, says that the Iowa Theatre closed as a movie house in 1983.
Local banking house Cedar Rapids Bank & Trust is sponsoring a classic movie series at the Iowa Theatre (schedule here). TCR’s web site doesn’t say anything about the medium of presentation, but the bank’s web site says Movies are projected digitally in HD via a state of the art Blu-Ray projector whenever available in that format. Still, it’s only five bucks (the bank also gives away a limited number of tickets free) and you do get to see the movies in a classic theater.
rivest266 on July 20, 2012 at 5:31 pm
Grand opening ad from June 29th, 1928 posted here
Jakorns on October 18, 2012 at 4:40 pm
The Barton organ is now playing! There remains some work to do with wiring and some console components. Visit this website for more info on the Barton and the Wurlitzer at the Paramount. www.cr-atos.org
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| 0.577279
| 0.422721
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Tag: post-apocalyptic
Evan Glodell on Bellflower: Borderland Film Podcast
Posted on August 6, 2011 by Dan Persons
Hellflower on Wheels: Tyler Dawson (left) and Evan Glodell prep for the end of civilization as we know it in BELLFLOWER.
The course of true love is never easy. When an imposing, MAD-MAX-like, fire-breathing automobile intervenes, it can get downright complicated. Evan Glodell’s BELLFLOWER is the tale of two Southern Californians — Woodrow (Glodell) and Aiden (Tyler Dawson) — who fill their free time with speculations of the post-apocalyptic future and preparations for same that include the construction of Matilda, a bad-ass, black automobile that would make the Road Warrior drool. But when Woodrow begins hanging out with Milly (Jessie Wiseman), a woman with similar, dark impulses, the ecology of the two friends and their circle of acquaintances is about to undergo a serious upheaval.
Glodell packs the film with a wired, spontaneous energy, and doubles-down on the rough, hand-tooled feel by having a hand in the building of the film’s flame-throwers and cars, as well as the home-made lens system used to shoot the footage. Good to know that, come the Fall, canny filmmakers will still be able to survive.
Click on the player to hear the interview.
http://media.blubrry.com/mightymoviepodcast/p/m.podshow.com/download_media/26081/episodes/291308/mightymovie-291308-08-06-2011.mp3
Posted in Interviews, Mighty Movie Podcast, Movies, Podcasts Tagged BELLFLOWER, Evan Glodell, Jessie Wiseman, MAD MAX, Mel Gibson, post-apocalypse, post-apocalyptic, THE ROAD WARRIOR, Tyler Dawson Leave a Comment on Evan Glodell on Bellflower: Borderland Film Podcast
Book of Eli on DVD: The Use and Abuse of Religion
Posted on June 22, 2010 by John Morehead
The recent release of THE BOOK OF ELI (2010) on DVD provides an opportunity for a reassessment of important elements within its story. Viewers with religious convictions have interpreted the film in strongly positive and negative terms; however, another reading is plausible that avoids these extremes. Taking into account its late-modern-Western and post-9/11 context, THE BOOK OF ELI may be interpreted as a film that urges caution in the use of religion by both its practitioners and the irreligious – who variously objectify religion and justify violence in fundamentalist fashion while failing to heed the message of religion or recognize its power as a form of social control and a tool for oppression. This review will address these elements, which appear to be overlooked in many reviews of the movie.
THE BOOK OF ELI is the latest example of Hollywood (and popular culture’s) continued fascination with and exploration of the post-apocalypse. Blending genre elements from the Western and action films, the story follows a man (Denzel Washington), who lives in a near-future world ravaged by nuclear war. He is on a personal mission to carry a book, which he holds sacred, to the West Coast. Along the way, he stops for water in a town under the leadership of Carnegie (Gary Oldman), an oppressive and violent man who rules with an iron fist. Carnegie is looking for a book with the power to control people and expand his power; his search dovetails with Eli’s mission to protect the same book in his westward journey. The resulting conflict sets the stage for the rest of the film, with post-apocalyptic elements providing the backdrop and context for the exploration of religious themes.
As the narrative unfolds, we learn that after the war Washington’s character (who only at the end of the film do we learn is named Eli) responded to an internal voice that told him where to dig in the rubble for an important item. There he found the book, more specifically a Bible, around which the story circulates. The voice also told Eli that it was his mission to carry the book West and that he would be given divine protection in his travels. THE BOOK OF ELI provides a number of examples of Eli’s devotion to his faith and his calling, such as prayer over his food, daily Bible reading, and the quotation of biblical verses, even in connection with the slaying of his enemies.
Before considering an alternative reading to the pro- and anti-Christian readings of the film prevalent in many commentaries, a few words are in order about the possibilities related to someone actually thinking they could be the recipients of divine revelation in a period of great social upheaval, such as the post-apocalyptic scenario of this film. While skeptics will be doubtful of any such possibilities in the assumption of the absence of the supernatural or the transcendent, even so, sociological evidence exists that can account for such beliefs. Noted sociologist of religion Rodney Stark, in his discussion of revelators in new religious movements and major world religions, notes that “all successful religious movements arise in response to crises.” He goes further and develops a proposition from this idea, stating that, “During periods of social crisis, the number of persons who receive novel revelations and the number willing to accept such revelations are maximized.”
In THE BOOK OF ELI, we are led to believe that religion has largely disappeared since most of the previous generations of religious people have died, and at some point at least the Bible if not all religious Scriptures have been destroyed; however, the post-apocalyptic scenario certainly provides the social context of extreme crisis wherein people would be receptive to the possibility of personal revelation. As this plays out in the film, it is not so much the surviving humans who are looking to hear the divine, but rather Eli himself who hears the inner voice which for him provides a strong sense of divine vocation. Understood as developing in a context of social crisis, it is not so much Eli’s understanding of divine vocation that is problematic, but his actions that come as a result. Eli’s actions as a man of religious devotion, often violent ones, have resulted in different interpretations of the film, and in light of this they deserve further exploration.
A sampling of the reviews and commentary on THE BOOK OF ELI by those with religious convictions, particularly those with a Judeo-Christian orientation, reveals diverse interpretations of the film in regards to its relationship to Christianity. On the one hand, there are those who take exception to the film, seeing it as incorporating a strongly anti-Christian caricature; on the other hand there are those who see the film as sympathetic to Christianity (one website even going so far as to describe it as “positively Christian”).
In my view both of these readings are problematic. For starters, THE BOOK OF ELI is not presenting Eli as a Christian. Although he reads from the Bible, and gives thanks for his meals, the name of Christ is never once invoked in the film. Instead, Eli prays to “the Lord” and closes his prayers with a simple “Amen.” In this way his brand of religious devotion may be understood as a generic brand of Judeo-Christian theism rather than a specific expression of Christianity. If the film does not present the Christian faith and the actions of a devoted Christian, then it is difficult to see how the film could be construed as either pro- or anti-Christian.
If these popular readings may be inaccurate, then what reading might better account for various elements of the film? I suggest that, instead, THE BOOK OF ELI should be understood as a critique of the misuse of religion by skeptics and religious devotees alike. First, consider the late-modern and post-9/11 context of the film. Late modernity, or postmodernity, often includes critique of dominant cultural narratives, including religious ones. In addition, we live in a post-9/11 world, where religious tensions and violence around the world exert a constant influence in our lives. When these two considerations come together, it is plausible that the cultural context out of which THE BOOK OF ELI has arisen is one that attempts to critique prominent religious narratives, particularly those that have led to violence.
This leads to my second consideration, and that is the ways in which religion is used by the two principle characters in THE BOOK OF ELI. On the one hand, we have Carnegie, a violent man who seems to have no religious convictions of his own but who seeks a Bible because he recognizes its potential for expanding his power over others. In one scene he shouts to his cronies that “It’s not a book, it’s a weapon!” Here we have a character who seeks to use an important aspect of a religious tradition in order to gain control over “the weak and desperate,” but not as an important part of his heartfelt religious pathway. As the villain of the film it is clear that viewers are to recognize the illegitimacy of Carnegie’s (mis)use of religion.
However, there is a second major character for whom religion is significant: Eli. While his use of religion is presented more positively, it is not without its difficulties. Eli is a lone hero with a divine mission who must do everything he can to protect the holy book as he carries it West. In a post-apocalyptic world where people are fighting for their lives, Eli’s mission results in mayhem and violence for those who try to kill him and steal his belongings, including the Bible. Not only is Eli prone to violence in his mission, perhaps understandable in the survivalist context, but his violence is selective.
In one scene Eli sees a man and a woman traveling who are accosted by a roving gang affiliated with Carnegie. The man is killed and the woman is violently raped. Eli is moved by this viciousness, but he tells himself that he has his mission and that the violence taking place around him is not his concern. So in the case of Eli we have a man of religious devotion who is driven to great violence to protect a religious object, but who is not driven to “love his neighbor as himself” to the extent that his faith compels him to assist those suffering around him. Thus, while Carnegie’s use of religion is clearly problematic, Eli’s is as well, perhaps more so in light of his religious devotion.
For those who may dispute this interpretation of Eli’s actions, Eli himself seems to come to understand that his own faith missed the mark. Near the conclusion of THE BOOK OF ELI, after Eli has lost the book to Carnegie, he is rescued by his traveling companion Solara, to whom he acknowledges that he was so caught up in protecting the Bible that he failed to live its message. Eli’s religious faith was focused on the externals, that of protecting a sacred item of Scripture, often leading to grotesque violence, perhaps necessary at times; in the process, he failed to internalize the essence of his religion and, in so doing, turned a blind eye to the suffering around him that he might have been able to alleviate.
Viewed from this perspective, THE BOOK OF ELI may be read as not so much articulating a pro-Christian or anti-Christian message. Rrather, arising out of a critique of religious narratives of our time that often incorporate violence and neglect marginalized, this film may be read as one that cautions against the abuse of religion by believers and non-believers alike. For those willing to stretch themselves in their consideration of religion, from whatever their personal frameworks, THE BOOK OF ELI provides some interesting aspects for personal reflection.
The DVD and Blu-ray discs of THE BOOK OF ELI include a handful of special features. The standard version of the DVD is disappointing in that its bonus material is limited to some additional scenes and an animated tale that develops the storyline further. The Blu-ray Combo Pack includes more – not only the additional scenes and animated story, but also explorations of other aspects of the story related to Eli’s journey and post-apocalyptic, as well as a soundtrack for the film.
Posted in DVD, Reviews Tagged 2010, Biblical, Denzel Washington, post-apocalyptic, science fiction, THE BOOK OF ELI Leave a Comment on Book of Eli on DVD: The Use and Abuse of Religion
The Road (2009)
Posted on December 29, 2009 by Peg Aloi
Harrowing trip into a bleak nuclear winter of the future offers a cautionary tale for today.
John Hillcoat’s film of Cormac McCarthy’s widely-praised novel (adapted for the screen by Joe Penhall) presents what may well be one of the bleakest and most terrifying stories ever told on the big screen. THE ROAD follows the harrowing post-apocalyptic journey of a father and son, named simply “Man” and “Boy” (played by Viggo Mortensen and Kodi Smit-McPhee, respectively). The nature of the apocalypse is never described (nor does the novel explain it any more clearly than the film), but there is neither vegetation nor animals, and the landscape is covered in grey ash. It’s perpetually cloudy or raining, and bitterly cold. People are filthy and hollow-eyed, with ashen skin and torn fingernails, starving, homeless. The Man and the Boy are traveling on foot, pushing their meager belongings in a cart, heading vaguely south, determined to avoid another northern winter. They’re on foot not only because there is so little fuel and the roads are littered with abandoned cars and wrecked semis, but also because being on foot lets them hide easily, and in this post-disaster landscape, kindness and compassion have vanished as surely as apple blossoms and pizza.
Charlize Theron appears in flashback sequences; she is the “Woman” to Man and Boy, a wife and mother who gives birth the same night that the world turns upside down. After a few years, during which, we must assume, food has become scarce and daily existence has become dangerous, she determines that suicide is the only way out for her family. She says that eventually “they” (referring to the apparently-ubiquitous roving bands of murderous thugs: martial law gone real, real bad) will hunt them down, rape her, rape her son, and then kill and eat all three of them. Learning her husband has onlytwo bullets left, she is furious that this plan can’t work, and walks off into the night, alone, after telling her husband to travel south, as they can’t survive another winter where they are. The Man tearfully begs her to stay, but she refuses, emotionless and resigned to her decision. She clearly doesn’t want to die a victim, and yet it’s almost implausible that she could avoid such a fate. The Man has occasional dreams of her, lit with soft, golden light, full of the warm colors that have been drained out of the world in which he now lives.
For this world is a decidedly brutal one: early on the Man and the Boy meet a band of thugs traveling on a big truck, checking abandoned cars for fuel, searching for food. They try to hide but are discovered (by Garret Dillahunt, one of a number of fine actors in memorable cameos in this two-character story). With the Man’s gun trained on him, the thug offers to bring them along, says they have food, but his cracked, desperate smile and rotted teeth reveal he’s lying. He is the first of a number of bloodthirsty mercenaries the Man and Boy encounter. One terrifying sequence brings them to a seemingly deserted farmhouse that turns out to be a stronghold for a group of ruddy-faced villains who spend their days hunting. The signs are vague but unmistakable in the snowy yard: human skulls on spikes, an iron hook, freshly-split wood, a huge black cooking pot, and a pool of blood in varying shades of red, suggesting a series of slaughters over time.
It seems the primary danger in this cowardly new world is cannibalism, and the Boy understands this only too well; perhaps it’s why he’s quicker than his father to share their food with solitary strangers they meet (including Robert Duvall as an elderly, near-blind man shuffling along in shoes crafted of cardboard and plastic). Despite the Man’s insistence that they’re “the good guys” because they would never eat people, he nevertheless is slow to show compassion to others, believing his “every man for himself” approach is the only thing that will keep them alive. But keep them alive for what? There seems to be no imaginable future for them. Even a fortuitous discovery of an enormous cache of packaged foods doesn’t last. Their clothing is not sufficient to keep them warm; thieves take their survival necessities, and even if they reach the coast, it’s not clear anything will improve.
The Man has made it clear he’ll use his remaining bullet on the Boy to save him from a fate worse than fratricide; and the Boy realizes his father’s wracking cough is a harbinger of his uncertain future, when he’ll have to fend for himself. Of course, the Man is trying to give the Boy survival skills for this inevitability; but distrust and brutality don’t come naturally to a ten-year-old, even one who has been raised in a world as cruel and perilous as this one. THE ROAD suggests that human nature will adapt to anything, even the dissolution of humanity.
The film offers an ending that is perhaps more hopeful and redemptive than audiences should expect. But this brief respite from so much relentless brutality and despair cannot erase THE ROAD’s unforgettable imagery and indelible messages. It’s been said that starvation instills desperate behavior in humans. But the cannibalism of this post-apocalyptic world is not the drastic, apologetic action of a Donner Pass traveler. People in this post-disaster world seem to be steeped in aggressive cruelty and selfishness. Or, perhaps, those who still remain are so, because the compassionate and gentle were sacrificed long ago. Dreary weather, massive destruction and pillaging are nothing compared to the savagery of rape, murder, and cannibalism, and these atrocities pervade McCarthy’s vision of our possible future. If the loss of botanical beauty is heartbreaking, then seeing women and children sodomized and eaten is soul-breaking. It’s hard to see how any spiritual belief system could persist in such a world; but the Man talks of God to his Boy, and also sees his son as a god. Is it that the Boy’s innocence makes him holy? Or that blind faith in a once-powerful, all-forgiving deity is the only flicker of light in an utterly dark existence? When the everyday becomes unbearable, the survivors understandably see the beatific in the banal.
Is THE ROAD’s vision of the future plausible? It might be difficult to find an adult who has not contemplated what might happen were it all to come crashing down on us. Our world is full of nukes and chemical weapons and super-germs. One carefully-planned act of biological warfare would easily decimate the population, and one good natural disaster could shut down the pipeline of food and fuel to the world’s largest cities. We could be screwed almost instantly, and FEMA might well leave us, you’ll pardon the expression, high and dry. Cataclysm comes in many forms, and even in a wealthy, cushy country like the United States, our post 9/11, après-Katrina mindset has made disaster a plausible reality. It flashes through our minds every time we stock up on food for a winter storm, or hoard bottled water and batteries during hurricane season.
I’ve often wondered how our lives might look without the constant crutch of accessible personal technology, and how society would break down if it were taken away. What if we really had to fend for ourselves, forage for food, avoid thugs on a daily basis? Maybe some of us have even wondered what clothing we’d wear to venture out into that endless night, what weapons we’d carry, if any, what we’d do if confronted with our own imminent mortality, our humanity erased by the swift evil that descends in the wake of having our comforts and loved ones whisked away in the blink of an eye. Of course, some people in the world already live like this. THE ROAD is a murky harbinger of our future, but perhaps more urgently, a cautionary tale clearly reflecting our present.
THE ROAD (2009). Directed by John Hillcoat. Screenplay by Joe Penhall, based on the novel by Cormac McCarthy. Cast: Viggo Mortensen, Kodi Smit-McPhee, Robert Duvall, Guy Pearce, Molly Parker, Michael K. Williams, Garret Dillahunt, Charlize Theron, Bob Jennings.
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Laserblast: Doomsday arrives at home
This is a heavy-duty week for home-video releases. As usual, there are only one or two new titles making their debut, but Hollywood has become so adept at recycling old material that they could serve as a useful model for the environmental movement: numerous golden oldies make return engagements this week, their resurrection justified by director’s cuts, multi-packing, or new technology, with titles previously released on DVD now appearing on Blu-ray disc and/or on DVDs offering bonus “Digital Copies” that you can download onto your PC.
The most interesting newbie is DOOMSDAY, writer-director Neil Marshall’s homage to post-apocalyptic action-thrillers of the MAD MAX variety. Perhaps because of its derivative nature (plus a promotional campaign that did little to excite fans), Continue reading “Laserblast: Doomsday arrives at home” →
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Doomsday (2008) – Film Review
Posted on March 16, 2008 by Steve Biodrowski
Ironically, the end of the world as we know it never seems to end; at least on the big screen, the fat lady simply never stops singing. Technically, the latest chorus in this endless string of end-of-the-world arias is not about our planet at large, just a large chunk (i.e., Scotland); nevertheless, DOOMSDAY justifies its title by incorporating motifs from its apocalyptic predecessors. You will find bits and pieces of THE OMEGA MAN, ESCAPE FROM NEW YORK, and THE ROAD WARRIOR, among many others. The result feels a bit like a medley of greatest hits performed by a hot, young talent who brings a new vocal inflection to the tired, old standards, revitalizing them for a new generation of listeners. You may not like the new version as much as you loved the originals, but it is fun to hear the various verses and choruses reprised together, creating something simultaneously familiar and new.
The film launches with one of its best sequences, portraying the outbreak of the “Reaper” virus (whose bloody pustules suggest Poe’s “Red Death”), which leads to the quarantining of Scotland behind a massive metal wall. A mass exodus toward the border becomes a violent free-for-all, with trigger happy guards shooting both the infected and the uninfected, turning the formerly orderly march into an uncontrolled riot. However, the sequences works less as a spectacular set-piece than as an introduction to our central character, Eden Sinclair, a young girl who is lifted to safety on the last helicopter out of the hot zone, forced to leave her mother behind.
Twenty-five years later, Sinclair (Rhona Mitra) is a major in a special ops team taking out some drug dealers. When the Reaper virus erupts anew, this time in the heart of London, the British government needs a cure. Unbeknown to the public at large, satellite photos have revealed survivors in Scotland, suggesting that there may be a cure. Department of Domestic Security Chief Bill Nelson (Bob Hoskins) selects Sinclair to head a mission into the quarantined area to search for Dr. Kane (Malcolm McDowell), who was working on the problem when the wall went up.
Searching the doctor’s old facilities, Sinclair’s team runs afoul of a band of cannibals led by Sol (Craig Conway), who hopes to use Sinclair as his key to circumvent the wall. Sinclair and her surviving team members escape and, with the help of Kane’s daughter, find their way to the doctor, who has set himself up as a local king in an old castle, having renounced modern technology in favor of a return to medieval mode of living. Natural selection, rather than medical science, is the reason for their survival…
Although the screenplay has a fairly clear, linear through-line, writer-director Neil Marshall explores other motifs like a jazz musician wandering off on a solo that diverts from the main melody. Besides Sinclair’s quest for a cure, she also has a personal quest to reconnect with the memory of the mother she lost. She has to confront three different factions of survivors, two of which appear to be at war with each other. And back in England, there is a political corruption sub-plot in which the prime minister (Alexander Siddig) yields to the suggestion of advisor Michael Canaris (David O’Hara) that they let the Reaper virus thin out the population before taking advantage of any cure that Sinclair might find.
These elements are meant to add complexity to the main storyline, but they feel more like loose improvisations than like a tightly structured symphony of melodies and counter-melodies. The war between the rival factions is barely glimpsed, let alone resolved. Sol turns out to be Kane’s son, but the film does nothing with the idea (you could drop it without changing the story). Sinclair’s personal quest is pretty much on the back burner until the ending. Her search for Kane suggests Marlow’s trip into the Heart of Darkness, looking for Kurtz, but DOOMSDAY only hints at the potential doppelganger theme: like Martin Sheen’s Colonel Willard in APOCALYPSE NOW, Sinclair even ends up enclosed in a wooden cage while Kane pontificates on his new philosophy; Kane comes across like a surrogate father figure (as he talks about losing a wife and a daughter, you briefly fear that the film is going to make the connection literal), but the dramatic implications drowned out beneath a crescendo of genre-required action scenes.
Marshall has so much fun with these sequences that it is hard not to be swept up into the sheer post-modern joy of seeing him cram in one darn thing after another (a gladiator style duel between our heroine and a hulking killer, a la Snake Plissken’s last-reel battle in ESCAPE FROM NEW YORK, is soon followed by a ROAD WARRIOR-style multi-car chase on the open highway, with hardly a breath wasted on how Sol knew where to intercept Sinclair). Relying on old-fashioned physical stunts, rather than modern computer-generated imagery, Marshall recaptures much of the rhythm and percussive power of the films he is referencing. He also supplies more than enough gore and splatter to appease horror fans who fell in love with his previous efforts, DOG SOLDIERS and THE DESCENT. (Besides decapitation, brains splattered with a shotgun, and a victim cooked alive, there are a couple moments of gratuitous cruelty toward animals that are meant to provide either a sick joke or a satirical statement about the Fascist nature of a government that could cold-heartedly turn its back on its citizens. I’m betting on the former.)
The only real problem with the action scenes – and it is a major one – is that they over-edited, obscuring most of the stunt choreography beneath a glissando of hyper-fast cuts. One could also nitpick about the ease with which Sol’s band of savages overcome the modern tanks that Sinclair’s team drives into the hot zone. (In the reviled tradition of RETURN OF THE JEDI, high-tech armor-plated equipment is vulnerable to bows and arrows.) Marshall makes an effort (including a Trojan horse-type gag to take out one tank), but to be truly convincing, the take-down should have been a little more difficult.
A British beauty playing a lethal warrior, Mitra comes across like this year’s model of Kate Beckinsale in UNDERWORLD, but she does handle the Sinclair role well, even if Marshall’s screenplay does not provide as much depth as his previous efforts. Although their scenes are brief, Hoskins and McDowell manage to register forcefully on screen, justifying their presence as something more than cameo casting. O’Hara is excellent as the power behind the prime minister; his super-stiff body language is enough to tell you he’s a bastard the first time you see him. Conway has a blast as the savage Sol, but Vernon Wells (who set the standard in ROAD WARRIOR) is probably probably in no danger of being eclipsed by this upstart. And Lee-Anne Liebenberg is memorably in a virtually silent role as Viper, Sol’s main squeeze.
DOOMSDAY is a blast from the past, filled with familiar echoes that should please fans. Marshall acknowledges his sources with the use of character names: Carpenter (as in John, director of ESCAPE FROM NEW YORK); Chandler (as in Raymond, the hard-boiled mystery novelist with a sentimental streak); Talbot (as in Lawrence, the Wolf-Man in the classic 1941 horror film); and even Viper (a kind of snake, as in Plissken). There is also a fair share of original invention, like a removable mechanical eyeball that Sinclair can use to spy on her targets.
As a step up from Marshall’s smaller-scale horror films, DOOMSDAY makes it only halfway. As an ode to ’80s action and exploitation movies, it delivers the goods far better than both halves of GRINDHOUSE combined (it feels like the real deal, not like some stoners whacked out recollections). Unfortuantely, for the first time the genre requirements seem to outweight the story requirements. Unlike DOG SOLDIERS and THE DESCENT, we do not see a dramatic depiction of a tight-knit group unraveling under pressure; with one or two exceptions, the members of Sinclair’s team serve as disposable bodies, obliterated almost as off-handledly as those red-shirted subordinates on the old STAR TREK. Even if the point is to show how emotionally detached Sinclair is, she should show some concern as the team leader who bears responsibility for the lives of her soldiers.
One would be tempted to conclude that Marshall simply conceived a score that was too big for him to orchestrate and conduct, but the film’s rousing coda overturns these doubts almost entirely. Avoiding the conventional ending, DOOMSDAY riffs on an idea from APOCALYPSE NOW, blatantly and brilliantly setting up a potential sequel. If there have been so many themes that not all of them could be resolved, it is only because we have been watching a dense prelude what what will come next. Far from the frustrating set-ups in many Hollywood films (that simply cheat and leave the audience wanting more), DOOMSDAY takes Sinclair to a point that satisfies the needs of this film but leaves her poised for an encore that could be even bigger and better than the opening number.
DOOMSDAY (2008). Written and directed by Neil Marshall. Cast: Rhona Mitra, Bob Hoskins, Adrian Lester, Alexander Siddig, David O’Hara, Malcolm McDowell.
RELATED INTERVIEW: Writer-Director Neil Marshall
Posted in Movies, Reviews Tagged 2008, DOOMSDAY, Neil Marshall, post-apocalyptic, Rhona Mitra 7 Comments on Doomsday (2008) – Film Review
Interview: Neil Marshall Directs "Doomsday"
Posted on March 7, 2008 by Steve Biodrowski
DOOMSDAY is the new post-apocalyptic thiller from writer-director Neil Marshal, who gave us DOG SOLDIERS and THE DESCENT. Although the visceral impact of those two horror films earned him honorary membership in the so-called “Splat Pack,” Marshall films’ evince a stronger narrative drive: they are dramas about group dynamics breaking down under extreme pressure; the pressure just happens to take the form of werewolves or mutant cave dwellers. Continue reading “Interview: Neil Marshall Directs "Doomsday"” →
Posted in Interviews, Movies Tagged Neil Marshall, post-apocalyptic, science fiction 5 Comments on Interview: Neil Marshall Directs "Doomsday"
Tooth and Nail (2007): After Dark Horrorfest Review
Posted on November 11, 2007 by Steve Biodrowski
This is a laughably bad post-apocalyptic thriller that was inexplicably included as one of the “8 Films to Die For” in the 2007 edition of the After Dark Horrorfest. Apart from the overall low-quality of the threadbare production, one has to wonder why After Dark Films would stretch the definition of “horror” to include a second-rate entry like this (presumably because of the gory violence?)
To be fair, TOOTH AND NAIL quite honestly announces its awfulness in the opening narration, which rather absurdly tries to blame the complete collapse of civilization on running out of gasoline! It is easy enough to believe that such an event would radically alter society, but here we are supposed to believe that it led to a total collapse, followed by anarchy and savagery. Guess all those wind-powered generators, electrical dams, and nuclear reactors were good for nothing! And nobody thought to press bicycles, sailing yachts, and horses into transportation service. And all those historical societies and naturalists and campers and boy scouts who learned how to rub two sticks together – they didn’t help out much either! The absurdity of the whole notion is underlined by the intonations of Robert Carradine, who delivers the lines as if telling a bad joke – which indeed it is.
Once the story begins, we soon see that we are in a throwback to bad drive-in filming from the ’70s and ’80s, which often consisted of finding a large, abandoned building (in this case, a hospital) and setting a whole movie inside it. Our cast of characters are trying to build a new life, but after they rescue a stranger (Rachel Miner) they find themselves menaced by “Rovers,” a band of cannibals who pick off their victims by night, one at a time.
The lip-service explanation for this modus operandi is that Rovers like fresh meat, so they do not kill all their victims at once and let them rot. Of course, it would be just as easy to capture everyone and hold them prisoner until dinner time, but then there would be no excuse to drag the film out with scene after scene of characters being killed off one by one.
But plot is only one of the problems here. The real laugh riot is the dialogue and performances, which plumb the giddy depths of silliness as our hapless, helpless band of misfits stand around wondering what to do and asking each other if it will be all right and worrying about their inability to handle the situation. When voting for a new leader (after the death of the previous one), the pettiness and bickering has all the dramatic impact of high school kids picking the president of the prom committee.
Later, lest we forget that this is just a schlock exploitation film, there are a couple of gratuitous sex scenes, one of which is outright goofy (with night falling and the Rovers on their way, the guy promises the girl that he will protect her – oh, that survival talk is so sexy!) Otherwise, the subject of sex never comes up. The Rovers seem to enjoy eating men and women equally; although their leader talks about survival of the fittest, the fact that their tribe will not survive without women to bear children never comes up.
By the time our heroine decides to put the hammer down on these cannibalistic cretins and dons her warpaint, the film comes close to achieving camp classic status; sadly, the lethargic pace prevents TOOTH AND NAIL from being truly enjoyable bad, so the film will have to settle for the distinction of being the best reason in recent memory for the return of MYSTERY SCIENCE THEATER 3000 (it would make a good companion piece for ROBOT HOLOCAUST).
It is a shock to see Carradine in middle age (where has he been since REVENGE OF THE NERDS?), but he gives a respectable performance, lending the film a little class for a short time. Michael Madsen shows up in two brief scenes as one of the Rovers, but he never interacts with the rest of the cannibals and none of them seem to notice when he’s gone, leading one to suspect that his footage was shot and added seperately, to provide a little name value. Rachel Miner (who was so good in PENNY DREADFUL, one of After Dark’s offerings last year) is ultimately defeated by the script, which turns her character into a melodramatic cliche.
There is one good idea in the movie: for the final confrontation, the odds for our outnumbered heroine are evened because the cannibals are doped up – the bodies of their latest victims having been injected with drugs. It’s the one moment when you actually think, “That’s clever,” and it thankfully spares us from an extended knock-down, drag-out, tooth-and-nail fight scene. It ain’t much, but when sitting through something this bad, you grow grateful for the few meagre crumbs of quality.
TOOTH AND NAIL (2007). Written and directed by Mark Young. Cast: Rachel Miner, Robert Carradine, Michael Madsen, Vinnie Jones, Rider Strong, Michael Kelly, Nicol DuPort, Alexandra Barreto, Emily Catherine Young. Beverly Hynds, Patrick Durham, Jonathan Sachar.
Posted in Movies, Reviews Tagged 2007, After Dark Horrorfest, post-apocalyptic, TOOTH AND NAIL 7 Comments on Tooth and Nail (2007): After Dark Horrorfest Review
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Bullets Go as Far as They Want
I was watching The Fifth Element on television the other day for the nth time. I came in toward the end. And Gary Oldman's character, Zorg, is shooting upward with an automatic weapon into the ceiling of the hotel room at Leeloo who is hiding in the duct work. And I thought, for the first time, anyone in the room above them is going to have bullets coming up through their floor. But, of course, this isn't shown because the filmmakers likely didn't think of it. While there were bullet holes in the bottom of the duct work, there were none put in the top.
In the real world, bullets go where they want to go and as far as they want to go. One of the four rules* for safe gun handling is "Know your target, what's in front of it and what's behind it." That's because it might miss your target and hit something (someone) behind it, or your bullet might pass through the target and hit something (someone) behind it. In Hollywood movies and television productions, this rarely happens. Hollywood has trained us to think bullets only go as far as we want them to. Which just isn't true. A bullet will travel (sometimes miles for rifles) until it hits something that stops it.
Oh, and guns don't make a cocking sound when you draw them. I'll never get tired of pointing that out.
*The four rules of safe gun handling are:
Always point the muzzle in a safe direction.
Always treat every gun as if it were loaded.
Know your target, what's in front of it and what's behind it.
Always keep your finger off the trigger until you are ready to shoot.
Hollywood does an awful job on number four, too.
Does Hollywood gun handling drive you nuts, too. Let me know in the comments below.
Posted by S. Evan Townsend at 6:00 AM No comments:
Labels: movies and television, Random Thoughts
The University of Washington Huskies went 2-2 last night by beating the University of California Berkley Golden Bears (hereafter "Bears" or "Cal" or "Cal Bears" or "California").
Despite a slow start (three and out on their first series), the Huskies played strong through the first half of the game, scoring 21 points to California's 10. California had a muffed field goal attempt which would come back to haunt them.
But in the second half, the Cal defense came alive and their offense managed to score 14 points while the Huskies only got one field goal. At the end of regulation, the score was 24-24. If Cal hadn't muffed that field goal, they would have won the game there.
In college overtime, each team gets a chance to score starting on the 25-yard line. The Huskies got a touch down making the score 24-31. Then Cal tried to score, but a fumble at the goal line that was recovered by the Huskies ended their try and the game.
Dylan Morris, Washington's quarterback, is getting better every game. But in the second half of the contest, he had no time to find a receiver. Cal's defenders were coming at him all the time. On the other hand, the Bear's quarterback seemed to have all the time in the world, and if he couldn't find a receiver, he'd just run for a first down himself. He was California's number one rusher in the game.
One issue Washington had was that Cal Otten was out for "COVID protocol." He's one of Morris's best receivers. Let's hope he's available next week when the Huskies travel to play Oregon State, who pounded USC yesterday, 45-27.
Washington is tied for first place in the Pac-12 conference with Oregon and Oregon State at 1-0 in conference. But Oregon is 4-0 and Oregon State is 3-1 while the Huskies are 2-2. So, I guess we're actually in third place.
Interstate 90 Autobahn
I always used to scoff that those "Slower Traffic Keep Right" signs because I was rarely slower traffic. I did keep right except when passing because it's Washington State law that you have to keep right except while passing.
But that's all changing and I don't know why.
A few weeks ago I drove to Seattle and back to see the Huskies lose to Montana. Now I usually set the cruise control 5 mph above the speed limit. That keeps the cops off my back. And that used to make me one of the faster cars on the interstate. But lately, it's not. Lately I'm the slower traffic. (I've touched on this before.) On both the way there and the way back on the Saturday and Sunday of Labor Day weekend, I was being passed constantly by cars exceeding the speed limit by at least 10 mph, probably more. I learned to check my mirrors before pulling out to pass to make sure there wasn't a car coming up fast in the left lane. It was almost like I hear driving on the German autobahn is like.
For example, There were three lanes and I was in the middle lane passing someone. I was doing 80 mph to get around that person and free up that lane. And someone passed me on the left going much faster then I was. I estimated they were doing at least 90 mph. The speed limit is 70.
I don't know why this is happening. I wonder if it's Google Maps/Waze showing where people have reported cops. I don't trust it enough to risk going faster than 76 mph (I added a mile per hour because so many cars were going so much faster). If I started driving 80+ mph, I'd get a big nasty ticket pretty soon. At least, that's my experience.
I didn't experience this when I drove to Walla Walla for the Chicago concert. But that was mostly two-lane road and I did a bunch of passing of slower vehicles.
So now I am the slower traffic and, yes, I keep right.
Do you have an idea why people drive so fast lately. Let me know in the comments below.
(Yes, it's Monday; I'm a day late.)
The University of Washington Huskies are 1-2 after actually winning a game and winning it handily. On Saturday, the Huskies played Arkansas State at home in Husky Stadium. There were only about 53,000 fans there compared with the Montana game that had approximately 61,000. The rain may have had something to do with that, but I'm thinking fans didn't want to go to another losing game.
Quarterback Dylan Morris missed his first four throws and I thought "here we go again." But then he started connecting with his receivers. And threw a few long bombs for big plays. He did throw two interceptions, so that's something he needs to work on.
The Huskies had 200 yards rushing with Richard Newton leading the way with 52 yards.
Toward the end of the game, Coach Jimmy Lake pulled his started, including the quarterback, and played backups. Even then the Huskies scored on a fumble recovery and run in for a touchdown. The final score was 52-3.
One thing I didn't like to see was the Arkansas State coach grabbed a player by the collar and appeared to be screaming at him. There's no place for that in college football.
If the Huskies had played this way against Montana, they would have won. If they played this way against Michigan, they might have won.
Now we go into Pac-12 play. We play California at home next Saturday. They are also 1-2. I'm hoping the Washington team that showed up Saturday shows up next week. The game is at 6:30pm on Pac-12 Network.
Labels: college football, huskies, sports
A national political commentator whose opinions I usually agree with said the show Evil was "the best thing on Paramount+." So I'm watching it. And its may not be the best thing on Paramount+, but it is damn good.
The show involves a former Catholic (now atheist) female psychologist who is hired by the Catholic Church to investigate possessions and other supernatural events. She works with a Catholic priest in training (played by Mike Coulter of Luke Cage fame and an actor I really like) and a technical guy who is Muslim. An interesting group.
The genius of the show is they never tell you that the supernatural things shown are real or not. And with the three perspectives of the characters, you never know what to believe. But toward the end of the first season, they start to strongly hint that all the supernatural things are real.
The show wraps Catholicism into its plots often.
Now I say I don't do horror because I don't. But Evil is horror-lite. The psychologist has four young daughters and the only time I really get scared is when the story line involves them. There's another psychologist who is the bad guy named Leland Townsend. He's shown doing evil things and the plot thickens when he starts dating the female psychologist's mother.
I recommend Evil if you can handle the... evil. It is very well done and just scary enough to make it interesting. I'm about to start on season two.
The above photo is being used under Section 107 of the Copyright Act: fair usage.
Huskies are 0-2; Not a Great Start
I was worried about this game before last week's debacle. The University of Washington Huskies have a tendency to not do well on big, nationally broadcast, away, non-conference games. After last week's loss to FCS team Montana, I went into this game pretty sure they would lose. My only hope was that the game wasn't too lopsided.
If the team that showed up in Michigan in front of 108,345 screaming fans (Michigan has the biggest football stadium in the NCAA) had played Montana, they would have probably won. The defense did a good job, and at one point, held Michigan to a field goal.
The offense was better. Quarterback Dylan Morris showed more confidence and hit his receivers more often. He was never intercepted (there were no turnovers in the game at all). But he was sacked four times, showing our offensive line needs work. One issue is our lack of wide receivers (their ranks thinned by injury). Because of that, Michigan could gang up on the Husky front line and stop any runs. And Coach Jimmy Lake kept running up the middle for one or two yards.
The final score was 31-10 Michigan. Which is not as bad as I thought it could be. You can thank the Husky defense for that.
Next week we play at home again against Arkansas State. They are 1-1 on the season and I have no idea how good of a team they are. They are an FBS team so they should be better then Montana. The game starts at 1:15PM on Pac-12 Networks. (I have a feeling the Huskies will be on the Pac-12 Network a lot this season).
I am worried about bowl eligibility. Because if we can't beat Montana, who can we beat? We need six wins to be bowl eligible. So far we have... zero.
Chicago Concert
A week ago Wednesday, the first day of the month, I went to Walla Walla, Washington to see the band Chicago. It was definitely worth the drive.
I've liked Chicago since I was a teenager. I had almost all of their albums up to Chicago VII. After that album they went all pop in the '80s. (The albums I didn't have were Chicago Transit Authority, which was their first, a live album call Chicago at Carnegie Hall, and Chicago III.)(I never heard any good things about Chicago III and the live album.)(Don't really like live albums anyway.)
The concert was at the rodeo arena at the Walla Walla Fairgrounds. I had floor tickets nine rows back from the stage. The only bad part was we were on the dirt of the rodeo arena. And the chairs were small and close together. I bought the tickets early in March of 2020, but we all know what happened and the show was delayed until this year.
But the concert was great. A bit loud but great (the speakers were about two-stories tall). They concentrated on their earlier stuff but did a little from
Photo by S. Evan Townsend
the 1980s. There was a drum duet which actually was pretty good. I'm not sure how many original members of the band are still in it. Their website doesn't list the members, just the ones who have left the band. Most of the playing was spot on and great. But some was a bit off (especially the flute player). The crowd was really into it (as was I) and that of course, feeds the band's enthusiasm. It was a very good time.
They hinted they'd be back next year. So maybe I'll have to go again.
I told my wife going in that they were either going to start or end with "25 or 6 to 4" (about a song writer lucubrating) They ended with it. All in all, a great show.
(I would have done this blog post a week ago, but I didn't have time between the concert ending and the blog post going live at 6am my time.)
I'm Sad
The University of Washington Huskies football team is 0-1. They lost to the Montana Grizzlies on Saturday. I was at the game almost on the 50-yard line, seven rows up from the field (see picture).
This is a humiliating loss because Montana is a FCS team (that means the school is smaller and unable to recruit the best players) and Washington was a ranked team. I'm sure when the AP top 25 football rankings come out tomorrow, the Huskies will no longer be ranked.
The Husky quarterback Dylan Morris had 27 completions out of 46 attempts and was intercepted three times. And late in the fourth quarter, he missed critical down plays, including a 4th down that turned the ball over to Montana and pretty much ended the game. Morris was also sacked three times. There were no explosive plays and almost no long throws. Maybe Morris is the best QB the Huskies have. If so, we're in big trouble.
It looked like the Huskies were the FCS team, not a ranked FBS team.
Going into this game, one sports pundit called it a "glorified scrimmage." But you don't lose those.
Next week the Huskies travel to take on Michigan in front of approximately 100,000 screaming fans. If the team does not improve greatly in the time before then, they are going to get their asses handed to them. That game is on ABC at 5pm PDT.
College Football Starts!
College football is starting and after last year's awful COVID-shortened season, I'm ready. College football actually started last weekend with a few games being played. But it starts in earnest tomorrow.
The AP Top 25 poll puts the University of Washington Huskies at number 20. (Annoyingly, it puts the Oregon Nike Ducks at number 11.) USC is number 15 and Utah is number 24. Arizona State is number 25.
Of course, Alabama is number one. Of course.
I'll be at the Huskies' game tomorrow in Seattle. They are playing Montana in what will likely be a warm up game before they travel to Michigan on September 11th. The Huskies have a bad habit of losing big away games against non-conference teams. I hope that isn't the case on the 11th.
The Montana game is at 5pm and will be broadcast only on Pac-12 Network which is available on Dish Network and Xfinity (it's basically why I have Dish). There's other places, too, listed here.
We'll have to see how new coach Jimmy Lake does. Last year, his first year, he went 3-1, losing to Stanford. But how will he handle a full season? We'll have to see.
I'll probably post on Sunday about the game on Saturday. Or maybe Monday. Right now all I can say is "Go Dawgs!"
Fun Words
Did you know that this blog is hebdomadal. It is, it really is. Well, usually. Except during college football season.
I enjoy interesting, fun words. Occasionally I'll sneak on in one of my novels.
Here's an interesting word: Brobdingnagian. It comes from Gulliver's Travels and means "big, really really big."
Another fun word is crepuscular. which means "of, relating to, or resembling twilight. Also dim." But if you add "rays" to it (as in crepuscular rays), it means the rays of light that come out of the sky from clouds. Also called "God's rays."
Phosphenes are the lights you see when you close your eyes. The lights that get more active when you rub your eyes in the dark.
And pareidolia means seeing shapes (such as faces) in random stimulus. Such as phosphenes. Or seeing shapes in clouds.
Oh, and hebdomadal? That means occurring once a week.
Do you know any more interesting words. I'd love to learn them. Let me know in the comments below.
Labels: Random Thoughts, writing
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Yellow sanders
Yellow sanders, or West Indian satinwood, is native to the Florida Keys, the Bahamas, the Greater Antilles, and some of the Lesser Antilles. It reaches a height of 50 feet, with a trunk 1.5 feet in diameter. The leaves are up to 10 inches long and are composed of 5 to 11 leaflets with a yellow central vein. The flowers are small, male or female on different trees, and are grouped in terminal inflorescences. The fruit is minute, reddish, and opens to liberate one shinny black seed. It flowers from winter to summer, sometimes more than once, and produces fruit mostly from spring to fall. Puerto Rico exported the finest West Indian satinwood until the 1920s, when the tree almost disappeared. The generic name derives from two Greek words meaning yellow wood. The species name means yellow, also in reference to the color of the wood.
The photographed tree is east of the General Library and is the only member of the species in the campus. Its small diameter and scarce foliage indicate that it grows under unfavorable conditions.
Zanthoxylum flavum (Rutaceae)
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Awards / Recognitions
Corporate Office Buildings
1201 Demonbreun
Recipient of 2018 ULI Nashville Large Project award. This 15-story, 285,000 square foot Class-A office tower has ten floors of office space above a 950-space parking deck. There is street level retail and restaurant space as well as an amenity deck and workout facility.
Hill Center Brentwood
Recipient of 2018 ULI Nashville Large Project and People's Choice awards. The project consisted of the following: Building A - three-level office, approximately 110,000 square feet. Building B - four-level office, approximately 150,000 square feet. A six-level, 900-car parking garage with exterior precast. This building and garage are constructed with one-way, post-tension concrete slabs with post-tension concrete moment frames.
Fountains at Gateway
A new four-story 100,000-square-foot, Class-A office building with retail and restaurant space on the first floor. The structure consists of one-way post-tension slabs and post-tension concrete moment frame.
Amsurg Corporate Headquarters
A 240,000-square-foot, three-story office building with four levels of parking located below the building. The building was designed using post-tension concrete beams and slabs. The roof was constructed with steel beams and bar joists.
A two-building complex comprised of a two-story, steel-framed corporate office headquarters building of approximately 100,000 square feet, along with a 122,000-square-foot, single-story warehouse building.
Call Center - Cool Springs
A 140,000-square-foot, contemporary office building designed to house a call. The structure consists of post-tension concrete beams and slabs.
231 Public Square
Overlooking Main Street and the Square in historic downtown Franklin is Franklin, Tennessee's first rooftop restaurant/bar, approximately 4,000 square feet of premium restaurant space that will accommodate events for up to 500 patrons. The building also has retail and Class-A office space. The exterior and interior renovation of the 1972 building adds 20 additional feet to the west side of the building. The renovation also adds to the Franklin area an additional 22,000 square feet of office space located on the second and third floors.
Lee Company
Lee Company, a 70-year old company and Tennessee's largest mechanical company, will move to its new 105,000 square-foot, four-story office building in Berry Farms.
Virginia Springs
Two class-A, four-story, 115,000-square-foot office buildings located at the corner of Virginia Way and Granny White Pike. The project includes a "table top" parking deck with approximately 292 spaces. The "table top" garage is post-tension concrete.
Mars Petcare / Ovation
ENR Southeast 2020 Best Project for Office/Retail/Mixed-Use Development. The project consists of the design of two office buildings totaling approximately 231,000 square feet. The proposed buildings will be steel framed. Building C is planned to be five stories and Building D is planned to be four stories. A connector will be located at each floor of the office building. A 1,320-car, cast-in-place, post-tension parking garage or precast garage is part of the project.
Peabody Plaza - Rolling Mill Hill
ABC Greater Tennessee 2020 Excellence in Construction - Peabody Plaza Eagle Award and Rolling Mill Hill Merit Award. Pre-cast/Prestressed Concrete Institute (PCI) 2021 Exterior Precast Award - Peabody Plaza. Featured in Architect Magazine, Archello and ArchDaily, August 2020, and ASCENT Magazine 2021, PCI 2021 Design Awards - Best Office Building - Peabody Plaza Steel-framed, nine-story structure, 280,000-square-foot mixed-use building with 1,000 below-grade parking spaces and a public park.
Delk
Renovation of an existing pre-engineered building to have a new second floor. The renovation required moving, replacing, and reanalyizing the pre-engineered lateral bracing and gravity members to accommodate the new architectural design.
Asurion Headquarters
Two new Class-A office towers (eight and nine stories) of approximately 1,300,000 total square feet, which includes approximately 500,000 s.f. for retail/office space and approximately 700,000 s.f. for 1,920 parking spaces. Parking is six stories below grade. Project includes an elevated outdoor public plaza/tenant courtyard and drop-off of approximately 90,000 s.f. and two elevated steel-framed connector walkways at the fourth and sixth floors.
One Music Circle South
This project is a new, six-floor office building over a 3-1/2 story underground parking garage.
225 Polk Avenue
2021 AIA Gulf States Design Honor Award. ULI Nashville 2020 Small Private Sector Award. EMC received the 2020 NAIOP Nashville Chapter Commercial Development of the Year award for this project. Finalist for the annual international Plan Award in the Interiors and Renovation categories, August 2020. AIA Tennessee Design Award of Excellence, September 2020. The project was also featured in World Architecture News. This 44,000-square-foot landmark building was renovated from a civic library to a multi-tenant office space using the original concrete columns, shear walls, and pan-slab floor/ceiling structure.
4525 Trousdale Drive
Kansas City’s Dual Marriott Hotels Aiming for July Opening!
One of EMC’s project -a dual Marriott hotel – is …
Project Webcams
TCAT Morristown
1030 Music Row
Neuhoff
715 Merritt Mixed-Use
Moore Farms Phase 1
Website Design By Darkstar
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« White Flag Over Fox Beach BY DANA RUBINSTEIN
Should worst-flooded areas be left after Sandy? By WAYNE PARRY »
Sandy Spurs Call to Buy Up Homes By ANJALI ATHAVALEY
News, Wall Street Journal
Many shorefront communities are determined to rebuild after superstorm Sandy. But residents of Staten Island’s Oakwood Beach want to pick up and leave instead.
Homeowners in a four-block portion there are pushing for a federal buyout of their homes. Out of 165 homes in the area, which dates to the 1920s, owners of 106 have signed a petition in favor of a buyout.
“Nobody wants to stay,” said Carlos Villalobos, a 63-year-old mailman and Oakwood Beach resident of 15 years. Damage from the Oct. 29 storm remained visible Thursday, with debris still lining the streets and homes shifted off their foundations. “It’s going to happen again. The place is a ghost town.”
The neighborhood’s initiative highlights a question that has lingered in the storm’s aftermath: whether coastal communities rocked by Sandy should rebuild at all. The idea of buyouts has recently gained support from state and federal officials. Gov. Andrew Cuomo, in his state of the state address this week, proposed a home-buyout program but didn’t specify how it would work.
Jason Andrew for The Wall Street Journal Oakwood Beach residents at a community meeting Thursday.
“I’ve talked to homeowners who have dealt with serious floods three, four, five times over the past few years,” the governor said. “Many of them are saying “I don’t want to have to do it again.”
Rep. Michael Grimm, a Republican from Staten Island, said various communities on the shore such as Midland Beach and Tottenville have expressed interest in getting buyouts. But Oakwood Beach is perhaps the best candidate because of its location. Under such programs, the land can’t be developed again.
“Literally, it is just surrounded by marshland,” he said, referring to the Bluebelt, or Staten Island’s storm-water drainage system, which borders many Oakwood homes. “When you look on a map, you realize instantly this is not an area where people should have been living,” he said.
Residents of the community are trying to gain support from local officials for a program paid for mostly by the Federal Emergency Management Agency and run by the state. But state officials can’t act until municipalities make the request, a spokesman for the state Division of Homeland Security and Emergency Services said.
New York City has never participated in the program, but after Tropical Storm Irene in 2011, about 80 other New York state communities requested that more than 950 properties be acquired, according to the state homeland security division. FEMA covers 75% of the buyouts while the state covers 25%.
The upstate town of Jay, located roughly half an hour from Lake Placid, expects to demolish 19 homes that suffered damage from Hurricane Irene under the program by spring.
“It’s a trying decision for the municipality,” said Randy Douglas, town supervisor and chairman of the Essex County board of supervisors. “We’re losing tax base. You worry about losing identity.” But he added, “We couldn’t continue to put people in harm’s way.”
The program’s history shows that not everyone who signs up to get their home bought out finds it easy to follow through. After a devastating 2010 flood in Nashville, the city received interest from 244 homes deemed eligible for a FEMA buyout, which is voluntary
But 41 homes ended up withdrawing, said Sonia Harvat, spokeswoman for Metro Water Services, the city’s water utility. Some said they had anticipated receiving more money while others decided they had fixed up their homes to the point that they’d stay, she said.
The buyouts, she said, aren’t a cure-all. “We really stressed that these property acquisitions and buyout programs would not make them whole again,” she said. But “some of these property owners were elderly,” she added. “It’s very difficult after an event like the one we had to put your home on the market. This gives them the opportunity to not deal with that type of stress.”
In New York City, talks of buyouts are preliminary. At an Oakwood Beach community meeting Thursday, members of the committee in favor of buyouts cautioned the process could take longer than a year. They also expressed concern about getting Mayor Michael Bloomberg’s support.
“We know that he’s shown himself as being disconnected to the community,” said Joe Tirone, a 55-year-old real-estate broker. He cited the mayor’s initial decision to press ahead with the New York City Marathon despite the devastation on Staten Island.
Lauren Passalacqua, a spokeswoman for Mr. Bloomberg, said in a statement, “The mayor is committed to working with each community on plans to help them recover and rebuild stronger and more resilient to future climate events.”
She added, “While it’s too early to know if a buyout option makes sense in certain cases, we’ll certainly consider it for those interested.”
Several residents said they were making basic repairs but holding off on major rebuilding in hopes of a buyout. The area remains largely desolate, with most residents living elsewhere. One house had a spray-painted message to deter looters: “House now booby trapped. Welcome.”
The decision to leave won’t be easy. Many homeowners have lived in Oakwood Beach for decades. The neighborhood was a summer retreat for residents until the 1950s, when people started to settle permanently, committee members said.
“I’m a displaced person,” said Joseph Szczesny, whose family has owned a home on Fox Beach Avenue, one of the streets where buyouts are being proposed, since 1956. “My heart and my roots are here.”
His house is littered with chunks of insulation, and Sandy buckled its floors. He said he rebuilt after a powerful storm in 1992. “I’ve been through it once,” he said. “This is my second time. I can’t do it again.”
Source: http://online.wsj.com/article/SB10001424127887323442804578236082058061460.html
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WHO REVIEW: 8-5) Time Heist
The great strength of contemporary Doctor Who is its variety. If you don't like one episode, then there's no need to worry, because next week it'll be something completely different. Each episode riffs on a recognisable genre, be it steampunk, sci-fi adventure, historical humour or existential horror. This week, it was the turn of the hustle and heist. It's a straightforward enough idea: take four unlikely characters with their own strengths, stick them with an underhand mission and follow the twists and turns. It's a popular style, and there are any number of movies and TV series trying it. Doctor Who's gift is to mesh its genre-of-the-week with its own blend of science fiction, fantasy and horror to create something new. At it's best, it creates something truly unique. Sometimes it's a crashing failure. More often than not, it's a qualified success, greatness tantalisingly just out of its grasp. So it is with Time Heist.
The risk with any kind of genre lift is falling foul of the clichés. When you knock two genres together, there are twice as many clichés to avoid. The heist is a plot-heavy story type; forty-five minutes does not leave much room for exploration and originality once each set piece has been resolved. Time Heist is populated by the thinnest of characters, none but the Doctor really getting any but the most perfunctory of characterisation. It is perhaps for the best that the Doctor is front and centre here, one again the leading man in his own show after several episodes in which he was, to a greater or lesser degree, sidelined. There's less focus on the effect the Doctor has on others here – although that is still present – and more on the man himself. Nonetheless, even the Doctor's characterisation is fairly shallow here. There's his “professional detachment,” an excellent choice of phrase there, along with his arrogance, his controlling attitude, and his barely submerged self-loathing. This is all something worthy of far greater exploration, but there just isn't time for it in a single episode story.
Thankfully, Peter Capaldi is more than capable of filling in the gaps here. He can give the shallowest of material depth. Even the necessary expositional scenes, little more than the Doctor standing around explaining things, are a triumph when Capaldi lets rip. The darkness we've been promised is there, an intensity in his gaze that imbues even the flimsiest scene with fire. This Doctor is cold, but it's a shell. He has emotions, but he puts them aside for the mission. Soldiering on, not looking back until the job is done. “He's not really like that,” says Clara, and while there's a sense that the line is there to reassure the viewers still reeling from the loss of cuddly Matt Smith and charming David Tennant, there's a truth to it. The occasional moment, when his awkwardness becomes apparent, or that huge grin breaks through, reminds us that our Doctor is still there underneath.
With the Doctor at the forefront though, it is Clara who is pushed to the sidelines, and with such a paper-thin character to begin with, she can't survive it. Jenna Coleman does what she can with the material, but there's so little of it to go round. Unlike the other two comrades we find ourselves with, Clara seems to have no purpose on this mission. She's just there because she's the companion, so she has to come along. There's no sense that the Doctor actually required her on this mission, save for the desire to risk her life in a huge display of showing off. Perhaps they should have gone to Brighton after all. I might've bumped into them there.
The other two bank robbers, Psi and Saibra, are somewhat better, given the opportunity to at least express reasons for being involved. Unfortunately, it's here that the episode first slips into cliché. A cyborg who can interface with the computer systems and a shapeshifting mutant who's practically dropped out on an X-Men comic (really, she's one part Mystique to two parts Rogue). They're the most likely characters we'd expect to see in a sci-fi bank robbery, save perhaps for some nutter with a blaster gun, and this being Doctor Who, weaponry is kept to a minimum. Thankfully, both Jonathan Bailey and Pippa Bennett-Warner are both capable of holding a scene and give the characters life beyond their two-dimensional concepts. They're likeable enough that it would actually be a pleasure to see them again in the series. Given Psi's exchange with the Doctor towards the end, I feel we might.
Ms, Delphox and her progenitor, Madame Karabraxos, are equally thinly sketched, but somehow it matters less when we're talking about the villains. Staggering greed and sociopathy are precisely what this story needs in its antagonists. Keeley Hawes does a beautiful job in bringing both characters to life. They are naturally similar, but distinct, Ms. Delphox's confident demeanour nothing but a mask compared to Karabraxos's calm self-assurance. Even there, though, the cracks begin to appear when the Doctor faces her down. Under normal circumstances, we'd expect the Doctor to bring Karabraxos's world crashing down around her. This time, however, he is constrained by causality. Her bank may be destroyed, but Karabraxos lives a long life, only to find some sort of redemption at the end of her days, and the Doctor must let it all pass so that the correct chain of events can play out.
We've seen cyborg, shapeshifters and the monstrous corruption of wealth many times, but Time Heist does have some new material. The Teller is a truly exceptional creation, an intriguing concept brought to life by an effects team at the top of their game. While the idea of a psychic protecting a corporate establishment isn't original, in the normal run of things we'd expect some ethereal being or a bald-headed mystic. Something serene, standing, or more likely hovering, apart from the grubby humans around it. Here, though, we get the complete opposite. A leathery-skinned beast howling with anger and pain, its huge body bound in disturbingly Guantanamo Bay-like orange overalls, the Teller is far from the usual sci-fi telepath. The use of a combination of animatronics and costuming is a wise decision, giving the creature a powerful physicality that a CG rendering would lack. The blinking eyes on the end of its slug-like antennae seem alive but alien. It's an excellent addition to the parade of Doctor Who monsters.
Time Heist combines these elements to create an enjoyable romp with a darker edge, but it is somewhat lacking in impact. Perhaps this is down to the sheer predictability of its story. While a little predictability is fine, even entertaining, as the viewer can enjoy spotting what's coming up, the various twists of Time Heist were all so readily signposted that they failed to make any kind of impression. The Doctor reacts with surprise when he realises that “this isn't just a bank heist – it's a time-travel heist!” Yet this is, in the grand tradition of Doctor Who serials of old, given away in the title. The identity of the Architect as the Doctor himself is so obvious that the surprise reveal is nothing of the sort, while the shredders, supposedly deadly disintegration devices, are given a visual effect so reminiscent of a thousand teleporters over the years that this too is no surprise. The only element that may come as a surprise to attentive viewers is the identity of Karabraxos, but even then, Ms. Delphox's comment that her “face fits” hints so heavily at her nature that this was at least guessable.
Perhaps this is missing the point, though. Obvious though the twists are, they keep things moving through the forty-five minutes of airtime and prevent the story from being just a runaround in some corridors. With all the cast giving it their all, even unsurprising revelations have resonance and make for diverting entertainment. All in all, while the ingredients of this story may largely be obvious and old-hat, the recipe as a whole is an enjoyable one. Time Heist is entertaining mid-season Doctor Who, enlivened by some fine performances, particularly from our leading man, who is making his mark as a truly magnificent Doctor.
Links: The Doctor previously used memory worms to wipe people's recollections in The Snowman.
When Psi is browsing the files for data on criminals, he brings up images of various beings, including The Trickster and Androvax the Veil from The Sarah Jane Adventures, Captain John from Torchwood, Kahler-Tek the Gunslinger from A Town Called Mercy, Abslom Daak from the DWM comic strips, an Ice Warrior, a Slitheen, a Terileptil and, bizarrely, a Sensorite. The idea of a criminal mastermind Sensorite is strangely appealing.
Threads: Nice dark shirt for the Doctor this week. Clara's date outfit is a fun suit-like number, which is handy for looking the part in an off-the-cuff bank heist.
Best Line: "Shut up, everybody. Just shut up! Shut up, shut up, shuttity-up-up-up!"
Labels: Doctor Who, Doctor Who New Series, Doctor Who Series 8, monsters, reviews, Twelfth Doctor
Spider-Men
News from the Whoniverse
It's what you do with it that counts
Capaldi in Space
WHO REVIEW: 8-4) LISTEN
Tenuous @ Best: Rats Leading the Sinking Ship
Comics Round-Up September
WHO REVIEW: 8-3) Robot of Sherwood
Laniakea and Dreadnoughtus
Obversally Yours
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In Belarus, two more independent journalists jailed
New York, January 18, 2011--The Committee to Protect Journalists deplores the ongoing imprisonment of independent journalists in Belarus and urges authorities to cease their crackdown and release all jailed reporters and editors. On Monday, authorities in Minsk and the eastern city of Mogilev jailed two more independent reporters on politicized charges.
Boris Goretsky, a local reporter for Poland-based Radio Racyja, was arrested by KGB officers in front of the agency's detention facility in Minsk, local press reports said. Goretsky was interviewing relatives of people being held by the KGB, the independent news website Charter 97 reported. Today, Goretsky was taken to a local court in Minsk, where he was sentenced to 14 days in jail for alleged participation in December 19 protest rallies. Goretsky covered the rally for Radio Racyja, the Belarusian Association of Journalists reported.
Also Monday, police in Mogilev arrested reporter Yevgeny Vaskovich at his apartment, his newspaper, Bobruisky Kuryer, reported. Police told the journalist's mother that Vaskovich was sentenced to 10 days in jail for "hooliganism" that allegedly occurred on December 16, the paper reported. The newspaper said neither its staffers nor Vaskovich's relatives were aware of any such "hooligan" incidents. Vaskovich was among more than 20 journalists imprisoned at the December 19 protests in Minsk; he spent 12 days in jail, Bobruisky Kuryer said.
"The KGB prison in Minsk has become a revolving door for reporters," said CPJ Deputy Director Robert Mahoney. "It's not the journalists in Belarus who are the hooligans. It's high time the government ended its media crackdown, released all jailed journalists, and returned equipment seized in its numerous raids on reporters' homes and offices."
At least four journalists are imprisoned in Belarus as of today, CPJ research shows, although more than two dozen have been jailed for brief periods since the flawed December 19 presidential elections. After the vote, Belarusian authorities have been relentlessly imprisoning independent journalists, detaining them for interrogation, raiding their apartments and newsrooms, and confiscating their reporting equipment.
http://cpj.org/2011/01/in-belarus-two-more-independent-journalists-jailed.php
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Amistar fat Baritone
Throughout the world there are small manufacturing firms, maybe a luthier who has expanded the operation and taken on some staff, maybe a number of craftsmen who have got together in some form of co-operative. However it started these manufacturers usually make very high quality instruments even if the Ukulele is not the firms main output
Amistar Guitars
Founded in 1991 by Frantisek Javurek in Jeneč, Czech Republic, in 1997 it became Amistar and expanded to a production line from the one man outfit. They makes primarily Resonator Guitars, of which they do single and tricone models and won an Award in 2003.They do also make other single cone resonator instruments to though like Mandolins and Ukuleles (they are the OEM for Risa's Resonator Ukuleles so it's hard to find one of their Ukuleles not branded Risa)They also do a lot of custom engraving on the metal body instruments. They use to have a website but it appears now they just go through Facebook.
This is a long-standing Bulgarian Chordophone manufacturer, founded in 1924 by Dimitar Georgiev, a former gunsmith, and his two brothers. In the beginning they made Mandolins, Violins, (for which they are probably most famous), and later Guitars in Kazanlak Bulgaria. In 1999 they became a private company again and in 2005 they started branding the Guitars Orpheus Valley in some parts of the world. In late 2012 was the introduction of Ukuleles to the catalogue of products, and at the moment these are just branded Kremona. There are two Tenor Ukuleles as the initial offering, the "Coco" made from walnut and cedar and the "Mari" which is all mahogany. Both are all solid wood and made at the factory in Bulgaria
Musikalia
Musikalia are an Italian manufacture of all kinds of strummed chordophones working out of Sicily. There are currently more than 130 different models according the the website, including the standard fair, Guitars Mandolins, Banjos and the like, but the catalogue also encompasses other things like Cavaquinhos, Tiples, Tres's, Cuatros and of course Ukuleles, (including a Banjolele). The Factory was founded in 1964 by Alfio Leone, who prior to this was a luthier, (He certainly made Mandolins before this I have seen a 1958 example, he may have made other instruments)? He is usually referred to as Dr. (or in italian, Dott.) - I don't know why?
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The Delaware Code Online
Laws of Delaware Laws of
Regulations Regulations
Administrative Code Administrative
Municipal Charters Municipal
Title 15 > Chapter 80 Authenticated PDF
§ 8030.
CHAPTER 80. Campaign Contributions and Expenditures
Subchapter IV. Public Disclosure
§ 8030. Reports of political committees.
(a) Each candidate (except a candidate who is excused from filing a report under § 8004 of this title) and every treasurer (except of a candidate excused from filing a report under § 8004 of this title) shall be responsible for filing with the Commissioner reports of contributions and expenditures on forms prescribed by the Commissioner for every reporting period during which a political committee is in existence. A candidate shall be jointly responsible with the treasurer for the filing of the report of a candidate committee.
(b) A reporting period shall begin on the day after the previous reporting period (except that for a newly-formed committee, the reporting period begins on the date the first contribution is received or expenditure made by or on behalf of such committee) and shall end on the following dates:
(1) December 31 of every year, before or after an election, from the time the committee receives its first contribution or makes its first expenditure, until and including the year in which contributions and expenditures are balanced and the political committee terminates;
(2) 30 days before any election (except for committees of candidates not on the ballot at such election);
(3) 8 days before any election (except for committees of candidates not on the ballot at such election).
(c) (1) Each report required by paragraph (b)(1) of this section must be:
a. Filed by the political committee using the Department’s campaign finance reporting system and received by the Commissioner by 11:59 p.m. of the twentieth day after the end of the reporting period which is not a state holiday under Chapter 5 of Title 1.
b. [Repealed.]
(2) Each report required by paragraph (b)(2) of this section must be:
a. Filed by the political committee using the Department’s campaign finance reporting system and received by the Commissioner by 11:59 p.m. of the second day after the end of the reporting period which is not a state holiday under Chapter 5 of Title 1.
(3) Each report required by paragraph (b)(3) of this section must be filed by the political committee using the Department’s campaign finance reporting system and received by the Commissioner by 11:59 p.m. of the second day after the end of the reporting period which is not a State holiday under Chapter 5 of Title 1.
(d) Each report under this section shall disclose all of the following information, for the entire reporting period:
(1) Amount of cash and other intangible and tangible assets on hand at the beginning of the reporting period;
(2) Full name and mailing address of each person who has made contributions to such political committee (including the purchase of tickets for events such as dinners, luncheons, rallies and similar fund-raising events, whether or not the tickets were used by the person who paid for them) during the election period in an aggregate amount or value in excess of $100, the total of all contributions from such person during the election period, and the amount and date of all contributions from such person during the reporting period. If the person who made the contribution is not an individual, then the report shall also include the name and address of 1 responsible party for such person;
(3) Total of contributions made to such political committee during the reporting period and not reported under paragraph (d)(2) of this section;
(4) Name and address of each political committee from which the political committee received, or to which the political committee made, any transfer of funds, together with the amounts and dates of all transfers, no matter what the amount;
(5) The amount of each debt in excess of $50, owed to or owing by such political committee at the end of the reporting period, the full names and mailing addresses of any lender, borrower and endorser of such debt, the date and the interest rate of such loan, and a description of any security given therefor;
(6) Total amount of proceeds from:
a. Sale of tickets to each reception, meal, rally or other fund-raising event;
b. Collections made at such events; and
c. Sales of items such as campaign pins, buttons, badges and similar materials; provided, however, that all payments and contributions by any person, whether as gifts, as purchases of tickets or other goods or services, or partially as gifts and partially as purchases, by any person during any election period, shall be aggregated and, if such aggregate total exceeds $50 during such election period, shall be reported under paragraph (d)(2) of this section;
(7) Each contribution or other receipt in excess of $100 not otherwise listed under paragraphs (d)(2) through (6) of this section;
(8) Total receipts by such political committee or candidate during the reporting period;
(9) Full name and mailing address of each person to whom any expenditure has been made by such political committee during the reporting period in an aggregate amount in excess of $100, the amount, date and purpose of each such expenditure and the name of, and office sought by, each candidate on whose behalf such expenditure was made;
(10) Total expenditures made by such political committee or candidate in connection with such campaign; and
(11) All goods and services that are contributed in kind, or at no charge or at a cost less than fair market value (except for services excluded from the definition of “contribution” under § 8002 of this title) to the extent that the fair market value, less any amount paid by the candidate or committee, exceeds $100.
(e) The reports required to be filed by this section shall be cumulative for the election period to which they relate, but where there has been no change in an item previously reported, only the amount need be carried forward.
(f) Each statement shall be accompanied by an affidavit verified by the candidate or the treasurer of the political committee, which states as follows:
“I solemnly swear [or affirm] that the foregoing statement is in every respect true and correct, and discloses all contributions received and expenditures required by me under Title 15, Chapter 80 of the Delaware Code.”
(g) The report required under paragraph (b)(3) of this section may omit the information required under paragraph (d)(9) of this section; provided, however, that all such information shall be disclosed in the next report required hereunder.
59 Del. Laws, c. 580, § 1; 67 Del. Laws, c. 449, § 1; 68 Del. Laws, c. 262, § 1; 68 Del. Laws, c. 444, §§ 1-4; 70 Del. Laws, c. 153, § 1; 78 Del. Laws, c. 400, § 7; 79 Del. Laws, c. 346, § 2; 83 Del. Laws, c. 210, § 3;
§ 8031. Special reports — Third-party advertisements.
(a) Any person other than a candidate committee or political party who makes an expenditure for any third-party advertisement that causes the aggregate amount of expenditures for third-party advertisements made by such person to exceed $500 during an election period shall file a third-party advertisement report with the Commissioner. The report shall be filed under penalty of perjury and shall include the following:
(1) The information required under § 8005(1) of this title with respect to the person making such expenditure;
(2) The full name and mailing address of each person to whom any expenditure has been made by such person during the reporting period in an aggregate amount in excess of $100; the amount, date and purpose of each such expenditure; and the name of, and office sought by, each candidate on whose behalf such expenditure was made;
(3) The full name and mailing address of each person who has made contributions to such person during the election period in an aggregate amount or value in excess of $100; the total of all contributions from such person during the election period, and the amount and date of all contributions from such person during the reporting period;
(4) If a person who made a contribution under paragraph (a)(3) of this section is not an individual, the full name and mailing address of:
a. Any person who, directly or otherwise, owns a legal or equitable interest of 50 percent or greater in such entity; and
b. One responsible party, if the aggregate amount of contributions made by such entity during the election period exceeds $1,200; and
(5) The aggregate amount of all contributions made to the person who made the expenditure.
(b) For purposes of this section, a reporting period shall begin on the day after the previous reporting period under § 8030 of this title or this section, whichever is later. However, if the person making the expenditure hereunder was not previously required to file any reports during the election period under § 8030 of this title or this section, then the reporting period shall begin on the date the first contribution is received or expenditure made by or on behalf of such person in the current election period. A reporting period shall end on the date of the expenditure set forth in subsection (a) of this section.
(c) Any person other than an individual that makes a contribution for which disclosure is required under paragraph (a)(3) of this section shall provide written notification in accordance with § 8012(e) of this title to the person filing the report hereunder. The person filing the report may rely on such notification, and should the notification provided by the representative of the entity be inaccurate or misleading, the person or persons responsible for the notification, and not the person filing the report, shall be liable therefor.
(d) If the expenditure is made more than 30 days before a primary or special election or 60 days before a general election, the report required under this section shall be filed within 48 hours after such expenditure is made. If the expenditure is made 30 days or less before a primary or special election or 60 days or less before an election, such report shall be filed with the Commissioner within 24 hours after such expenditure is made. For purposes of this section, an expenditure shall be deemed to be made on the date it is paid or obligated, whichever is earlier.
(e) The Commissioner shall adopt regulations exempting, to the extent possible, persons from reporting duplicative information under this chapter.
(f) Persons required to file reports under this section shall retain complete records of all expenditures made and contributions received in connection herewith for 3 years following the election for which such report was filed.
67 Del. Laws, c. 449, § 1; 78 Del. Laws, c. 400, § 8;
§ 8032. Public disclosure.
All reports made to the Commissioner and all rulings made by the Commissioner under this chapter shall be public and shall, immediately upon their filing, be made available by the office of the Commissioner for inspection and copying at reasonable cost by the public, except that the identity of the candidate or committee which requested a ruling shall not be disclosed without the candidate’s or committee’s consent. The Office of the Election Commissioner shall remain open beyond the ordinary close of business on the day the reports are due to be received under § 8030(c) of this title, until all persons who are present at said office at the time of the ordinary close of business have had an opportunity to make reasonable inspection and copying of said reports.
Any contributor who is a law-enforcement officer as defined by § 222 or § 2401 of Title 11, a probation and parole officer, or a federal or state judicial officer may request that the Commissioner remove that officer’s mailing address from any report to the Commissioner before the report is publicly disclosed. Any other person, upon application to the board of elections for the county in which that person resides, may request that the person’s mailing address be removed from any report to the Commissioner before the report is publicly disclosed. After considering the application, if the board of elections determines that good cause exists, it shall approve the removal of the person’s mailing address by the Commissioner before the report is publicly disclosed.
59 Del. Laws, c. 580, § 1; 67 Del. Laws, c. 449, § 1; 70 Del. Laws, c. 186, § 1; 76 Del. Laws, c. 316, § 1;
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«IZVESTIYA IRKUTSKOGO GOSUDARSTVENNOGO UNIVERSITETA». SERIYA «ISTORIYA»
«THE BULLETIN OF IRKUTSK STATE UNIVERSITY». SERIES «HISTORY»
«Izvestiya Irkutskogo gosudarstvennogo universiteta». Seriya «Istoriya» («The Bulletin of Irkutsk State University». Series «History») publishes articles in methodology, Russian and world history, source studies and historiography of Russian and foreign authors, memoirs, reviews, reports on scientific life of the region. The periodical publishes debatable materials therefore its content does not necessarily reflect the views of the editorial board. Series issue, addressed to scientists, postgraduate students and students, is coordinated by the Academic Council of Historical Faculty of ISU.
All articles received by the editorial board are reviewed.
Series «History» are published quarterly on the websites of the journal website and the Scientific Electronic Library eLIBRARY.RU, the full texts of all articles are in open access.
All articles published in the journal are tested for the uniqueness of the material and coincidence of the text through the "Antiplagiat" system.
The journal provides open access to published materials, for the use of which the fee is not charged. Use of materials of the journal for commercial purposes is not allowed. All materials presented in the journal are protected by copyright.
All the articles are published in the journal under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license.
Founder and Publisher: Irkutsk State University (ISU)
Series was founded in 2011.
Periodicity — once a quarter.
Certificate of registration PI № FS77-66907 on August 22, 2016 was issued by the Federal Service for Supervision of Communications, Information Technology, and Mass Media (Roskomnadzor).
By the decision of the Higher Attestation Commission of the Ministry of Education and Science of the Russian Federation the series «History» is included in the List of Russian peer-reviewed journals where major research results of dissertations for the degrees of doctor and candidate of sciences should be published.
List of scientific specialties in which «Izvestiya Irkutskogo gosudarstvennogo universiteta». Seriya «Istoriya» («The Bulletin of Irkutsk State University». Series «History») publishes basic scientific results of dissertations for the degree of doctor and candidate of sciences
The periodical is freely available on the portal of the Scientific Electronic Library eLIBRARY.RU, Scientific Electronic Library CyberLeninka.ru.
The journal is included in the specialized reference bibliographic service CrossRef. Starting from volume 24 2018, each article is assigned a DOI (digital object identifier).
© 1999-2020 isu.ru - the official website of the Irkutsk State University
Web design: web-group CNIT ISU
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9Feb/100
Gainey’s departure hurts the Habs more than it helps
Bob Gainey resigned from his position as general manager of the Montreal Canadiens Monday afternoon, making way for interim GM Pierre Gauthier.
Say what you will about Gainey’s tenure as the boss in Montreal - and many people have - I think we can all agree that the timing could not be worse.
The Canadiens are currently in sixth place, at the top of the Eastern Conference’s playoff log jam. They’re one point ahead of the Philadelphia Flyers and the Tampa Bay Lightning, and, incredibly, just 13 points ahead of the last place Toronto Maple Leafs.
With 22 games left in their season, anyone could overtake Montreal. The East is wide open. As unlikely as it seems, even Toronto could wind up in the postseason.
Between now and the playoffs there is also a little event called the trade deadline, where the Habs will undoubtedly be looking to move one of either Carey Price or Jaroslav Halak. Also, prized centre Tomas Plekanec is entering into negotiations to sort out his contract for next season. Otherwise he’ll be an unrestricted free agent, able to sign with the highest bidder.
This is the time for a strong leader, one who can represent the franchise and present themselves as a powerful figure who has the support of ownership. Gauthier may be a canny negotiator, but the word “interim” in front of his title will be a handicap.
GMs from other teams will try to fleece the Canadiens for Price and Halak, knowing that Gauthier must move one of them and that he is only in charge by default. Don’t believe me? Ask John Ferguson Jr. what it’s like to try and work deals without the full, vocal support of your ownership. Ask Cliff Fletcher what it’s like trying to swing a trade when you’re just an interim GM.
Further, Plekanec’s agent will have a hard time taking Gauthier seriously. There’s more than just money at stake when you sign a free agent. They also want to be on a winner. Since Gauthier will probably be relieved of his duties in the off-season, he can’t make any kind of guarantee of what the team will look like in the 2010-11 season. He stinks of lame duck.
That cannot be appealing to the Plekanec camp.
During Monday’s press conference Gainey said he had to leave because he couldn’t take the day-to-day grind of being a GM any longer.
That may be so, but he’s left his team in the lurch. If he could have bucked up until the off-season, he would have broken ties with the Canadiens at an optimal time. Instead, his departure might distract the Habs during their playoff run and will undoubtedly hinder personnel negotiations.
Tagged as: Bob Gainey, Carey Price, Cliff Fletcher, Eastern Conference, hockey, Jaroslav Halak, John Ferguson Jr., Montreal Canadiens, National Hockey League, Philadelphia Flyers, Pierre Gauthier, Tampa Bay Lightning, Tomas Plekanec, Toronto Maple Leafs No Comments
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American Champion Two-Year-Old Colt
to get instant updates about 'American Champion Two-Year-Old Colt' on your MyPage. Meet other similar minded people. Its Free!
The American Champion Two-Year-Old Male Horse is an American Thoroughbred horse racing honor awarded annually in Thoroughbred flat racing. It became part of the Eclipse Awards program in 1971.
The award originated in 1936 when the Daily Racing Form (DRF) began naming an annual champion. Starting in 1950, the Thoroughbred Racing Associations (TRA) began naming its own champion. The following list provides the name of the horses chosen by both of these organizations. Whenever there were different champions named, the horses are listed side-by-side with the one chosen as champion by the Daily Racing Form noted with the letter (D) and the one chosen by the Thoroughbred Racing Associations by the letter (T).
The Daily Racing Form, the Thoroughbred Racing Associations, and the National Turf Writers Association all joined forces in 1971 to create the Eclipse Award.
Champions prior to 1936 were selected retrospectively by a panel of experts as published by The Blood-Horse magazine.
No updates available.
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H.W. Hill Landfill Gas Project
The H.W Hill Landfill Gas Project is located near Roosevelt, Washington, on one of the largest landfills in the nation. Operated by Allied Waste Services, a subsidiary of Republic Services, this landfill provides the ideal site for a generation facility.
The company known today as Allied Waste Services got its start in 1928 as a small family business in the city of Bellingham, Washington, where it collected trash for 15 cents per can. As the business grew, the company expanded and moved south to Seattle and surrounding communities. During World War II, the company began recycling, collecting truckloads of scrap metal that were used to build new airplanes, tanks and other weapons. Some 40 years later, in the mid-1980s, recycling became an important part of the family business once again, when Seattle set a goal to become the nation’s leading municipal recycler.
Allied transformed an old steel plant just south of Downtown Seattle into one of the largest recycling centers in the nation, a distinction it still claims. Today, the Roosevelt Regional Landfill, the Seattle recycling center and other Allied operations continue to promote environmental security and serve communities throughout the northwest.
Allied Waste, in partnership the Burlington Northern Santa Fe Railway, operates a regional network delivering 97 percent of the municipal solid waste processed at Roosevelt. The use of long haul rail transport means that Allied can serve customers efficiently and economically, even at great distances. The facility manages solid waste for communities as far away as Alaska and as close as Spokane, Washington.
Roosevelt Regional Landfill is the 4th largest permitted landfill in the United States. The landfill accepts two million tons of waste a year. It is permitted for 120 million tons.
This landfill was designed from the beginning with generation in mind. The County retained the rights to the methane gas at the Conditional Use Permit stage, and transferred these gas rights to the District. Allied Waste is required to maintain a gas collection system in excess of that required by their air operating permit in order to maximize the methane gas collection for use in a generation facility. Allied Waste has been a consistent and strong supporter of the District’s efforts to build and operate the Project.
Roosevelt Regional Landfill, with a lifespan of 80 years, will generate enough renewable energy to avoid the consumption of 20.4 million tons of coal. This means the system will offset a total of 35.4 million tons of carbon dioxide emissions.
The H.W. Hill Landfill Gas Project was initially designed with four Waukesha reciprocating engines converted to run on methane. Total initial capacity was 8.4 megawatts. A fifth engine was added at the end of the plant’s first year of operation, boosting capacity to 10.5 megawatts.
Methane is collected in a network of wells and perforated pipe buried in the landfill itself. Blowers create a vacuum system to draw the methane out of the landfill before it is released into the air. Thousands of feet of collection pipe transport the methane from the landfill to equipment to compress the gas and filter out impurities. Clean, compressed gas is used to operate the engines.
Phase II of the Landfill Gas Project includes two 10 MW combustion turbines with an additional capacity of approximately 6 MW through a heat recovery steam generator and steam turbine. As such, the capacity from this expansion is approximately 26 MW. The District began construction of Phase II of the Landfill Gas Project in 2009 and commercial operation began September 2011. Phase I was shutdown at this time with all generation being produced by the more modern facility.
The US environmental Protection Agency (EPA) says landfill gas-fueled plants are as green as it gets. In fact, the federal agency says, “This technology is the only renewable source of power that actually removes pollution from the air.” EPA is a fan of landfill gas-to-energy projects because methane, a natural by-product of solid waste decomposition, is a potent greenhouse gas. In fact it is 25 times more damaging that carbon dioxide, and landfills are the single largest source of methane emissions in the U.S. The State of Washington also considers landfill gas plants “green” power producers and Phase II of the project has been pre-certified by the California Energy Commission as a Renewable Portfolio Standard (RPS) participating facility.
Historical generation output from Phase I and Phase II is shown in the chart below. As of June 2018 Phase II was shutdown as KPUD has elected to utilize landfill gas for Renewable Natural Gas production. KPUD intends on utilizing Phase II again in the future for power generation.
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Woman pitches to Cleveland Indians
GOODYEAR, Ariz. (AP) - Justine Siegal became the first woman to pitch batting practice in a major league spring training camp when she threw to the Cleveland Indians on Monday.
Not only did she pass the test with flying colors, some people became a little envious along the way.
"She made me look bad," said manager Manny Acta, who also throws batting practice to Cleveland's hitters.
Acta played catch with Siegal before she took the mound.
"She was pretty impressive," he said. "She throws strikes. It was very good."
He wasn't alone.
"If you didn't see the ponytails, she would have fit right in," said catcher Paul Phillips, one of the players who took swings off Siegal's pitches. "She did great."
Siegal has already broken gender barriers in baseball, having coached at the professional and college levels. She wore a patch honoring Christina Taylor Green, the nine-year-old granddaughter of former major league manager Dallas Green, who was killed in last month's shootings in Tucson. Christina Taylor Green was the only girl on her local Little League baseball team.
"I haven't spoken to anyone in the family," Siegal said. "I asked the league organizers if it would be OK if I wore her patch, and they said please do."
Siegal, a Cleveland native who grew up rooting for the Indians, fulfilled a lifelong dream. Not only did she make history throwing to her favorite team, she finally got to pitch to major league hitters.
"I wanted to be Orel Hershiser," Siegal said of the starting pitcher who played for Cleveland in the mid-1990s. "Following the Indians is in my blood."
Siegal, who lives in Springfield, Mass., pitched batting practice to a few minor leaguers before throwing to Phillips, Lou Marson and Juan Apodaca, who are in the major league camp. She admitted to being nervous.
"My heart was beating really fast," Siegal said. "I've been thinking about this for the last month."
Siegal attended the general managers meetings in the offseason asking for a chance to throw in spring training. Indians GM Chris Antonetti was intrigued, and replied.
She has been playing baseball since she was five years old. Now 36, though, she wasn't sure how hard she was throwing.
"I'm a bit of an old lady now," she said. "When I was 19 or 20, I was throwing upper 70s (mph). I still play in a pickup league and I have to rely on the old curveball to get them out."
Siegal was the first woman to coach first base in men's professional baseball for the Brockton (Mass.) Rox, an independent league team, in 2009. She spent three years as the only female college baseball coach in the country, when she was an assistant coach at Springfield College (Mass.) from 2007-10.
Siegal, who throws right-handed, is scheduled to pitch batting practice in the Oakland Athletics camp Wednesday.
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Hynson, James N.
Honor Award Induction: 1965
Hall of Fame Induction: 1996
James N. Hynson discovered tennis and paddle after being an outstanding basketball player in college, and they quickly became his favorite sports and he excelled at both. Hanson won two consecutive APTA National Championships (1937-1938) with partner Charles O'Hearn and was a finalist in 1935 and 1939. His playing career was cut short by tuberculosis which he contracted during the 1938 tuberculosis epidemic in New York and New England resulting in an early death at age 46.
Hanson was instrumental in the construction of the first court at a club—Fox Meadow Tennis Club in 1931. Serving as FMTC President from 1933-35, he helped oversee the addition of courts, and the building of a vibrant paddle community that lead to the club becoming known as “the home of platform tennis”. (Fox Meadow Tennis Club, Manursing Island Club).
Hanson was born in Lebanon, PA and attended Princeton University where he played on the varsity basketball team and was captain of an outstanding team in his senior year. He continued coaching basketball at Princeton after graduating in 1920. The Hynson family moved to Scarsdale, NY in the early 1920s and lived in a handsome white house abutting Fox Meadow Tennis Club. They became members and he proceeded to win six tennis singles championships during the period 1926-1936 and served as President from 1933-1935, a period when the popularity of paddle tennis was exploding. Hanson was also a member of one of the other founding clubs of the APTA, the Manursing Island Club in Rye, NY. where he was a leading promoter of the game.
Hanson was vice-president of the Lebanon Paper Box Company and a director of Bankers National Life Insurance Company and the Beneficial Loan Society. He also managed his own general investment banking firm J. N. Hynson & Co. in NYC until poor health forced his early retirement in 1940.
His daughter Sally learnt the game with her father at Fox Meadow on weekends when women were technically not allowed on the courts. In tribute to her father she built a paddle court at her home in Maine and named it “Kinfolk” in his memory.
James N Hynson
The 1935 Men’s Champions Clifford D. Couch and S. D. Kilmarx on the right and finalists J. N. Hynson and Charles O’Hearn.
← Hebard, Richard K. OHearn, Charles M. →
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HKU Law Faculty Members Comment on the Hong Kong National Party Controversy
"Young Hong Kong National Party radicals test limits of legal freedoms"
Tony Cheung
Hong Kong National Party, the new kid on the radical block, is igniting debate on whether an extreme party that rejects the Basic Law and wants to turn Hong Kong into an independent republic can exist legally.
While it is not the first group to advocate independence, it is at the extreme end of the localism movement as it has not only refused to recognise the Basic Law, the city’s mini-constitution, it has pledged to use “whatever means available” for Hong Kong to break away from the mainland.
Can such a party exist in Hong Kong, a special administrative region of China, and can a Hong Kong citizen advocate independence without facing legal repercussions are among the questions that have sparked divided views.
While some argued advocating independence without taking any action was part of freedom of speech, last night Beijing’s liaison office chief Zhang Xiaoming disagreed with such a stance. In an interview with Phoenix TV, he said the founding of the new party “went beyond the realm of the freedom of expression ... and must not be tolerated”...
University of Hong Kong principal law lecturer Eric Cheung Tat-ming warned that the ordinance must not be interpreted without taking into account various other legislation, including the Basic Law and the Hong Kong Bill of Rights, that protect freedoms. “Those provisions in the Crimes Ordinance were outdated ... and their legality and constitutionality were in question,” Cheung told the Post.
Former HKU law dean Johannes Chan Man-mun also said it was impossible to prosecute someone for advocating independence without action.
Without further elaborating, HKU law professor Albert Chen Hung-yee said the provision about sedition “might not be applicable to the current situation”, but lawyer Maggie Chan Man-ki disagreed and said: “It is irresponsible to rule out the possibility of any legal liability ... because even the Bill of Rights says the exercise of [civic liberties] should not affect national security.”
Former security minister Regina Ip Lau Suk-yee warned that while words did not constitute a crime, the party could be prosecuted when it organised activities to achieve its goals.
While the Societies Ordinance is another law that could deal with acts that threaten national security, it is unlikely that the new party has applied to be registered as one, as most political groups are registered as companies.
The party’s spokesman had said they had been advised by a third party that they might not be able to register under the Companies Registry. The registry told the Post it would not comment on individual cases.
HKU law professor Simon Young told the Post that the party’s company registration depended on “whether ... seeking the independence of Hong Kong [peacefully] can be said to be not a lawful purpose”.
He also said that under the Societies Ordinance, “it is hard to see how prohibiting the group would be necessary for national security ... [if] the party only seeks to discuss the possibility of independence and to achieve” it by peaceful means... Click here to read the full article.
"Independence stone dead in water"
A former Occupy Central activist has launched Hong Kong National Party to push for independence.
However, that's akin to throwing a pebble in the water - after creating a few ripples, the stone sinks. Independence can never be a serious issue for people here.
Obviously, some radicals are doing everything they can to anger Beijing ahead of the Legislative Council election in September, knowing that the communists are extraordinarily sensitive about the term "independence."
However, Beijing's reaction has been surprisingly restrained. Instead, Xinhua News Agency spared just about 200 characters to denounce the move as harmful to national sovereignty and security...
University of Hong Kong law professor Johannes Chan Man-mun said the SAR enjoys freedom of speech, and nobody should be prosecuted simply for speaking their minds - unless one crosses the line to commit illegal acts, including the use of force... Click here to read full article.
"Talk of independence could hasten passage of Article 23 security law, HKU law prof warns"
Hermina Wong
Hong Kong Free Press
Talk of independence for Hong Kong could bring forward legislation to enact Article 23, the security law targeting subversion and sedition which was abandoned in the face of mass opposition in 2003, University of Hong Kong law Professor Eric Cheung Tat-ming said on Thursday. He added that he was worried that such discussions could touch a nerve in the central government.
Regarding the newly-established, pro-independence Hong Kong National Party, Cheung said that their stance may not conform to the Constitution of China and the Basic Law, but the suggestion that it severely endangers the country is an exaggeration, according to a report by RTHK. Cheung said: “It’s the same as you suggesting that ‘defeat the Communist Party’ is against the Constitution of China, but this does not mean that people who voiced this kind of opinion have broken the law. The Basic Law and Bill of Rights protect freedom of speech.”... Click here to read the full article.
"Discussion of Hong Kong's independence do not violate the Basic Law"
RTHK Podcasts
Law Professor Simon Young from the University of Hong Kong says simply discussing independence for Hong Kong would not violate the Basic Law. He says the police have powers to deal with people who undermine national security, public order or public safety. But he tells Jim Gould that if the independence-leaning Hong Kong National Party pursues its objectives through lawful means, it is quite questionable whether those powers could be used against it. Click here to listen.
Posted by Simon NM Young at 3:00 PM
Labels: Albert Chen, Basic Law, Eric Cheung, Hong Kong, Johannes Chan, self-determination, Simon Young
Guide to Legislative Interpretation in China (Prof Hualing Fu)
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Asm. Cristina Garcia Wants to Turn Muni Golf Courses Into Housing
$593 MILLION IN FUNDING APPROVED FOR CA TRANS SYSTEM
Continuing the push to rebuild and maintain California’s infrastructure, the California Transportation Commission (CTC) has allocated nearly $593 million to 124 transportation projects that will alleviate traffic delays, repair aging roads and bridges and encourage bicycling and walking. “These projects will help us maintain and modernize California’s transportation system, ” said Caltrans Director Malcolm Dougherty. “Each of these projects is an opportunity to improve safety, goods movement and access and mobility for all travelers in California. ” The newly allocated funding includes $391.7 million from the State Highway Operation and Protection Program (SHOPP) for 31 projects that will maintain and preserve the investment in the state highway system and its supporting infrastructure. These capital improvements consist of projects covering maintenance, pavement repair and rehabilitation, safety improvements and upgrades to bridges throughout the state.
Allocations include:
· $75 million for 12 Traffic Congestion Relief Program projects that will relieve congestion, connect transportation systems and provide for better goods movement
· $42.7 million from the Active Transportation Program for 53 biking and pedestrian projects
· $30.8 million for four Transit and Intercity Rail Program projects
· $28 million for 22 capital improvement projects both on and off the state highway system as part of the State Transportation Improvement Program (STIP)
· The remaining $24 million in allocations came from various state and federal transportation accounts.
· $117.6 million for pavement, median barrier, and traffic monitoring system improvements in the cities of Bell, Vernon, Commerce, and Los Angeles.
· $31.1 million for construction of auxiliary lanes, realign loop connectors and improve traffic light signals on southbound I-110 off-ramps in Los Angeles County.
· $8.8 million for construction of one High Occupancy Vehicle (HOV) lane between San Bernardino Freeway (I-10) and Pomona Freeway (SR-60).
· $2 million for street, sidewalk and lighting improvements in the city of Los Angeles.
SB 1, passed by the state Legislature and signed by Governor Brown in April, will soon take effect and provide the first significant and stable increase in state transportation funding in more than two decades. Caltrans, along with the CTC, is committed to making investments into California’s infrastructure system efficiently and effectively, and putting those dollars to work as soon as possible.
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← Zurich submits Hounslow plans
NHB heads for LEP →
Poll backs flyunder
Posted on 10th December 2013 by lookwestlondon
A Hammersmith & Fulham Council poll has shown backing for the idea of tunnelling the A4 through Hammersmith town centre.
89% of respondents to a council poll back some form of tunnel replacement.
The poll was small, with 249 people, or 77% of respondents, saying they ‘strongly agreed’ with tunnelling beneath the A4 Talgarth Road, including the concrete flyover. 12% agreed with burying parts of the A4. Only 9% disagreed.
The favourite tunnel length was from Hogarth Roundabout to Warwick Road and there was some backing for north-south links on major routes such as Fulham Palace Road and Shepherds Bush Road.
Respondents were split over the use of the new land created. Around a fifth said they wanted it used for improving connections to the River Thames. 21% would like the land used for new housing, while 7% favoured new offices.
34% wanted the tunnel to be paid for by over site development with a similar number wanting nationwide or London-wide taxes to pay for it. 18% said the A4 should be tolled to pay for the tunnel.
The news comes as the council reports that its feasibility study, to explore the various tunnel options, is progressing well. The probe is exploring various tunnel lengths and possible starting and end points, and will measure options against social, economic and environmental benefits. It will include feedback from local residents and is set to be completed by March 2014 – when the study will be given to Transport for London (TfL) which owns and manages the A4.
The study aims to answer two main questions which are: could a tunnel be built and should a tunnel be built? The preliminary findings will be presented at a public meeting in January.
Cllr Nicholas Botterill, H&F Council Leader, said: “We have a range of options – from simply replacing the flyover to something far more ambitious, like a tunnel that potentially stretches from Chiswick to Earl’s Court, involving various north/south connector tunnels. This is very much the start of the process and all options are being explored.”
CH2M Hill Halcrow is exploring the ground conditions in the area to help answer the question of ‘could a tunnel be built’.
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Tag Archives: disney
Falling back into The Black Hole
I just watched The Black Hole with Michele. I haven’t watched it in probably twenty years, but it’s always held an extremely powerful nostalgic pull on my imagination. When I was a kid, I went through a period of obsession with this film—we’re talking a Black Hole lunchbox, a Maximillian model, a Black Hole storybook/record… the works.
I don’t know why it’s taken me so long to revisit this as an adult. It’s widely regarded as a mediocre film, and perhaps my subconscious has been trying to spare me the tragedy of seeing a piece of nostalgia exposed as just another overwrought B-movie.
But having re-watched it at last, I’m happy to say that, to my surprise and relief, I very much enjoyed it. For all its shortcomings, it works—the whole turns out to be much more than the sum of its parts.
While it’s fresh on my mind, here are a few of the elements that make The Black Hole shine, despite the failings that critics have, with just cause, pointed out.
1. The ships and effects. Put simply, the spaceships, set design, and overall visual atmosphere are superb. The Palomino nails the Millenium Falcon aesthetic: a bit ugly and looking like it’s been around the block a few times, yet rugged and appealing. But of course the Cygnus, palace of the mad space scientist Dr. Reinhardt, is the star of the show; it’s one of the most unique and impressive-looking spaceship designs I’ve ever seen. Its strange latticework structure; its cathedral-like spires; the cavernous inside spaces that make life seem so tiny and out of place inside it. Other films have used spaceship design to suggest a cathedral-in-space (Event Horizon‘s Core, the recent Battlestar Galactica‘s Resurrection Ship; the Auriga of Alien: Resurrection), but none match the Cygnus, a drifting temple to its captain’s hubris.
The Black Hole will also make you pine for the days before real, actual, physical models were replaced by the CGI apocalypse. There’s a visceral, tactile appeal to the models here that more than compensates for the now-dated special effects.
2. Dr. Reinhardt is a wonderful villain. He’s a great mad scientist in the classic vein. Those fools told him that what he was doing was impossible, even insane! But he’ll show them. It’s probably a serious misstep that The Black Hole makes Reinhardt’s Ahab-style madness apparent from his very first appearance; it dulls the impact of our eventual discovery that he’s a totally crazy murdering megalomaniac. But hey, we knew that anyway, and it gives Maximilian Schell lots of opportunities to ham it up.
3. It’s weird and dark, with lots of unnerving details. The “robot” unmasking scene scarred me for life as a child, and it retains some of its shock value today even though it’s obviously a guy in makeup. The “robot” funeral leaves you wondering uncomfortably how much humanity might still lie buried away, despite one character’s insistence that the mental damage is irreversible. At one point, after the deeply creepy Maximillian has murdered Kate’s crewmate, Reinhardt leans close to her and begs her to protect him from Maximillian. Is he mocking her? Is he living in constant terror of Maximillian, who might really be running this horror show? Wonderfully, the movie never tells us.
And then there’s this surreal closing scene, which is a perfect metaphor for Reinhardt’s ghoulish kingdom and an evocative, unsettling picture of a personal, self-created hell:
OK, so I’m in love with this film. But it’s certainly not perfect. What keeps it from greatness?
Professional critics have more than weighed in on it’s shortcomings already; I won’t dispute those critiques, but I can’t say that the commonly-cited problems (weak script, uneven acting, a continual contrast between the film’s exciting imagery and plodding dialogue) bothered me as much as they should’ve. I will point out a few things that kept me from wholly buying into The Black Hole despite my enjoyment of it:
1. The actions scenes are weak. It feels wrong to knock a movie for having insufficiently awesome action scenes, but the action scenes in this movie are universally unconvincing and unexciting. The evil sentry robots, described as an “elite” force at one point by Reinhardt, have worse aim than Stormtroopers—look, I know they’re not really supposed to hit anything or anybody important, but they have to look like they’re trying. There’s one large gun battle in particular that is so ineptly staged that it really damages the sense of immersion.
2. Reinhardt’s secret is too obvious and revealed too early. Look, we know Reinhardt’s an insane mad scientist, but the “big reveal”—what really happened to the crew—is telegraphed continually throughout the movie’s entire second act. When we finally get our confirmation, it’s lost most of its effectiveness.
3. The science is distractingly bad. For the first few minutes, it seems like The Black Hole is going to at least pay decent lip service to Real Science—enough to let us suspend our disbelief about all this black hole business. Nobody’s asking for Stephen Hawking levels of scientific integrity here. But the movie’s final act, which takes place while the Cygnus is being pulled inexorably into the black hole, throws all believability out the window. Characters breathe in open space. They outrun meteors. It’s really distracting.
Despite its flaws, this is a worthwhile film. I’m glad I finally mustered the courage to revisit this piece of childhood nostalgia, and I’m quite confident I’ll return to it again.
This entry was posted in Movies, Science Fiction and tagged black hole, cygnus, disney, maximillian, movies, reinhardt on July 20, 2013 by Andy.
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What is Unitarian Universalism?
Unitarian Universalism creates change: in ourselves, and in the world.
Seven days a week, UUs live their faith by doing. Whether in community with others or as an individual, we know that active, tangible expressions of love, justice, and peace are what make a difference.
Unitarian Universalist congregations are committed to seven Principles that include the worth of each person, the need for justice and compassion, and the right to choose one’s own beliefs. Our congregations and faith communities promote these principles through regular worship, learning and personal growth, shared connection and care, social justice and service, celebration of life’s transitions, and much more.
Our faith tradition is diverse and inclusive. We grew from the union of two radical Christian groups: the Universalists, who organized in 1793, and the Unitarians, who organized in 1825. They joined to become the UUA in 1961. Both groups trace their roots in North America to the early Massachusetts settlers and the Framers of the Constitution. Across the globe, our legacy reaches back centuries to liberal religious pioneers in England, Poland, and Transylvania. Today, Unitarian Universalists include people of many beliefs who share UU values of peace, love, and understanding. We are creators of positive change in people and in the world.
More information about Unitarian Universalism can be found at http://uua.org
Our Symbol: The Flaming Chalice
A flame within a chalice (a cup with a stem and foot) is a primary symbol of the Unitarian Universalist faith tradition. Many of our congregations kindle a flaming chalice in gatherings and worships and feature the chalice symbol prominently.
Hans Deutsch, an Austrian artist, first brought together the chalice and the flame as a Unitarian symbol during his work with the Unitarian Service Committee during World War II. To Deutsch, the image had connotations of sacrifice and love.
To Unitarian Universalists today the flaming chalice is a symbol of hope, the sacred, the quest for truth, the warmth of community, the light of reason, and more.
We light a flaming chalice in worship to create a reverent space for reflection, prayer, meditation, and singing.
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AFL, College Football HoF, NFL, Pro Football HoF
Bell, Bobby (LB)
Cards: Topps 1970, Upper Deck Legends 1997
Acquired: TTM 2019, C/o Home
Sent: 12/23/19 Received: 1/16/20 (23 days)
*Donation Enclosed
A two-time All-American and Outland Trophy Winner while playing defensive tackle for the Minnesota Golden Gophers, Bobby Bell was coveted by both the AFL and NFL- and ultimately was drafted by both the Minnesota Vikings and the Kansas City Chiefs in 1963.
Considered one of the most dominant defenders of his era, Bobby spent his first two years at left defensive end, earning his first Pro Bowl nomination in ’64. He then moved to left linebacker in 1965, and earned his first of 8 consecutive All-Star/Pro Bowl and 6 consecutive All AFL or All Pro nominations at the position. He earned NFL Defensive Player of the Year Honors in 1969. Bobby was also a great special teamer. He played for the Chiefs through the 1974 season, and was instrumental in Kansas City’s Super Bowl IV victory over the Minnesota Vikings. Sacks however did not become a tracked number until 1982.
Since retirement, Bobby had his number retired by the Chiefs, was named to the NFL 1970s All-Decade Team, AFL All-Time Team, the NFL 100th Anniversary All-Time Team, the Pro Football Hall of Fame, College Football Hall of Fame, and the Rose Bowl Hall of Fame in 2016.
Bobby has some great cards, and was an incredible player. Because of this I saw getting his autograph for a small signing fee to be a bargain. I loved both his Topps 1970 and the Upper Deck 1997 Legends card of his.
G TAC SAC FUM
168 N/A N/A 9
INT YDS AVG TD LG
26 479 18.4 6 61
bobby bellbobby bell (LB)kansas city chiefsnfl 100th all-time teamNFL All 70s teamoutland trophy winnertopps 1970ttm autographttm football autographupper deck legends 1997
Previous PostLindstrom, EricNext PostAnderson, Ottis ‘OJ’ (3)
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